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

Today's cover is an English version of "Sasanqua" by Japanese band SEKAI NO OWARI. In the language of flowers, a sasanqua camellia means "determination" and "overcoming difficulties." Enjoy :)

今日はSEKAI NO OWARIの「サザンカ」を英語で歌ってみました。
サザンカの花言葉は「困難に打ち克つ」と「ひたむきさ」みたいです。
とてもいいメッセージの曲ですね♪ Enjoy!

～♪～♪～♪～♪～♪～
歌詞／LYRICS
～♪～♪～♪～♪～♪～

There’s the sound of your shutting door
As you hole up again inside
A calendar marked to the brim
And your frustrated cries

You’ve always said you’d rather chase
Your dreams than run and hide
It’s not as scary as tossing them aside

When your effort isn’t paying off
And you start to doubt your worth
I know when you lash out at me
You’re taking out your hurt

You say if you were to give up now
It’d be such a waste
Of everything that you’ve been working for
As tears fall down your face

Dear little dream chaser
If you should stumble, just remember what they say
That the heroes of the best stories
Are always laughed at by everyone they overtake
And I don’t think that you’re the laughing kind
You’ll always be the hero in my eyes

You have fallen more than anyone
And you have cried more tears than most
You’ve gotten back up on your feet
More than anyone I know

And I have seen you for myself
In the moments when you shine
I’ve seen you running with all your heart
Toward the finish line

Dear little dream chaser
When you’re discouraged, don’t you give in to defeat
Just remember that the story goes on
As long as the hero is standing on his feet
So keep on standing up for what you believe

If you wonder why I’m crying
These are not sad tears, but tears of joy for you
For I’ve stood beside you all the way
And I’ve seen how hard you worked to make it through

夢を追う君へ
yume wo ou kimi e
思い出して　つまずいたなら
omoidashite tsumazuita nara
いつだって物語の
itsu datte monogatari no
主人公は笑われる方だ
shujinkou wa warawareru hou da
人を笑う方じゃない
hito wo waru hou ja nai
君ならきっと
kimi nara kitto

https://youtu.be/U9j5G_J7JPM

【玳瑚師父佛學論】 《佛在心頭坐》
The Buddha Sits In My Heart (English version below)

吾想吾的讀者粉絲們應該有看過由游本昌主演的《濟公》，這部電視劇的主題曲膾炙人口，裏面唱到： “酒肉穿腸過”，“佛祖在心頭坐”。

如何確定佛在你心頭坐？

你時時刻刻的起心動念，舉手投足都是在善的，都是在戒律中，沒有跟道德理念有沖突，沒有占人家便宜。

佛沒有喜歡或不喜歡。你看到你討厭的人，已經沒有起嗔念。你看所有的人都能把他們當成佛。

如果你沒有，你怎麽說心中有佛？心中有佛的人會謙虛。

你去參加公司的常年晚宴，因爲社交，而喝酒。你把酒喝下去，沒有讓酒煽動你的心。

你吃肉，能不把肉當成肉，你懂得持咒超度畜靈，你懂得供養，沒有貪口腹之欲。

如果你不能，你怎麽說酒肉穿腸過？

曾在吾根本上師蓮生活佛書中讀到：

在宋孝宗的時代，有位叫「戒闍黎」的大行者，祂的食量很大，聽說能吃三個豬頭、五斗酒。

有位汪平甫的太守，請戒闍黎來吃飯。

戒闍黎又是酒，又是肉，吃得不亦樂乎，果然食量大的驚人，廿人份的，一口氣全吃光，如同秋風掃落葉。

戒闍黎到了汪太守的後院，汪太守夫人偷偷瞧見，只見戒闍黎口中吐出酒箭，空中有鬼神接去。

又吐出肉，空中又有鬼神接去。

太守夫人告訴太守，汪太守十分驚駭，從此對這位戒闍黎，敬畏得五體投地，也皈依了戒闍黎。

擧此利説明，戒闍黎表面上喝酒吃肉，其實他根本沒有，真正是「酒肉穿腸過」。

（傳說中的戒闍黎是文殊菩薩的化身。）

你說佛在你心頭坐，請問：

你是皈依的佛弟子嗎？
你有日日參禪修法嗎？
你有日日研讀佛法嗎？
你有日日渡衆生嗎？
你有日日菩提精進嗎？

如果你沒有，請不要說你心中有佛因爲這是妄語。不要在佛菩薩面前裝無知，拿佛菩薩來妄語及誤導他人會自食其果。

酒肉穿腸過，佛在心頭坐，聼起來很簡單，三歲小孩雖懂但八十嵗老翁做不到。

--------------------

I am guessing most of my readers and fans would have seen the Chinese drama serial "Ji Gong", starring Chinese actor You Benchang. The popular theme song has lyrics going like this, "Wine & meat pass through the intestines", "The Buddha sits in my heart".

