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

剛剛的北美之行，在演出之餘，當然也勾結了不少的當地的媒體。

#lgbtqInHongKong #CensorshipInChina #FreedomOfSpeech #LiberateHongKong #StandWithHongKong #CantoPop

//Anthony Wong’s Forbidden Colors

Out Hong Kong Canto-pop star brings his activism to US during his home’s protest crisis

BY MICHAEL LUONGO

From 1988’s “Forbidden Colors,” named for a 1953 novel by gay Japanese writer Yukio Mishima to this year’s “Is It A Crime?,” commemorating the 30th anniversary of the Tiananmen Square Massacre, Hong Kong Canto-pop star Anthony Wong Yiu-ming has combined music and activism over his long career. As Hong Kong explodes in revolt against Beijing’s tightening grip with the One Country, Two Systems policy ticking to its halfway point, Wong arrived stateside for a tour that included ’s Gramercy Theatre.

Gay City News caught up with 57-year-old Wong in the Upper West Side apartment of Hong Kong film director Evans Chan, a collaborator on several films. The director was hosting a gathering for Hong Kong diaspora fans, many from the New York For Hong Kong (NY4HK) solidarity movement.

The conversation covered Wong’s friendship with out actress, model, and singer Denise Ho Wan-see who co-founded the LGBTQ group Big Love Alliance with Wong and recently spoke to the US Congress; the late Leslie Cheung, perhaps Asia’s most famous LGBTQ celebrity; the threat of China’s rise in the global order; and the ongoing relationship among Canto-pop, the Cantonese language, and Hong Kong identity.

Wong felt it was important to point out that Hong Kong’s current struggle is one of many related to preserving democracy in the former British colony that was handed back to China in 1997. While not his own lyrics, Wong is known for singing “Raise the Umbrella” at public events and in Chan’s 2016 documentary “Raise the Umbrellas,” which examined the 2014 Occupy Central or Umbrella Movement, when Hong Kong citizens took over the central business district for nearly three months, paralyzing the city.

Wong told Gay City News, “I wanted to sing it on this tour because it was the fifth anniversary of the Umbrella Movement last week.”

He added, “For a long time after, nobody wanted to sing that song, because we all thought the Umbrella Movement was a failure. We all thought we were defeated.”

Still, he said, without previous movements “we wouldn’t have reached today,” adding, “Even more so than the Umbrella Movement, I still feel we feel more empowered than before.”

Hong Kong’s current protests came days after the 30th anniversary commemorations of the Tiananmen Square Massacre, known in China as the June 4th Incident. Hong Kong is the only place on Chinese soil where the Massacre can be publicly discussed and commemorated. Working with Tats Lau of his band Tat Ming Pair, Wong wrote the song “Is It A Crime?” to perform at Hong Kong’s annual Tiananmen commemoration. The song emphasizes how the right to remember the Massacre is increasingly fraught.

“I wanted our group to put out that song to commemorate that because to me Tiananmen Square was a big enlightenm­ent,” a warning of what the Beijing government will do to those who challenge it, he said, adding that during the June 4 Victoria Park vigil, “I really felt the energy and the power was coming back to the people. I really felt it, so when I was onstage to sing that song I really felt the energy. I knew that people would go onto the street in the following days.”

As the genre Canto-pop suggests, most of Wong’s work is in Cantonese, also known as Guangdonghua, the language of Guangdong province and Hong Kong. Mandarin, or Putonghua, is China’s national language. Wong feels Beijing’s goal is to eliminate Cantonese, even in Hong Kong.

“When you want to destroy a people, you destroy the language first, and the culture will disappear,” he said, adding that despite Cantonese being spoken by tens of millions of people, “we are being marginaliz­ed.”

Canto-pop and the Cantonese language are integral to Hong Kong’s identity; losing it is among the fears driving the protests.

“Our culture is being marginalized, more than five years ago I think I could feel it coming, I could see it coming,” Wong said. “That’s why in my music and in my concerts, I kept addressing this issue of Hong Kong being marginaliz­ed.”

This fight against the marginalization of identity has pervaded Wong’s work since his earliest days.

“People would find our music and our words, our lyrical content very apocalyptic,” he explained. “Most of our songs were about the last days of Hong Kong, because in 1984, they signed over the Sino-British declaration and that was the first time I realized I was going to lose Hong Kong.”

