Afficher en bilingue:

Désactivé 日本語 Tiếng Việt 한국어 中文 Português Français Español

Look, if you had one shot or one opportunity 00:34

To seize everything you ever wanted in one moment 00:43

Would you capture it or just let it slip? 00:49

Yo 00:52

His palms are sweaty, knees weak, arms are heavy 00:53

There's vomit on his sweater already, mom's spaghetti 00:56

He's nervous, but on the surface, he looks calm and ready 00:59

To drop bombs, but he keeps on forgetting 01:02

What he wrote down, the whole crowd goes so loud 01:04

He opens his mouth, but the words won't come out 01:07

He's chokin', how? Everybody's jokin' now 01:10

The clock's run out, time's up, over, blaow 01:13

Snap back to reality, ope, there goes gravity 01:16

Ope, there goes Rabbit, he choked, he's so mad 01:19

But he won't give up that easy, no, he won't have it 01:21

He knows his whole back's to these ropes, it don't matter 01:24

He's dope, he knows that, but he's broke, he's so stagnant 01:27

He knows when he goes back to this mobile home, that's when it's 01:30

Back to the lab again, yo, this old rhapsody 01:33

Better go capture this moment and hope it don't pass him 01:36

You better lose yourself in the music 01:38

The moment, you own it, you better never let it go (go) 01:40

You only get one shot, do not miss your chance to blow 01:43

This opportunity comes once in a lifetime- 01:47

You better lose yourself in the music 01:49

The moment, you own it, you better never let it go (go) 01:52

You only get one shot, do not miss your chance to blow 01:55

This opportunity comes once in a lifetime- 01:58

You better- 02:00

His soul's escaping through this hole that is gaping 02:01

This world is mine for the taking, make me king 02:04

As we move toward a new world order 02:07

A normal life is boring, but superstardom's 02:10

Close to post-mortem, it only grows harder 02:12

Homie grows hotter, he blows, it's all over 02:15

These hoes is all on him, coast-to-coast shows 02:18

He's known as the Globetrotter, lonely roads 02:20

God only knows he's grown farther from home, he's no father 02:23

He goes home and barely knows his own daughter 02:26

But hold your nose 'cause here goes the cold water 02:29

These hoes don't want him no mo', he's cold product 02:32

They moved on to the next schmoe who flows 02:35

He nose-dove and sold nada, and so the soap opera 02:37

Is told, it unfolds, I suppose it's old, partner 02:40

But the beat goes on, da-da-dom, da-dom- 02:43

You better lose yourself in the music 02:45

The moment, you own it, you better never let it go (go) 02:48

You only get one shot, do not miss your chance to blow 02:51

This opportunity comes once in a lifetime- 02:54

You better lose yourself in the music 02:57

The moment, you own it, you better never let it go (go) 02:59

You only get one shot, do not miss your chance to blow 03:02

This opportunity comes once in a lifetime- 03:05

You better- 03:08

No more games, I'ma change what you call rage 03:08

Tear this motherfuckin' roof off like two dogs caged 03:11

I was playin' in the beginning, the mood all changed 03:14

I've been chewed up and spit out and booed off stage 03:16

But I kept rhymin' and stepped right in the next cypher 03:19

Best believe somebody's payin' the Pied Piper 03:22

All the pain inside amplified by the 03:25

Fact that I can't get by with my nine-to- 03:28

Five and I can't provide the right type of life for my family 03:31

'Cause, man, these goddamn food stamps don't buy diapers 03:34

And there's no movie, there's no Mekhi Phifer, this is my life 03:38

And these times are so hard, and it's gettin' even harder 03:41

Tryna feed and water my seed, plus teeter-totter 03:44

Caught up between bein' a father and a prima donna 03:47

Baby-mama drama, screamin' on her, too much for me to wanna 03:50

Stay in one spot, another day of monotony's gotten me 03:53

To the point I'm like a snail, I've got 03:56

To formulate a plot or end up in jail or shot 03:58

Success is my only motherfuckin' option, failure's not 04:01

Mom, I love you, but this trailer's got to go 04:05

