mayday one way trip lyrics

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Lyrics One way trip Mayday!

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• 01. Perimeter
• 02. Escape plans
• 03. News to me
• 04. How would you know
• 05. Better place
• 06. Long night
• 07. Pretender
• 09. Tempted
• 11. Have someone
• 12. Airplane mode
• 13. Save me from myself
• 15. Same old us
• 16. One way trip
• 17. Don't rescue me
• 18. We never run

One way trip

Yeah, dancin' just like it's the wedding day Cause we in a better place The train is ahead of pace Takin' us both into outer space And now that we're both awake, we're flowin' to Rosa Lake It's pullin' us home just like the undertaker quietly tuggin' at my legs I'm finally in fall and everything suddenly change into a different place I don't even bother with the thought that I've been lost inside a jungle up-to-date I'm on the dark-dealing expression And what I am feelin' is descend (?) Everybody got a common bud and got a lot of time to put you on it And I'm just bein' honest, I'm just bein' real Losin' that first deal was my college Been mis-education on myself Cause for every wrong turn was a toll And every song I mine in gold And every rhyme I don't spit in code No lookin' for certain redemption Was conscious of every deception The pain is a gain of reflection They blind to a fadin' perception Tryin' absolutely everything I can To not even try and look back I'm hopin' this thing stay on track Cause I don't think I'll ever be back I won't be back I just found out, there's no way out I can't look back, it's a one way trip I'm in here now, there's no way out I can't turn back, it's a one way trip Uh-huh Good mornin' friends, you are to lend an ear I'm feelin' like waxin' The poetic get it while it's copacetic ' I'm addicted to passion I'm addicted to action I'm addicted to grind See, I can't turn back to the past then Why would I want to rewind? I'm fine most days, these micro-pains, I'm feelin' a hypochronda I feel that it's just, I can't wait to relate to the nights that beyond us The nights we can wonder, and get lost with the monsters While they just keep tryna pin us to genres I'd sleep if I could, I probably should But my mind's lyin' by Daisy I'm on my hood, and thinkin' what's good I'm watchin' the planes fly my way Thinkin' if I bite, and bring you to life I might not be worthy Or maybe I wouldn't deserve me It's tricky to know what the curve be From this concrete, at the swap meet Where I'm steady tryin' spot them black leaks It's a petty circus I do not keep Those around me who say that they not freaks Maybe we'll meet in the day shift Or out with the black and the grey splits However we ride to the great, Miss It's surely to be a one way trip, sayin' I just found out, there's no way out I can't look back, it's a one way trip I'm in here now, there's no way out I can't turn back, it's a one way trip

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• One Way Trip

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One Way Trip

Lil wayne , kevin rudolf.

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Dwayne Michael Carter, Jr. (born September 27, 1982), better known by his stage name Lil Wayne ( /ˌlɪl ˈweɪn/), is an American rapper. In 1991, at the age of nine, Lil Wayne joined Cash Money Records as the youngest member of the label, and half of the duo, The B.G.'z, with B.G.. In 1996, Lil Wayne joined the group Hot Boys, which also included rappers Juvenile, B.G., and Young Turk. Hot Boys debuted with Get It How U Live! that year. Lil Wayne gained most of his success with the group's major selling album Guerrilla Warfare, released in 1999. Also in 1999, Lil Wayne released his Platinum debut album Tha Block Is Hot, selling over one million copies in the U.S. more »

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Written by: TRAVIS BARKER, DWAYNE CARTER, M RODRIQUEZ, KEVIN RUDOLF

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One Way Trip

Leggi il testo, scopri il significato e guarda il video musicale di one way trip di ¡mayday . “ one way trip ” è una canzone di ¡mayday . one way trip lyrics., testo - ¡mayday - one way trip, video musicale.