Clarifying identity is why Wong officially came out in 2012, after years of hints. He said his fans always knew but journalists hounded him to be direct.

“I sang a lot of songs about free love, about ambiguity and sexuality — even in the ‘80s,” he said, referring to 1988’s “Forbidden Colors.” “When we released that song as a single, people kept asking me questions.”

In 1989, he released the gender-fluid ballad “Forget He is She,” but with homosexuality still criminalized until 1991, he did not state his sexuality directly.

That changed in 2012, a politically active year that brought Hong Kongers out against a now-defunct plan to give Beijing tighter control over grade school curriculum. Raymond Chan Chi-chuen was elected to the Legislative Council, becoming the city’s first out gay legislator. In a concert, Wong used a play on the Chinese word “tongzhi,” which has an official meaning of comrade in the communist sense, but also homosexual in modern slang. By flashing the word about himself and simultaneously about an unpopular Hong Kong leader considered loyal to the Chinese Communist Party, he came out.

“The [2012] show is about identity about Hong Kong, because the whole city is losing its identity,” he said. “So I think I should be honest about it. It is not that I had been very dishonest about it, I thought I was honest enough.”

That same year he founded Big Love Alliance with Denise Ho, who also came out that year. The LGBTQ rights group organizes Hong Kong’s queer festival Pink Dot, which has its roots in Singapore’s LGBTQ movement. Given the current unrest, however, Pink Dot will not be held this year in Hong Kong.

As out celebrities using their star power to promote LGBTQ issues, Wong and Ho follow in the footsteps of fellow Hong Konger Leslie Cheung, the late actor and singer known for “Farewell My Concubine” (1993), “Happy Together” (1997), and other movies where he played gay or sexually ambiguous characters.

“He is like the biggest star in Hong Kong culture,” said Wong, adding he was not a close friend though the two collaborated on an album shortly before Cheung’s 2003 suicide.

Wong said that some might think he came to North America at an odd time, while his native city is literally burning. However, he wanted to help others connect to Hong Kong.

“My tool is still primarily my music, I still use my music to express myself, and part of my concern is about Hong Kong, about the world, and I didn’t want to cancel this tour in the midst of all this unrest,” he said. “In this trip I learned that I could encourage more people to keep an eye on what is going on in Hong Kong.”

Wong worries about the future of LGBTQ rights in Hong Kong, explaining, “We are trying to fight for the freedom for all Hong Kongers. If Hong Kongers don’t have freedom, the minorities won’t.”

That’s why he appreciates Taiwan’s marriage equality law and its leadership in Asia on LGBTQ rights.

“I am so happy that Taiwan has done that and they set a very good example in every way and not just in LGBT rights, but in democracy,” he said.

Wong was clear about his message to the US, warning “what is happening to Hong Kong won’t just happen to Hong Kongers, it will happen to the free world, the West, all those crackdowns, all those censorships, all those crackdowns on freedom of the press, all this crackdown will spread to the West.”

Wong’s music is banned in Mainland China because of his outspokenness against Beijing.

Like other recent notable Hong Kong visitors including activist Joshua Wong who testified before Congress with Ho, Wong is looking for the US to come to his city’s aid.

Wong tightened his body and his arms against himself, his most physically expressive moment throughout the hour and a half interview, and said, “Whoever wants to have a relationship with China, no matter what kind of relationship, a business relationship, an artistic relationship, or even in the academic world, they feel the pressure, they feel that they have to be quiet sometimes. So we all, we are all facing this situation, because China is so big they really want the free world to compromise.”

(These remarks came just weeks before China’s angry response to support for Hong Kong protesters voiced by the Houston Rockets’ general manager that could threaten significant investment in the National Basketball Association by that nation.)

Wong added, “America is the biggest democracy in the world, and they really have to use their influence to help Hong Kong. I hope they know this is not only a Hong Kong issue. This will become a global issue because China really wants to rule the world.”

Of that prospect, he said, “That’s very scary.”//

It's so easy to lose all the meaning of who you are
What is your definition of a true super star?
Is it beauty? Is it money? Is it power? Is it fame?
Are you in it for the glory? What's the purpose? What's the gain?