How can you be sure that the Buddha is in your heart?

In each moment of your life, every emotion and thought you have, every action you do, stems from kindness and is in accordance with the precepts. There is no conflict with the morals and ethics and there is no taking advantage of another sentient being.

The Buddha does not feel any affection or hatred. When you see someone you dislike, does hatred arise in you? Do you treat all other sentient beings, even the animals and ghosts, as Buddhas?

If you are not able to do so, how could you say that the Buddha resides in your heart? A person who truly has the Buddha in his heart practices humility.

When you attend your company's Dinner and Dance event, and consume alcohol for social reasons, the alcohol will not fan the flames and desires of your heart.

When you devour meat, you do not see it as meat. You possess the knowledge to deliver the spirit of the animal through mantra recitation. You know how to make an offering and no greed for food and alcohol arise in you.

If you cannot do all of the above, how could you say that "wine and meat only pass through the intestines"?

From a writing by my Root Guru, Living Buddha Lian Sheng, I read of this:

During the Song Dynasty, there lived a powerful spiritual cultivator by the name of Precept Master. He was known for his ferocious appetite and word had it that He could easily polish off 3 pigs and quaff 5 jars of wine.

Wang Ping Pu, a local governor, invited the Precept Master to his home for a meal.

The appetite of Precepts Master was indeed a sight to behold. He happily devoured meat and wine, enough to feed over 20 people, as speedily as the autumn winds sweeping away the fallen leaves.

After the meal, the Precept Master went to the backyard, with the wife of the governor secretly watching him by the side. She saw the Precept Master opened His mouth and arrows of meat and wine shot through the air, into the waiting arms of the spirits and gods!

She told the governor what she witnessed and from that moment onwards, he was in awe and veneration of the Precept Master and took refuge under Him.

This story tells us that even though the Precept Master was seen physically consuming the meat and wine, he was not. This is the true essence of "wine and meat only pass through the intestines".

Legend had it that this Precept Master is a manifestation of the Manjusri Bodhisattva.

You proclaim that the Buddha sits in your heart, but let me ask you:

Have you taken refuge in the Triple Gem?
Do you practice insightful meditation and cultivate everyday?
Do you study the Dharma deeply everyday?
Do you help other sentient beings by expounding the Dharma to them everyday?
Do you diligently strive towards Enlightenment everyday?

If you do not, please do not say that you have the Buddha in your heart because that is an outright lie. Do not act ignorant in front of the Buddhas and Bodhisattvas, as there is a heavy price to pay for sprouting untruth to Them and using Them to mislead others.

"Wine and meat only pass through the intestines, the Buddha sits in my heart". This verse is simple to the ears, simple for a 3-year-old to know but extremely challenging for a 80-year old man to fulfill.

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….

HOA HẢI ĐƯỜNG | JACK | ENGLISH COVER BY STEP UP
#Jack #HoaHaiDuong #J97
MV gốc tại: https://www.youtube.com/watch?v=Bhg-Gw953b0
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Original Version: JACK (J97)
English lyrics: Hoàng Đại
Vocalist: Thủy Dương
Editor & Cameraman: Phan Duy + Trường Giang
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Cùng tìm hiểu ngay về sách Ngữ Pháp mới ra lò của Step Up tại
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LYRICS
[VERSE 1]
There’s a galaxy that’s far in space
Can’t hold back the gems that fall off from my eyes
We all search for wealth then who would not?
Love has been unfair right from the start...

I feel bad for ourselves, ‘cause life feels just like hell
Is it fate that never be the same?
Who’s taking care of you? It’s something I can’t do...
I can’t climb as high as begonia

[Chorus 1:]
Because I love you so much that I’m missing you, I’ll wait for you
I swear if there’s a chance that we’d meet I would paint a home with you babe
But the fact that you’ve gone made me cry, I don’t know when are you back
Looking at yellow flowers that were burned into ash, love is gone

[Rap]
You went away, you took with you a blue case
A wounded heart that’s in pain, I want you to stay
We had just met, been together for not long
But everything changed, I’m right here but you are gone
I recall then it hurts, love is broken like a mirror
My mind’s getting blurred. In the dreams I wander, we’re not together
Though I thought it’s forever

[VERSE 2]
I feel bad for ourselves, ‘cause life feels just like hell
Is it fate that never be the same?
Who’s taking care of you? It’s something I can’t do...
I can’t climb as high as begonia

[Chorus 2:]
Because I love you so much that I’m missing you, I’ll wait for you
I swear if there’s a chance that we’d meet I would paint a home with you babe
But the fact that you’ve gone made me cry, I don’t know when are you back
Looking at yellow flowers that were burned into ash, love is gone