Yeah, dancin' just like it's the wedding day Cause we in a better place The train is ahead of pace Takin' us both into outer space And now that we're both awake, we're flowin' to Rosa Lake It's pullin' us home just like the undertow quietly tuggin' at my legs I'm finally in fall and everything suddenly change into a different place I don't even bother with the thought that I've been lost inside a jungle up-to-date I'm on the dark-dealing expression And what I am feelin' is descend (?) Everybody got a common bud and got a lot of time to put you on it And I'm just bein' honest, I'm just bein' real Losin' that first deal was my college Been mis-education on myself Cause for every wrong turn was a toll And every song I mine in gold And every rhyme I don't spit in code No lookin' for certain redemption Was conscious of every deception The pain is a gain of reflection They blind to a fadin' perception Tryin' absolutely everything I can To not even try and look back I'm hopin' this thing stay on track Cause I don't think I'll ever be back I won't be back I just found out, there's no way out I can't look back, it's a one way trip I'm in here now, there's no way out We can't turn back, it's a one way trip Uh-huh Good mornin' friends, you are to lend an ear I'm feelin' like waxin' The poetic get it while it's copacetic I'm addicted to passion I'm addicted to action I'm addicted to grind See, I can't turn back to the past then Why would I want to rewind? I'm fine most days, these micro-pains, I'm feelin' a hypochronda I feel that it's just I can't wait to relate to the nights that beyond us The nights we can wonder, and get lost with the monsters While they just keep tryna pin us to genres I'd sleep if I could, I probably should But my mind's lyin' by Daisy I'm on my hood, and thinkin' what's good I'm watchin' the planes fly my way Thinkin' if I bite, and bring you to my life I might not be worthy Or maybe I wouldn't deserve me It's tricky to know what the curve be From this concrete, at the swap meet Where I'm steady tryin' spot them black leaks It's a petty circus I do not keep Those around me who say that they not freaks Maybe we'll meet in the day shift Or out with the black and the grey splits However we ride to the great, Miss It's surely to be a one way trip, sayin' I just found out, there's no way out I can't look back, it's a one way trip I'm in here now, there's no way out We can't turn back, it's a one way trip

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Tsunomaki Watame - mayday,mayday Lyrics + English Translation

Home » Artists » Tsunomaki Watame » mayday,mayday Lyrics / English Translation

mayday,mayday Lyrics (Romanized)

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mayday koe wa todoiteru? kokoro ga zuki tto itai mitai Baby nante miryokuteki miseru tekunikku wa sugu ni kurakura

mayday sore ja mono tarinai sugu ni motto motto yokubaru sutairu Heyhey motto jirashite yo anata no kokoro ni haittetai no

Ah miesuita amai wana Ah hamatte ageyou ka Ah jizai ni kontorooru shite ita hazu na no ni

kurakura tte yocchaisou na amai nioi sasoware Furafura tte yottechau wa aa mou help me…

nogaretai wake janakute kore kurai ga choudo ii wa Nante mou kimi no mae ja zettai… Help me shite

mayday kaji ga torenai no kimochi ga moya tto harenai shi Lady nanka ja irarenai imadoki no Girl wa mou chome mo chome chome

zettai aru wakenai janai (can not believe) zettai ni tada no kanchigai (got attracted) Rongai tenohira no ue de odorasareteiru kono kanji

da tte mou tokedasu you na taion ni mimaware Nanka hen atashi janai mitai aa mou rescue me…

iyaiya tte morechau kurai ni atashi wo komarasete Nanka mo atashi kara wa zettai… Rescue me shite

nee doushite ai wa itazura surun darou nee itsuka wa kono itami mo kieru no

honrai wa angai kantan ni hitei shite kowarechau kedo kizudarake no kokoro wa… Ki ga tsukeba te wo nobashichatte sono toosa kurushikute kimi mo te wo nobashite kuretara…

itai koko ni itai no cry ochitsuku basho Sono te de furete yo hora mayday

kurakura tte yocchaisou na amai nioi sasoware Furafura tte yottechau wa aa mou save me…

help me rescue me save me mayday (don’t rescue me tonight)

da tte mou tokedasu you na taion ni mimaware Kitto sou afuredashitan da mou… Rescue me shite

