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

You lose your way, just take my hand, you're lost at sea, then I'll command your boat to me again, don't look too far, right where you are, that's where I am, I'm your man. ⚓️😌 #marinersapartmentcomplex #lyrics #12apostles

Ed Sheeran 的 Mashup終於完成了！呵呵..讓大家久等了不好意思^^~
再次恭喜IsAac Boo ，這首歌就送給你啦！希望你喜歡啦！
當然也謝謝大家那麼踴躍地參與這次的活動~
希望以後可以更多機會跟大家互動互動咯~

Finally done with Ed Sheeran's Mashup！ sorry for the delay hehe ~
This cover is specially for Isaac Boo, congratulations for winning this giveaway !! and I really hope you like it hahah ~
Once again thank you all for taking part in this giveaway ~
Really enjoyed interacting with you guys ~ Definitely more to come in the future!

Lyrics :

The club isn't the best place to find a lover
So the bar is where I go
Me and my friends at the table doing shots
Drinking fast and then we talk slow

And you come over and start up a conversation with just me
And trust me I'll give it a chance now
Take my hand, stop, put Van the Man on the jukebox
And then we start to dance

So honey now (you know i want your love)
Take me into your loving arms (boy lets not talk too much)
Kiss me under the light of a thousand stars ( ooh grab on my waist)
Place your head of my beating heart (although my heart is falling too )
Im thinking bout how

People fall in love in mysterious ways
Maybe just a touch of a hand
Well me I fall in love with you every single day
I just wana tell you I am

So baby now
Take me into you loving arms
Kiss me under the light of a thousand stars (ooh darling )
Place your head on my beating heart
Im thinking out loud

Maybe we found love right where we are

Music arrangement / Editing : Vivien Loh / eMMa
Video Editing : Vivien Loh
Videographer : Bella Chiu
............................................................................................................
Drop by and say Hi ^^
Youtube : https://www.youtube.com/watch?v=FZIM0sFrXVQ
Instagram : https://www.instagram.com/riseandshineviv/

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….

[Let's get lost forever....where there are no fires or plagues...
some place where we don't have to fight]

當一個公司合約結束時， 它就不知不覺地結束了。在自由身的那一天， 或許會回顧著過去九年的一切， 但也同時感覺不到太大的分別。 但當真的實在地推出了一首歌， 這感覺很真實， 真的感覺在未曾到達過的領域， 在固有的藍圖當中消失了。 但我很樂意， 很樂意終於能當一個成年人， 自己當自己的老闆、自己當自己的唱片公司、自己說的算。 以下我要感謝很多很多人， 包括這次合作的音樂製作和MV製作團隊、前公司的所有同事、Kendy、和所有歌迷粉絲， 讓我可以造就今天的自己。 感謝我新的版權公司 Warner Chappell， 和推廣團隊。

Sometimes when a label contract is over, it’s just over. But you don’t really feel the difference... but this feels so real, and feels like untapped territory. But I’m grateful for my friends - esp my music producer Terrence Ma and my MV director Irving Cheung and the entire production crew for going above and beyond for this song of mine I wrote with tears.

This is my first single since my departure from my old company, and hiatus of my duo. I wish to thank everyone I've ever worked with, past and present, who shaped me into who I am today.

Thanks to Connie Yau @ Spin Creative Designs, who designed my new company logo, and created an instagram filter to promote this song.
Thanks to Warner Chappell, my new publisher, who also went above and beyond for my distribution. Thanks to Jennings and Red Cat for helping me with promotions.

I owe a lot to the people who stuck by me and believed in me, the friends, fans, subscribers and followers, from Hong Kong and everywhere else, for welcoming me back into this journey as a soloist, for respecting my decisions to take a different path. I owe it to my supportive family. I may be forever searching, forever lost, but right now, I’m so glad and happy to be able to be my own label and my own boss, and I'm enjoying every bit of it. Thank you all so much.