I cannot grow old in Salem's Lot 04:07

So here I go, it's my shot 04:09

Feet, fail me not 04:11

This may be the only opportunity that I got 04:12

You better lose yourself in the music 04:15

The moment, you own it, you better never let it go (go) 04:17

You only get one shot, do not miss your chance to blow 04:20

This opportunity comes once in a lifetime- 04:23

You better lose yourself in the music 04:26

The moment, you own it, you better never let it go (go) 04:28

You only get one shot, do not miss your chance to blow 04:31

This opportunity comes once in a lifetime- 04:35

You better- 04:37

You can do anything you set your mind to, man 04:40

04:42

Lose Yourself

Par

Eminem

Album

8 Mile

Vues

288,945,394

Apprendre cette chanson

Paroles:

[English]

Look, if you had one shot or one opportunity

To seize everything you ever wanted in one moment

Would you capture it or just let it slip?

His palms are sweaty, knees weak, arms are heavy

There's vomit on his sweater already, mom's spaghetti

He's nervous, but on the surface, he looks calm and ready

To drop bombs, but he keeps on forgetting

What he wrote down, the whole crowd goes so loud

He opens his mouth, but the words won't come out

He's chokin', how? Everybody's jokin' now

The clock's run out, time's up, over, blaow

Snap back to reality, ope, there goes gravity

Ope, there goes Rabbit, he choked, he's so mad

But he won't give up that easy, no, he won't have it

He knows his whole back's to these ropes, it don't matter

He's dope, he knows that, but he's broke, he's so stagnant

He knows when he goes back to this mobile home, that's when it's

Back to the lab again, yo, this old rhapsody

Better go capture this moment and hope it don't pass him

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better-

His soul's escaping through this hole that is gaping

This world is mine for the taking, make me king

As we move toward a new world order

A normal life is boring, but superstardom's

Close to post-mortem, it only grows harder

Homie grows hotter, he blows, it's all over

These hoes is all on him, coast-to-coast shows

He's known as the Globetrotter, lonely roads

God only knows he's grown farther from home, he's no father

He goes home and barely knows his own daughter

But hold your nose 'cause here goes the cold water

These hoes don't want him no mo', he's cold product

They moved on to the next schmoe who flows

He nose-dove and sold nada, and so the soap opera

Is told, it unfolds, I suppose it's old, partner

But the beat goes on, da-da-dom, da-dom-

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better-

No more games, I'ma change what you call rage

Tear this motherfuckin' roof off like two dogs caged

I was playin' in the beginning, the mood all changed

I've been chewed up and spit out and booed off stage

But I kept rhymin' and stepped right in the next cypher

Best believe somebody's payin' the Pied Piper

All the pain inside amplified by the

Fact that I can't get by with my nine-to-

Five and I can't provide the right type of life for my family

'Cause, man, these goddamn food stamps don't buy diapers

And there's no movie, there's no Mekhi Phifer, this is my life

And these times are so hard, and it's gettin' even harder

Tryna feed and water my seed, plus teeter-totter

Caught up between bein' a father and a prima donna

Baby-mama drama, screamin' on her, too much for me to wanna

Stay in one spot, another day of monotony's gotten me

To the point I'm like a snail, I've got

To formulate a plot or end up in jail or shot

Success is my only motherfuckin' option, failure's not

Mom, I love you, but this trailer's got to go

I cannot grow old in Salem's Lot

So here I go, it's my shot

Feet, fail me not

This may be the only opportunity that I got

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better lose yourself in the music

The moment, you own it, you better never let it go (go)

You only get one shot, do not miss your chance to blow

This opportunity comes once in a lifetime-

You better-

You can do anything you set your mind to, man

...