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Tsunomaki Watame - mayday,mayday Lyrics (Romanized)

mayday 声は届いてる？　心がズキッと痛いみたい baby なんて魅力的　魅せるテクニックはすぐにクラクラ

mayday それじゃ物足りない　すぐにもっともっと欲張るスタイル heyhey もっと焦らしてよ　あなたの心に入ってたいの

Ah 見え透いた甘い罠　Ah ハマってあげようか Ah 自在にコントロールしていたはずなのに

クラクラって酔っちゃいそうな　甘い匂い 誘われ フラフラって寄ってちゃうわ　あぁもうhelp me…

逃れたいわけじゃなくて　これくらいがちょうどいいわ なんてもうキミの前じゃ絶対… Help meして

mayday 舵が取れないの　気持ちがモヤっとハレないし lady なんかじゃいられない　今時のGirlはもう××も×× (ﾁｮﾒもﾁｮﾒﾁｮﾒ)

絶対あるわけないじゃない (can not believe) 絶対にただの勘違い (got attracted) 論外 手のひらの上で踊らされているこの感じ

だってもう溶けだすような体温に見舞われ なんか変　あたしじゃないみたい　あぁもうrescue me…

嫌々って漏れちゃうくらいに　あたしを困らせて なんかもあたしからは絶対… rescue meして

ねぇどうして愛は悪戯するんだろう　ねぇいつかはこの痛みも消えるの

本来は案外簡単に否定して壊れちゃうけど　傷だらけの心は… 気が付けば手を伸ばしちゃってその遠さ苦しくて　キミも手を伸ばしてくれたら…

イタイ　ここにいたいの　cry　落ち着く場所 その手で触れてよ　ほらmayday

クラクラって酔っちゃいそうな　甘い匂い 誘われ フラフラって寄ってちゃうわ　あぁもうsave me…

help me　rescue me　save me　mayday (don’t rescue me tonight)

だってもう溶けだすような体温に見舞われ きっとそう　溢れだしたんだ　もう… rescue meして

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Mayday, can you hear me? A sharp pain shoots through my heart Baby, you’re so charming. Your alluring technique has me out on my feet

Mayday, that’s not enough for me. Wanting more and more is my style Hey, hey, come on, tantalize me. I want to be in your heart, always

Ah, it’s such an obvious trap. Ah, but I’ll fall for it anyway Ah, I thought I had full control. I thought I held the reins

A sweet scent wafts in the air. It’s enough to make me dizzy It’s enough to lead me to you. Ah, I’m done for, help me

I’m not looking for a way out. This is what I want You make me weak in the knees… Help me, please

Mayday, my rudder’s out of control. My emotions are a roller coaster Being a proper lady is too much for me. Girls these days are more *****

I know it’s not happening (can not believe) I know I’m just misunderstanding (got attracted) It maddens me that you’ve got me dancing to your tune, in the palm of your hand

Your burning passions threaten to melt me inside This is not me, it’s not who I am. Ah, I’m done for, rescue me

Torment me, put me on the spot. Make me cry out for mercy But don’t ever leave me… Rescue me, please

Why is love such a cruel mistress? Will I ever be free from this distress?

Always so brittle and frail. It can run away and shatter so easily. My heart is battered and torn… But this time, it’s reaching out. To something that’s out of its reach. But if you extend a helping hand too, then maybe…

It gives me pain, but I want to be here. It makes me cry, but I feel at home Touch me with your hands. I’m screaming mayday

A sweet scent wafts in the air. It’s enough to make me dizzy It’s enough to lead me to you. Ah, I’m done for, save me

help me, rescue me, save me, mayday (don’t rescue me tonight)

Your burning passions threaten to melt me inside The dam has broken, my feelings explode Rescue me, please

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Tsunomaki Watame『mayday,mayday』Official Music Video

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10 times taylor swift seemingly sinks her pen into ex joe alwyn on ‘the tortured poets department’.

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One thing you can be sure of, she’ll have the last word.

Of course, Taylor Swift has a long history of writing about her exes on her albums — or so we think — from John Mayer and Jake Gyllenhaa l to Joe Jonas and Harry Styles.

But it’s Joe Alwyn, the British actor who the singer dated from 2016 to 2023, who is the object of the 34-year-old pop superstar’s wicked wordplay for a good — or for him, not so good — part of “The Tortured Poets Department,” which dropped on Friday.

There’s even one song called “So Long, London” — a goodbye to the city where they once lived together. And just to show you how deep those Swift Easter eggs can be hidden, that track is 9 minutes and 28 seconds — which happens to line up with when the exes are rumored to have started dating on Sept. 28, 2016.