Music & Lyrics Written by Robynn Yip
Produced & Arranged by T-Ma
Mixed by John Benedict Pereira,
Mastered by Randy Merrill at Sterling Sound


《Lost forever》

There’s nothing left to explain
Nothing else can contain
The can of worms opened and words spoken
My broken emotions remain

I take a trip down memory lane
Hoping it could ease the pain
I never wanted it so complicated
But it’s too much too late

It’s not like I got a plan no
It’s not like I got any control
Home is where the heart is
But if it’s broken there’s nowhere to go

Let’s get lost forever
Where no one knows our names
Let's disappear into thin air
Up in the clouds where we can breathe again

Let’s get lost forever
Above the skylines we’ll find
Some place where we don’t have to fight
Let’s get lost forever

So what if time fades the pain
Could we learn to love again
With all the souls shaken and bridges broken
Is it possible to mend

And I don’t care where we go
If I got your hand to hold
Our hearts will guide us home
Back to the places that we used to know

Let’s get lost forever
Where no one knows our names
Let's disappear into thin air
Up in the clouds where we can meet again

Let’s get lost forever
Above the skylines we’ll find
Some place where we don’t have to fight

If all I got is my faith to follow
All I got is a book of unknowns
Then let me take a moment to let go
If all we see are just color codes
But I’m just me and no one really knows
What our future holds

Let’s get lost together
Where there are no fires or plagues
If we could try to do it right again
Would you be there or would you run from me

Just get lost together
If only one day we’d find
Some way where we don’t have to fight
Some way where we don’t have to hide or get lost forever

Lost forever

Full Credits

Music & Lyrics by Robynn Yip
Produced & Arranged by T-Ma
Mixed by John Benedict Pereira
Mastered by Randy Merrill at Sterling Sound

CAST:
Girl- Suey Kwok
Boy- Jeffrey Ngai Tsun Sang
Mother- Tina Cheng Pui Na
Father- Clifford Tsang

Director/ @Irvingcheung 張蚊
Assistant Director/ Lok Tsz Hong
Scriptwriter/ Ng King Lung

Director of Photography/ Tam Wai Kai
Focus Puller/ Tai Yun Hong
Camera Assistants/
Yeung Hiu Tung
Man Ho
Yu Hau Ming
Ng Yu Tat

Gaffer/ Ko Wing Chai
Lighting crew/
Lee Kwan Wai
Wong Wei Tung
Man Chi Chun

Photographer/ Quist Tsang @quistography

Art Director/ Nononino @n_n_n_o
Assistant Art Director/ Rex Loong
Costume Designers/ Jeff Mui & jumbotsang
Makeup Artist/ Anitalomakeup @anitaaal0125
Hair Stylist/ GLORIA Lam

Production Manager/ Annie Lau
Unit Manager/ Lai Yiu Chung
Production Assistants/
Christiana Yeung
Chan Siu Lun

Post-production/ Glance Limited
Post-production Producer/ Philip Chan
Editor/ Lam Chi Hang
Colourist/ Li Man Lok
On-line/ Steven Cheung Chun Ho
Graphics & Subtitling/ Nononino @n_n_n_o

Artiste Management / Jennings Wong @RYE Music
Special Thanks / amanwithahat, Dionne Lee, JT, Nicky Ma

** Tải miễn phí ebook Hack Não Phương Pháp - bản đồ học tiếng Anh thông minh cho người mất gốc: http://bit.ly/ebookfree-hnpp

Cover & English Version by Step Up
Original Version: Jack & K-ICM
English lyrics: Hoang Dai
Vocalist: Thuy Duong
Cameraman: Phan Duy

Lyrics:
[Verse 1]

Who shared this love, who brought this love and the tears in my eyes
Who took you home, who made you so rich now far from me
You used to be a poor girl in my town
With flowers in your hair
But now you have changed so much ‘cause life goes on
You’ve gone away from me

[Chorus]
I keep coming back to when we met
Back to all those last words you had left me
Drowning in my own pain
Looking for the old days
Trying to retain the image of our love babe
No more hand in hand, we are too far
When you walked away my baby I cried
Flowers keep falling down
Leaves are withered right now
I wish you the best, see you in another life

[Post-chorus]
Sometimes, I recall, it makes my day feel so long
I will not blame you, the smell of your hair is so you

[Rap]
Sending you the color you had
On your lips, it's made of grass
Tears are soaking wet it's so sad
Because you’re desperate you’re turning your back
No more advice should be helping you now
Forget about love just to find a way how.
To make you rich however it turns out
You are the one that I feel bad about

[Verse 2]
Now you’re living your life
That man is by your side
He gave you what you like, oh you’re not mine it makes me cry
The dawn took you away
Things repeat day by day
Sun went behind the hill oh this is fate we’re born to break
One gloomy day you go back to your town
Your parents can’t hold tears
And so can’t you, you’re crying for yourself
Your beauty just can’t help