Everything you ever wanted got you tied up in chains
Be careful how you play the game 'Cause the same ones that chose you
are the same ones that own you,
Same thing that built you
is the same thing that kills you
Same ones that praise you
are the same ones that hate you

Funny how it all goes around.

If you lose your soul,
you'll lose it all
If you're at the top
then brace for the fall
Surrounded by faces,
no one to call

Funny how it all goes around

lyrics by Tori Kelly

------

Photo by JP Quindara

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….

《daydream》
Higher Ground
作詞 / Lyricist：Jamil Kazmi・aimerrhythm
作曲 / Composer：Taka
編曲 / Arranger：玉井健二・百田留衣
歌 / Singer：Aimer
翻譯：澄野（CH Music Channel）
意譯：CH（CH Music Channel）
English Translation: Toria

背景 / Background - いつかの夏 - Yayo :
https://www.pixiv.net/artworks/70041423

版權聲明:
本頻道不握有任何音樂所有權，亦無任何營利，一切僅為推廣用途。音樂所有權歸原始創作者所有。請支持正版。

Copyright Info:
Be aware this channel is for promotion purposes only without any illegal profit. All music's ownership belongs to the original creators.
Please support the original creator.

すべての権利は正当な所有者/作成者に帰属します。あなたがこの音楽（または画像）の作成者で、この動画に使用されたくない場合はメッセージまたはこのYoutubeチャンネルの概要のメールアドレスにご連絡ください。私はすぐに削除します。

如果你喜歡我的影片，不妨按下喜歡和訂閱，你的支持就是我創作的最大原動力！
If you like my videos, please click like and subscribe! Thx :)

粉絲團隨時獲得最新訊息！
Check my Facebook page for more information!
https://www.facebook.com/chschannel/

中文翻譯 / Chinese Translation :
https://home.gamer.com.tw/creationDetail.php?sn=4871038

英文翻譯 / English Translation :
https://www.lyrical-nonsense.com/lyrics/aimer/higher-ground/

日文歌詞 / Japanese Lyrics :
Here I am again
Wandering
What road will take me where

I'm not turning back
Not this time
How high can I go？
I'm not coming down
Don't know why, don't know why
Don't know what's begun

I will find my higher ground
So close I could touch a star
Oh so long, oh so long
So long left to go

Searching for my higher ground
If I fall, please catch me now
I know it's alright
Here with you
Here with you

Here I am again
Wandering
What road will take me where

戻れない夜や日々に
How high can I go？
すがれないなら
Don't know why, don't know why
Don't know what's begun

憧れとhigher ground
そこに意味はなくても
Oh so long, oh so long
So long left to go

手を伸ばした　higher ground
今は届かなくても
I know it's alright
Here with you
Here with you

I will find my higher ground
So close I could touch a star
Oh so long, oh so long
So long left to go

Searching for my higher ground
If I fall, please catch me now
I know it's alright
I know it's alright
Here with you
Here with you

Here I am again

中文歌詞 / Chinese Lyrics :
我又再次來到這裡
徘徊漫步
究竟這路途會引我至何處？

我不會回頭
這次絕不會回頭
這次能走到多高呢？
我不會輕易放棄
但我不知道、我不知道——
不知道這次路途又該從何著手？

我將探尋屬於我的夢想高地
能夠讓我觸碰近在咫尺的星斗
好遠啊、還是好遠啊
還有好遠的路途要走啊

尋覓屬於我的夢想高地
倘若我失足請你抓住我
我知道，沒事的
只要與你在一起——
一切都沒事的

我又再次來到這裡
毫無目的地徘徊漫步
究竟這路途會引我至何處？

於無法循返的日夜中
我又能走得多高呢？
要是無所依靠的話
我不知道、我不知道——
不知道這樣的路途該如何啟程

追尋種種憧憬與嚮往的夢想高地
即使沒有任何意義
但好遠啊、還是好遠啊
還有好遠的路途要走啊

伸出手嘗試觸碰夢想高地
即便現在伸出的手遠遠不及
我知道，沒事的
只要與你在一起的話——
一切都沒事的

我將探尋屬於我的夢想高地
能夠讓我觸碰近在咫尺的星斗
好遠啊、還是好遠啊
還有好遠的路途要走啊

尋覓屬於我的夢想高地
倘若我失足請你抓住我
我知道，沒事的
一切都沒事的
只要與你在一起——
一切都沒事的

我又再次來到這裡

英文歌詞 / English Lyrics :
Here I am again
Wandering
What road will take me where

I’m not turning back
Not this time
How high can I go?
I’m not coming down
Don’t know why, don’t know why
Don’t know what’s begun