Alwyn is also rumored to figure in the album title, which seemingly puts a snarky spin on the name of a group chat, “The Tortured Man Club,” that he had with his fellow actors Paul Mescal and Andrew Scott.

Alwyn and Mescal, 28, opened up about their group chat during a 2022 interview with Variety. It was founded by Scott, 47.

“[Scott is] just on it every day. He’s just on it by himself,” Mescal told the outlet, with Alwyn joking that the “Fleabag” actor is “just messaging himself good mornings.”

In an interview with GQ UK, Alwyn added that the chat name was “a reflection on Connell and Nick.” Alwyn played the character Nick on “Conversations With Friends,” while Mescal played Connell on “Normal People.” Both TV series were adaptations from books written by Irish author Sally Rooney.

Swifties made the connection when she announced her 11th studio album during her acceptance speech at the 66th Grammy Awards for best pop vocal album, which she won for “Midnights.”

“I want to say thank you to the fans by telling you a secret that I’ve been keeping from you for the last two years, which is that my brand new album comes out April 19th,” she said in February. She later posted the “TTPD” black and white album cover on her Instagram.

Here's what to know about Taylor Swift's new album 'The Tortured Poets Department':

• The 14-time Grammy winner released her highly anticipated 11th studio album “The Tortured Poets Department” on Friday.
• Swift sent her fans into a frenzy at 2 a.m. after revealing the record is a double album . Titled “The Anthology,” Swift’s late-night surprise includes 15 bonus tracks, bringing the total song count to a whopping 31.
• Swift initially unveiled her 16-song album at midnight, including collaborations with Post Malone and Florence Welch on two tracks. There are also four bonus tracks, “The Manuscript,” “The Bolter,” “The Albatross,” and “The Black Dog” that are featured on various vinyl versions of the album. The four tracks, as well as 11 new songs, are included in “The Anthology.”
• A poem about heartbreak that serves as a prologue for the album was written by Fleetwood Mac alum Stevie Nicks .
• There are several celeb names peppered throughout the album’s lyrics, the mention of singer Charlie Puth’s name took some Swifties by surprise.
• While some of Swift’s exes aren’t spared on “TTPD,” the singer, 34, does seemingly reference her current beau Travis Kelce on the new album’s track “The Alchemy” in a loving way.
• As for her exes, 1975 frontman Matty Healy is reportedly referenced throughout the 31-song-strong record . In fact, Healy — who, before their summer split, was a rebound romance for the pop superstar following her breakup with British actor Joe Alwyn after six years —  appears to be the subject of the vicious takedown  “The Smallest Man Who Ever Lived.” Other fans, however, may speculate the “sparkling summer” line is about Alwyn. There are also hints that “I Can Fix Him” (No Really I Can)” — gotta love that title — might be about 35-year-old Healy.
• As for Alwyn, Swift dropped hints at the pair’s ill-fated 6-year romance for a good — or for him, not so good — part of the album. Check out the 10 Alwyn-related references we’ve spotted.
• Read The Post’s review of “The Tortured Poets Department” here.

“And so I enter into evidence / My tarnished coat of arms / My muses, acquired like bruises / My talismans and charms / The tick, tick, tick of love bombs / My veins of pitch black ink,” she wrote at the time. “All’s fair in love and poetry … Sincerely, The Chairman of The Tortured Poets Department.”

Alwyn has never publicly spoken about their romance post-split. In happier times, he collaborated with Swift on several tracks under the alias “William Bowery.” He’s listed as contributing to “Exile” and “Betty” on Folklore as well as “Champagne Problems,” “Coney Island” and “Evermore” on Evermore.

“There’s been a lot of discussion about William Bowery and his identity ’cause it’s not a real person,” Swift said about the song “Exile” during her Disney+ film Folklore: The Long Pond Studio Sessions, which premiered in November 2020. “William Bowery is Joe, as we know.”

Swift has previously penned several love tracks about Alwyn too, including “Delicate,” “Gorgeous” and “Call It What You Want” from 2017’s “Reputation” and “London Boy” and “Lover” off her 2019 album “Lover.”