[Chorus]
I keep coming back to when we met
Back to all those last words you had left me
Drowning in my own pain
Looking for the old days
Trying to retain the image of our love babe
No more hand in hand, we are too far
When you walked away my baby I cried
Flowers keep falling down
Leaves are withered right now
I wish you the best, see you in another life

[Outro]
You’re living your life
That man's by your side
Gave you what you like, oh you’re not mine it makes me cry
The dawn took you away
Things repeat day by day
Sun went behind the hill oh this is fate we’re born to break
No more hand in hand, we are too far
When you walked away my baby I cried
Flowers keep falling down
Leaves are withered right now
I wish you the best, see you in another life


** Theo dõi website và fanpage của Step Up:
http://stepup.edu.vn
https://www.facebook.com/hacknao1500/
https://www.facebook.com/YeuLaiTuDauTiengAnh
https://www.facebook.com/stepupenglishcenter

** Hãy Chia sẻ và Đăng ký kênh của bọn mình để chờ đón những sản phẩm tiếp theo của bọn mình nha!
----------------------------------------------/-------------
© Bản quyền thuộc về Step Up English
© Copyright by Step Up English ☞ Do not Reup

#記得打開CC字幕
林宥嘉推出的最新單曲《少女》甜蜜破表
MV 的官方英文 CC 字幕就是我們翻校的喔 😉

這首表白神曲是林宥嘉作曲，並與黃偉文老師共同填詞的作品
甜得不要不要的，還請來愛妻丁文琪出演 MV，太閃了!!!

現在就在粉紅泡泡中輕鬆學一點英文吧：
🎈「少女」的歌名翻譯是 otomen，那是什麼意思？
🎈「這兩個星座適不適合？」英文怎麼說？
🎈「倒帶再發育」怎麼翻譯？

看完影片，你就知道這些英文說法囉！

❤️💛💚💙💜

Facebook 下載單字卡：https://www.facebook.com/bingobilingual/
Instagram 看 Bingo 私生活：https://instagram.com/bingobilingual_bb/

➡️ 金曲譯者的其他影片：
　
真實的自己最美 別輸給霸凌 | 蔡依林 玫瑰少年 歌詞翻譯及解析
https://youtu.be/lGG_BBFNsf0

絕美翻譯!! 郁可唯 路過人間 cover 用英文唱
https://youtu.be/VEKxfu-4C8g

不肯被掰彎?! ｜五月天 盛夏光年 解析及翻譯
https://youtu.be/rwfpPLAr_Ok

【少女】
中英歌詞

我想要買一間房子
I wanna buy a home for us
可能不需要車子
Might not need a car
最好生一兩個孩子
One or two kids would be great
來複製我們的樣子
They’ll look just like us
 
作為一個平凡的男子
I’m an ordinary man
我對童話的婚禮有點堅持
Insist on having a fairytale wedding
跟你才約會一次
Ever since that one date
人生從此沒其他大事
Nothing else matters in my life
 
Baby自從遇見你
Baby, ever since we met
我比你還要少女
I’ve become an otomen
偶像的位置 All my idols一夜間 全都換成
Were suddenly replaced
你和巧克力
By you and chocolate
為什麼永遠吃不膩
I just can’t quit you, babe
What have you done to me
What have you done to me
 
Baby 戀愛的男子 每一個都是少女Baby, every man in love is an otomen
每次見到你 
Every time I see you忍不住 超超超願意
I can’t help but say “I frigging do”
方圓百里 都懂我的心
No matter where I am, you can read my mind
 
浪漫的愛情再定義
Romantic love redefined
快樂回到三年級
As if going back to my happy childhood
自以為完整的身體
Thought I’m already a grown-up 
突然間倒帶再發育
But you make me a child again
 
魔羯巨蟹該不該一起
Should a Capricorn date a Cancer?
說不配的要道歉還來得及
For those who say no, it's not too late to apologize
我們不需要奇蹟
We don’t need any miracle
因為我是那麼適合你
Because I’m your Mr. Right
 
我只等你 回我同一句
All I need is you say ”Me too!”
 
Baby 做我的愛妻 
Baby, be my lovely wife
一百歲還是少女
100 years old, still my baby girl
有沒有勇氣 
Do you have the courage
從今後讓我照顧你
To let me take your hand?
此情不渝 永結同心
Always be together; happily ever after
再也不是 空洞的成語
These words won’t be clichés any longer
 
我想要買一間房子
I wanna buy a home for us
裡面住兩個少女
For us otome and otomen