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Blast
99 God x Al Rocco

Spotify
► https://open.spotify.com/track/1t7xTvBhIGGazLc5VUgy8h?si=xM4Y4k6CTXOWCkNGkcKhig
网易云
► https://music.163.com/#/song?id=1487685739

99 God
► https://www.instagram.com/_99god_
► https://weibo.com/u/7190020074
► https://open.spotify.com/artist/1fSNmkI8lKMFVMU2Y4hpgi
► https://music.163.com/#/artist?id=31511662

Al Rocco
► https://www.alrocco.com
► https://www.instagram.com/alrocco
► https://www.weibo.com/alrocco
► https://open.spotify.com/artist/466bAN87QCwMSTBCCRzZ1v
► https://music.163.com/#/artist?id=12079186

99 God：
Taking a flick wit a pose like jit in a park put a Big paint on the wall
野孩子们在公园涂鸦
Baggy the pants all raw raw G-star we star bring it back Bieber fever
穿着松垮的Gstar裤子就像比伯当年那样
Tame one beast had to kill one beast Got em young boy scared all back it off
最快驯服一只野兽的方法是沙了他
Yeezy easy lets pray for yeezy don’t get too queasy
保佑侃爷
I mobbing the city in a CRV
开着辆老本田在城市里乱晃
Capture the views in the mind to sheets
捕捉不同的画面
Words to the lyrics man I proceed in a WAV to the world that’s what they need
一句简单的话变成歌词最后压缩成一条音频文件与世人分享
Utopia my mind stay piece trynna escape reality
思想是最宝贵的财富只有在那能找到平静
Back and I think through TBT Memories suck but good day cease
回想过去不堪的经历都是为了今天的成就

Al Rocco：
Don't be a bitch and say Wuhan
不要装b说武汉
Super sayen teen Gohan
超级赛亚人悟饭
Kamekameha with my one arm
我一手龟派气功
Found myself in this pain no lying
在困境中才能找到自己
Ima get my motherfucking mack down and wing Chun ya ass 
reincarnated Bruce Lee
我的武功咏春 投胎李小龙
Ima keep on doing what I do how I move when I move this shit ain’t no movie
This shit real life ain't no script
这是现实生活 没有剧本
Fuck with my chi Ima make that flip
升级我的气功
99 God with that Roc do it quick 
我和99走起
Ain't got no time to fuck with no bitch
没有时间浪费
Ain't got no love anymore for all these motherfuckers tryna take it all of my shit
没有爱给心里充满恨的人
Ima bust it down and put it down on the ground and make u eat all my shit
挑战我和你拼命
From the bottom of my core 
在我心里
I don't give a fuck anymore 
什么都无所谓
Got that Slim Shady flow
阿姆的态度
You bitches suck my dick
嗯哼
And wipe that shit clean 
给我擦干净
U already know
你已经明白
Fuck all these fake friends
太多假兄弟
Who was never your friend
在你面前虚情假意
They declaring War 
向你宣战
Got my middle fingers in the air
中指在空中
I don’t motherfucking care
无所畏惧
Rocco 99 God
我和99

99 God:
Park at it Rocco me the bomb better pack off
我和rocco来辽你们些弟弟可以靠边站了
Capiche
懂？
Pack off
角落里蹲着去
idiotic kids I made em mad as fk
一群小屁孩被我气的半死
Get the fk outta here ‘fore I press compel
趁还来得及赶紧走吧
Contagious Running like I’m Odell
我像obj一般的冲刺
Spread my shit like virus
病毒般流行
Elvis Presley
猫王
Taking off Shackle
挣脱枷锁
Aries，Can’t stop me
你们是无法阻止一个白羊座的
Boy y’all lame as hell
就凭你们？
Lame
渣渣
Temper tantrum All over the place Y’all need some manners
只会乱发脾气的先好好学学礼仪
Fee fi fo fum eligible ace I giving out amendment shit unpleasant
真要我给意见你们的玻璃心受不住的
Took my time on the craft me the best in the game make sure no one got question
在自己作品上的钻研是谁都办不到的
God be the guardian light me the path now who the fk can take my
上天都在帮我还有谁能挡我
I came up drop bless on the beat shit slap so hard keep blasting
我就是质量的保证

《RE: I AM EP》
星の消えた夜に / Hoshi no Kieta Yoru ni / 星光褪去的夜 / On Starless Nights
作詞 / Lyricist：aimerrhythm
作曲 / Composer：飛内将大
編曲 / Arranger：玉井健二、飛内将大
歌 / Singer：Aimer
翻譯：澄野（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation:Thaerin

背景 / Background - 家 - ゾン :
https://www.pixiv.net/artworks/77687099

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中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=4851673