Vocabulaire dans cette chanson:

Commencer la pratique

Vocabulaire	Significations
shot /ʃɒt/ A2	noun - une tentative de faire ou de réaliser quelque chose. verb - tirer une balle avec une arme à feu
capture /ˈkæptʃər/ B2	verb - prendre possession ou contrôler par la force.
slip /slɪp/ B1	verb - glisser involontairement sur une courte distance. noun - un acte de glisser involontairement
heavy /ˈhevi/ A2	adjective - de grand poids; difficile à soulever ou à déplacer.
nervous /ˈnɜːrvəs/ B1	adjective - facilement agité ou alarmé.
calm /kɑːm/ A2	adjective - ne pas montrer ou ressentir de nervosité, de colère ou d'autres émotions.
drop /drɒp/ A2	verb - laisser ou permettre à (quelque chose) de tomber ou de pendre lâchement.
crowd /kraʊd/ A2	noun - un grand nombre de personnes rassemblées dans un lieu public.
choke /tʃoʊk/ B2	verb - avoir de sérieuses difficultés à respirer parce que quelque chose bloque la gorge ou la trachée.
gravity /ˈɡrævəti/ B2	noun - la force qui attire un corps vers le centre de la terre, ou vers tout autre corps physique ayant une masse.
mad /mæd/ A2	adjective - en colère; furieux.
dop /doʊp/ B2	adjective - (argot) très bien; excellent
stagnant /ˈstæɡnənt/ C1	adjective - (d'une étendue d'eau ou de l'atmosphère) qui ne coule pas ou ne bouge pas.
rhapsody /ˈræpsədi/ C1	noun - une expression effusivement enthousiaste ou extatique de sentiment.
soul /soʊl/ B1	noun - la partie spirituelle ou immatérielle d'un être humain ou d'un animal, considérée comme immortelle.
gape /ɡeɪp/ B2	verb - regarder bouche bée, généralement avec étonnement ou émerveillement.
bore /bɔːr/ B1	adjective - qui fait qu'on se sent fatigué et agité par manque d'intérêt.
rage /reɪdʒ/ C1	noun - colère violente et incontrôlable.
rhyme /raɪm/ B1	verb - (d'un mot, d'une syllabe ou d'une ligne) avoir ou se terminer par un son correspondant à un autre.
fail /feɪl/ A2	verb - ne pas réussir à atteindre son objectif.

Vocabulaire

Significations

shot

/ʃɒt/

noun
- une tentative de faire ou de réaliser quelque chose.

verb
- tirer une balle avec une arme à feu

capture

/ˈkæptʃər/

verb
- prendre possession ou contrôler par la force.

slip

/slɪp/

verb
- glisser involontairement sur une courte distance.

noun
- un acte de glisser involontairement

heavy

/ˈhevi/

adjective
- de grand poids; difficile à soulever ou à déplacer.

nervous

/ˈnɜːrvəs/

adjective
- facilement agité ou alarmé.

calm

/kɑːm/

adjective
- ne pas montrer ou ressentir de nervosité, de colère ou d'autres émotions.

drop

/drɒp/

verb
- laisser ou permettre à (quelque chose) de tomber ou de pendre lâchement.

crowd

/kraʊd/

noun
- un grand nombre de personnes rassemblées dans un lieu public.

choke

/tʃoʊk/

verb
- avoir de sérieuses difficultés à respirer parce que quelque chose bloque la gorge ou la trachée.

gravity

/ˈɡrævəti/

noun
- la force qui attire un corps vers le centre de la terre, ou vers tout autre corps physique ayant une masse.

mad

/mæd/

adjective
- en colère; furieux.

dop

/doʊp/

adjective
- (argot) très bien; excellent

stagnant

/ˈstæɡnənt/

adjective
- (d'une étendue d'eau ou de l'atmosphère) qui ne coule pas ou ne bouge pas.

rhapsody

/ˈræpsədi/

noun
- une expression effusivement enthousiaste ou extatique de sentiment.

soul

/soʊl/

noun
- la partie spirituelle ou immatérielle d'un être humain ou d'un animal, considérée comme immortelle.

gape

/ɡeɪp/

verb
- regarder bouche bée, généralement avec étonnement ou émerveillement.

bore

/bɔːr/

adjective
- qui fait qu'on se sent fatigué et agité par manque d'intérêt.

rage

/reɪdʒ/

noun
- colère violente et incontrôlable.

rhyme

/raɪm/

verb
- (d'un mot, d'une syllabe ou d'une ligne) avoir ou se terminer par un son correspondant à un autre.

fail

/feɪl/

verb
- ne pas réussir à atteindre son objectif.