I will find my higher ground
So close I could touch a star
Oh so long, oh so long
So long left to go

Searching for my higher ground
If I fall, please catch me now
I know it’s alright
Here with you
Here with you

Here I am again
Wandering
What road will take me where

How high can I go
On the nights and days I can’t return to?
If I don’t begin to fade
Don’t know why, don’t know why
Don’t know what’s begun

My yearnings, and higher ground
Even if there’s no meaning there
Oh so long, oh so long
So long left to go

Even if I won’t make it now
To the higher ground I reached out for
I know it’s alright
Here with you
Here with you

I will find my higher ground
So close I could touch a star
Oh so long, oh so long
So long left to go

Searching for my higher ground
If I fall, please catch me now
I know it’s alright
I know it’s alright
Here with you
Here with you

Here I am again

■DOWNLOAD / ダウンロード・サイト
iTunes USA: https://itunes.apple.com/us/album/monogatari-single/id1208289384
iTunes JAPAN： https://itunes.apple.com/jp/album/-/id1200699748?app=itunes&ign-mpt=uo%3D4
レコチョク： http://recochoku.jp/song/S1004203778/
Mora： http://mora.jp/package/43000005/VE3WA-17847/

■ストリーミング・サイト
Apple Music： https://itunes.apple.com/jp/album/-/id1200699748
LINE MUSIC： https://music.line.me/launch?target=track&item=mb00000000011f9e7b&subitem=mt000000000a725b90&cc=JP&from=tw
AWA： https://s.awa.fm/album/7d59a88092115790c641/?playtype=copy_album&t=1487084402

モノガタリ (Monogatari) Official Lyric Video
テラスハウス アロハ ステートで演奏した卒業ウクレレ ソング「モノガタリ(Monogatari)」が配信開始となります！ 皆さん是非チェックしてみてください！

"Monogatari" original lyrics & music by Eden Kai is his debut single release as a J-pop artist. "Monogatari" is a Japanese word meaning 'story' or 'legend' and is the "Terrace House Aloha State" graduation song.

LYRICS: (Japanese/English)
モノガタリ Monogatari
Story or Legend
🏝🏡
見上げたらそこには Looking up over there
ステキな家がありました There was a nice house
一歩踏み込んで I took a step forward
ドアを開けて Open the door
知らない顔が5つありました And there were 5 unfamiliar faces
"今からみんなと暮らすのか” って [mentality thinking] Imagining my new life with them
思いながら While thinking
外の景色を眺めてた I stared at the views outside
⚬
全然信じられなくて I had no faith in myself
毎回強がって I put on bravado
人に合わせ続けた I've always gotten along with everyone
それから見直して But after rethinking
何度も繰り返して And repeating and repeating
本当の自分になれたよ I've become my true self
⚬
見上げたらそこには Looking up over there
ステキなアートがありました There was nice art
瞳が綺麗で Her eyes were beautiful
笑顔が好きで I liked her smile
その想像力に見とれました That imagination [of hers] fascinated me
"今からその子を誘おうか" って [mentality thinking] "Are you going to ask her out now?"
思いながら While thinking
言いたいことを必死に考えてた I was desperately thinking about what I wanted to say
⚬
勇気を出して I Took courage
時間をかけて I Took time
同じ世界を見てみた To see the same world
それから見直して But after rethinking
何度も考えて Thinking over and over
正直になれたよ I have become honest
⚬
素直になって I have become myself
たくさん経験して And experienced more
同じ時間を過ごした We have shared the same moments
感謝がしたくて I want to thank you
ありがとうが言いたくて I want to tell you that
物語は続くよ My story still continues

Eden Kai: Main vocals, Backup vocals, Ukulele, Acoustic Guitar, Percussion
© 2017 Eden Kai LLC ASCAP All Rights Reserved.