Here are 10 times that Swift seemingly sinks her pen into Alwyn on “The Tortured Poets Department.”

“So Long, London”

“Just how low did you think I’d go/ Before I’d self implode.”

“Every breath feels like the rarest air/ When you’re not sure if he wants to be there.”

“Holding tight to your quiet resentment/ And my friends said it isn’t right to be scared/ Every day of a love affair.”

“And you say I abandoned the ship/ But I was going with it/ My white knuckle dying grip.”

“But Daddy I Love Him”

“No, you can’t come to the wedding/ I know he’s crazy, but he’s The One.”

“I’m having his baby.”

“Undo the destiny.”

“You said I’m the love of your life/ You s – – t-talked me under the table/ Talking rings and talking cradles/ I wish I could un-recall how we almost had it all.”

“The Manuscript”

“The only thing that’s left is the manuscript/ One last souvenir from my trip to your shores/ Now and then I re-read the manuscript/ But the story isn’t mine anymore.”

“Down Bad”

“F – – k it, I was in love/ So f – – k you if I can’t have us.”

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Jia Zhangke on Experimenting With AI for Cannes Entry ‘Caught by the Tides,’ Respecting the Audience

By Lise Pedersen

Lise Pedersen

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Sporting a warm smile and a pair of sunglasses – “Sorry, I’ve been busy editing and my eyes hurt,” he explained – one of China’s leading indie directors Jia Zhangke , whose upcoming film “ Caught by the Tides ” will be vying for the Palme d’or in Cannes next month, was guest of honor at the 55th edition of Swiss doc festival Visions du Réel this week.

Finished just in time for submission to Cannes, the film features his wife Zhao Tao, his muse over the last two decades, and tells the story of a couple spanning 20 years.

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Jia’s visit to the fest marks his first trip abroad since the outbreak of the pandemic, and he was clearly enjoying being back in Europe.

One of the foremost members of China’s politically contentious “Sixth Generation,” whose body of work embraces a broad spectrum of filmmaking, Jia is also a festival darling in Europe, where he won the Golden Lion in Venice for “Still Life” in 2006, and has been nominated no fewer than six times in Cannes, picking up best screenplay in 2013 for “A Touch of Sin.”

After receiving VdR’s Prix d’Honneur Monday, Jia spent more than two and a half hours at a masterclass in Nyon’s packed Marens Theater on Tuesday, answering questions from film critic Jean-Michel Frodon, as well as members of the audience, with characteristic humanity and modesty.

“With China producing more than 1,000 films a year, most of them by young directors, I wanted to host an event that focuses on them so that audiences can get to know them. Many of the films at the festival also come from Eastern Europe, South America, and other Asian countries, where they couldn’t get funding – I want to dedicate my festival to these films to convey different world views. (…) It’s an independent event, not some festival funded by public money. My colleagues and I worked very hard to preserve this event – we are all idealists – it requires a great deal of sacrifice, but we have succeeded.”

Notably famous for his so-called “slow cinema,” which includes long, static takes shot in medium to long distance, Jia quoted French film critic André Bazin: “I love long takes because they allow me to convey a democratic form of cinema. I can understand Bazin: a contemporary film leaves empty spaces, and it is precisely with these empty spaces that a film is complete, because the audience can fill them with their own emotions.

“It’s a way of respecting the audience: I see the audience as my equal. I don’t want my films to be propaganda, to manipulate the audience to make them cry or laugh – there are too many such films. Directors are not gods, we don’t seek to impose an ideology, we are simply sharing with the audience, and they can decide for themselves.”

This confidence in his audience was reflected in another question on the difference between the way Western and Chinese viewers receive his films: “When I make a film I never worry about my audience because they are all human beings, they all have emotions. I think that humanity has more in common – our commonality transcends differences. We must be confident that our work is destined to be shared by everyone,” he told the crowd with a smile, adding that he wants his films “to be playful.”

“I want my films to be relaxed – sometimes there are jokes – I don’t want them to be perceived as classics. My films are like a living entity, with a life of their own,” he went on, joking that they were just like children, which you must be prepared to let go of when they turn 18.

A retrospective of Jia’s work runs throughout Visions du Réel, which wraps on April 21.

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