Grammaire:

If you had one shot or one opportunity To seize everything you ever wanted in one moment

➔ Conditionnel de type 2

➔ Le **conditionnel de type 2** (Si + prétérit, would + base verbale) est utilisé pour parler de situations irréelles ou improbables au présent ou au futur. Ici, c'est hypothétique - il n' *a* pas réellement une chance pour l'instant.
Would you capture it or just let it slip?

➔ Question conditionnelle avec 'Would'

➔ Cette ligne utilise 'would' pour former une question sur une action hypothétique. 'Would you capture it' exprime ce qui *se* passerait dans le scénario imaginé. Le verbe "let" dans "let it slip" signifie permettre que quelque chose soit perdu ou gaspillé.
He's nervous, but on the surface, he looks calm and ready To drop bombs, but he keeps on forgetting What he wrote down

➔ Conjonctions de contraste (but), présent continu pour insister sur une action habituelle (keeps on forgetting)

➔ 'But' montre un contraste entre sa nervosité intérieure et son apparence extérieure. 'He keeps on forgetting' utilise le présent continu pour souligner la nature répétée de son oubli, ce qui le rend plus frustrant. 'Keep on + verb+ing' est une expression idiomatique qui montre la persistance.
Snap back to reality, ope, there goes gravity Ope, there goes Rabbit, he choked, he's so mad

➔ Impératif (Snap back), Présent Simple ('there goes' - utilisé pour l'emphase et l'immédiateté)

➔ 'Snap back to reality' est un impératif, un ordre direct. 'There goes gravity' et 'There goes Rabbit' utilisent le présent simple d'une manière inhabituelle. Généralement, 'there goes' indique quelque chose qui s'éloigne, mais ici, cela signifie la perte rapide de contrôle de la situation. L'utiliser ajoute de l'impact et de l'immédiateté à la scène.
He knows his whole back's to these ropes, it don't matter He's dope, he knows that, but he's broke, he's so stagnant

➔ Contractions informelles ('back's', 'don't'), Conjonction de contraste ('but')

➔ Cette ligne utilise des contractions informelles comme 'back's' (back is) et 'don't' (does not) pour refléter un style conversationnel et de la rue. 'But' crée à nouveau un contraste entre son talent ('dope') et sa situation actuelle ('broke', 'stagnant').
You better lose yourself in the music The moment, you own it, you better never let it go (go)

➔ 'Better' (had better) + forme de base du verbe (lose), Mode Impératif.

➔ 'You better lose yourself' est une forte recommandation ou un avertissement. 'Had better' est souvent abrégé en 'better' dans le langage informel. Cela exprime l'urgence. Le mode impératif donne une direction.
No more games, I'ma change what you call rage Tear this motherfuckin' roof off like two dogs caged

➔ Contraction informelle ('I'ma'), proposition substantive ('what you call rage'), comparaison ('like two dogs caged')

➔ 'I'ma' est une contraction très informelle de 'I am going to'. 'What you call rage' est une proposition substantive qui fonctionne comme l'objet du verbe 'change'. 'Like two dogs caged' est une comparaison, comparant sa colère intense à celle d'animaux confinés.
Best believe somebody's payin' the Pied Piper All the pain inside amplified by the Fact that I can't get by with my nine-to-Five and I can't provide the right type of life for my family

➔ Ellipse ('best believe' - devrait être 'you best believe'), voix passive ('amplified by'), proposition relative ('that I can't get by...')

➔ 'Best believe' est un exemple d'ellipse, où les mots sont omis pour plus de concision et d'impact. La voix passive dans 'amplified by the fact' est utilisée pour souligner la douleur sur laquelle on agit, et non l'acteur. 'That I can't get by...' est une proposition relative qui modifie le mot 'fact'.