With millions of fans around the world, Eden Kai has earned his reputation as being a ukulele and guitar virtuoso, a Pop/R&B vocalist, and an accomplished actor. While many were first introduced to Eden when he joined the cast of Netflix and Fuji Television’s Terrace House: Aloha State, the young star’s success had already been years in the making. He has since gone on to make additional appearances on Terrace House: Tokyo 2019-2020, appeared on Shiro to Kiiro on Amazon Prime and has performed at the Fuji Rock Festival (the largest outdoor music festival in Japan), Nisei Week Festival in Little Tokyo, OC Japan Fair and ANA Honolulu Music Week in Waikiki. Eden’s accomplishments have earned him interviews by NBC News and The Yomiuri Shinbun (the world’s most circulated newspaper).

His most recent album, Home Sweet Home, released in 2018 and was recorded in Tokyo, Japan, produced by his music label in Japan Victor Entertainment. Three tracks from that album were featured in episodes of Netflix Japan’s Terrace House during the show’s Opening New Doors and Tokyo 2019-2020 seasons. The series also featured Eden’s instrumental compositions of “Touch the Sky” and “Feel the Earth.” “Monogatari” was his debut pop vocal single, which he wrote and performed on the show. That music, as well as Eden’s past album releases, can be heard on all major streaming services and is available for purchase on Eden’s official website, www.EdenKai.com.

In addition to working on his own music, Eden has collaborated with some of the world’s top artists and producers, including EXILE and Dream. One of his compositions was used to create “Anuenue,” a hit J-Pop single recorded and released by Dance Earth Party, which landed at #11 on the Oricon Music Charts in Japan.

Eden also recognizes the importance of using his music to help others. He has hosted several ukulele workshops in Honolulu and Japan, been the featured performer at the Waikiki Spam Jam, benefiting the largest non-profit in Hawaii that feeds the needy, and the Hawaii Food and Wine Festival from which proceeds helped local children in the community.

***CLICK "SUBSCRIBE" NOW*** FOR THE NEWEST VIDEOS!!!
チャンネル登録、宜しく御願いします！

CONTACT（連絡）: imagine@edenkai.com

MERCH(グッズはこちらから) : http://edenkai.store

CAMEO (For personal video shoutouts ビデオメッセージをご希望の方はこちらまで）https://www.cameo.com/edenkai

Let's Connect!（SNSやってますー！）:

WEBSITE（WEBサイト）: https://edenkai.com/

INSTAGRAM（インスタ）: https://instagram.com/edenkai_official

TWITTER（ツイッター）: https://twitter.com/edenkaiofficial

FACEBOOK（フェイスブック）: https://www.facebook.com/EdenKaiOfficial

TIKTOK（ティックトック）@edenkai_official

Adam Levine - Lost Stars
https://www.youtube.com/watch?v=cL4uhaQ58Rk

Adam Levine | "Lost Stars" (Lyric Video) (2015 Best Song Oscar Nominee) | Interscope
https://www.youtube.com/watch?v=vyT-oGDnMqE

CAN A SONG SAVE YOUR LIFE? | Keira Knightley "Lost Stars"
https://www.youtube.com/watch?v=DnX7PtkRdjM

"Lost Stars" (Lyric)
Please don't see just a boy caught up in dreams and fantasies
Please see me reaching out for someone I can't see
Take my hand let's see where we wake up tomorrow
Best laid plans sometimes are just a one night stand
I'd be damned Cupid's demanding back his arrow
So let's get drunk on our tears and

God, tell us the reason youth is wasted on the young
It's hunting season and the lambs are on the run
Searching for meaning
But are we all lost stars, trying to light up the dark?

Who are we? Just a speck of dust within the galaxy?
Woe is me, if we're not careful turns into reality
Don't you dare let our best memories bring you sorrow
Yesterday I saw a lion kiss a deer
Turn the page maybe we'll find a brand new ending
Where we're dancing in our tears and

God, tell us the reason youth is wasted on the young
It's hunting season and the lambs are on the run
Searching for meaning
But are we all lost stars, trying to light up the dark?

I thought I saw you out there crying
I thought I heard you call my name
I thought I heard you out there crying
Just the same

God, give us the reason youth is wasted on the young
It's hunting season and this lamb is on the run
Searching for meaning
But are we all lost stars, trying to light up the dark?

I thought I saw you out there crying
I thought I heard you call my name
I thought I heard you out there crying

But are we all lost stars, trying to light up the dark?
But are we all lost stars, trying to light up the dark?



Read more: Adam Levine - Lost Stars Lyrics | MetroLyrics