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/hoshi-no-kieta-yoru-ni/

日文歌詞 / Japanese Lyrics :
多分　君は少し強がりで　いつも笑顔作ってばかり
泣きたいなら　無理しなくてもいい　すぐに泣けばいい

多分　君はとても優しくて　一人で抱え込むばかり
少し歩くのに疲れたら　荷物をおろせばいい

大丈夫だよ　大丈夫だから　大丈夫だよ　大丈夫だから

ほら　夜が更けるよ　ほら夜が更ける

星の消えた夜に　何を願うの?
遠くを見てる目には　何が映るの?
星が消えた空より隣を見てよ　気付いて
思い出？　それより確かなものがある　多分　そうなんだ

多分　君はとても繊細で　ほんとは全部知りたいけど
話したくないことだったら　話さなくてもいい

ただ私は傍に寄り添って　神様にはかなわなくても
何ができるかもわからない　でも何かしたいな

大丈夫だよ　大丈夫だから　大丈夫だよ　私も不安だよ

星の消えた夜に　何を祈るの?
遠くへ伸ばす手には　何を望むの?
星が消えた空より隣を見てよ　気付いて
神様？　それより確かなことがある　多分　そうなんだ

ほら　夜が更けるよ　ほら夜が更ける

星の消えた夜に　君を照らすよ
声をなくした夜も　歌を歌うよ
夢が覚めた夜でも　隣にいるよ　気付いて
気付いて　何より確かなことがある　これが　愛なんだ

ほら　夜が明けるよ　ほら夜が明ける

中文歌詞 / Chinese Lyrics :
看起來，你就像在故作堅強般，總是強顏歡笑
要是想哭的話，已經不須再逞強，盡情放聲大哭就好

看起來，你是多麼地溫柔，總是獨自一人承擔
倘若因疲憊而無法再邁進，只要放下肩上重負就好

沒事的、真的沒事。放心吧、已經沒事了

看呀，就要到午夜時分了，看呀大地襲上午夜的衣裳

在星光褪去的黑夜中，你許下了何種願望呢？
望向遠方的眼眸中，又倒映出了什麼？
與其看著失去明星的天空，倒不如探向身旁、察覺到吧
回憶？比起它有著更能使人確信的事物存在，大概，就是那樣吧

看起來，你是多麼地纖弱，雖然我想知道你的一切
但倘若不想說出來的話，就這樣留在心裡也好

我僅是在旁依附著你，即使終究敵不過上天
就連能為你做到什麼都不知道，卻仍想為你有所付出

沒事的、真的沒事。放心吧、我也與你一樣不安

在星光褪去的黑夜中，你許下了何種願望呢？
伸向遠方的手掌上，你又希望得到什麼呢？
與其看著失去明星的天空，倒不如探向身旁、察覺到吧
上天？比起祂有著更能使人確信的事物存在，大概，就是那樣吧

看呀，就要到午夜時分了，看呀，到來的夜色

即使是在星光褪去的黑夜中，仍會微微綻亮你的所在
即使是無聲寂寥的深夜中，仍會高聲歌唱
即使是夢醒的夜晚中，我也會在身旁，快注意到我吧
快察覺吧，比起萬物，有著更能使人確信的事物存在，這便是「愛」阿

看呀，就要到破曉時分了，看呀大地襲上陽光的衣裳

英文歌詞 / English Lyrics :
You’re probably trying to act a bit tough, always working up a smile,
But if you want to cry, you don’t need to force it; just let it out.

You’re probably terribly nice, taking it all upon yourself,
But if you’re getting tired after just a few steps, you should simply let down your baggage.

Everything’s fine… everything’ll be fine. Everything’s fine… everything’ll be fine.

Look, the night is coming… the night is coming.

What will you wish for on starless nights?
What’s reflected in your eyes focused far-off?
Rather than a sky without stars, look beside you… and notice…
Memories? There’s something much more certain than that…
… at least that’s what I believe.

You’re probably extremely delicate; the truth is I want to know everything about you,
But if it’s something you don’t want to talk about, you don’t have to try.

I just want to lay by your side, even if God won’t allow it.
I don’t know what I can do for you… but I want to do something.

Everything’s fine… everything’ll be fine. Everything’s fine… but really, I’m worried too…

What will you pray for on a starless night?
What is that hand stretched far off wishing for?
Rather than a sky without stars, look beside you… and notice…
God? There’s something much more certain than that…
… at least that’s what I believe.

Look, the night is coming… the night is coming.

I’ll shine upon you on starless nights,
And sing you a song on nights you lose your voice.
On nights you awake from dreams, I’ll be by your side, so notice,
Just notice… we’ve got something much more certain than anything else:
It’s love.

Look, the dawn is breaking… the dawn is breaking.