ちいさな愛 ~i~

Lyrics Translation: kimi ga iru kara (君がいるから) ~ ayaka (絢香)

nobody@vox.com(crystalise) — Fri, 19 Sep 2008 10:00:11 +0800

Coming out of the long weekend last week where Hongkongers celebrate the Mid-Autumn Festival by consuming unquantifiable quantities of mooncake, I seem to have piled up quite a number of things that I hope to get through in the course of this segment. First off, let me wish my Australian cousin, and coincidentally Ai-chin as well, a VERY HAPPY BELATED BIRTHDAY!! (^___^") WOOHOO~! (Yes, I am over a week late, but this post was started a long while ago...)

Also, I should point out that my interpretations of Hikki's テイク 5 (take 5) have been updated as comments from Liz have pointed me towards further comments about the song by Hikki herself. The new interpretation may seem a little sombre, but I do feel that sadness is not one of the major themes that the song is trying to investigate. Nonetheless, I owe Liz a massive THANK YOU for pointing me in the right direction -- I do need to be set on the right path at times as many of my thoughts are personal interpretations informed by varying degrees of research, LOL. (^___^)

Continuing on in the world of J-pop, while YUI has announced that she's going on a short hiatus until 2009, Hikki and BoA now seem poised to strike the American market. Hikki's second assault is almost as good as confirmed while BoA's highly publicised first strike has left me wondering about those comments she made last year... Perhaps she's changed her mind... LOL (@__@) Finally, to further strengthen the offensive, it was also announced that Crystal Kay has clinched a deal to sing the main theme for the 2009 Hollywood film, Dolan's Cadillac. All this will certainly make for some interesting news in the coming months...

Before closing up this segment, I'd also like to bring up EvaDreaming's YouTube site as this post is to be published to the ayaka Vox group, LOL. Why? Well, because you could find a subbed version of ayaka's おかえり (okaeri) PV there. The site's main focus is subbed Jay Chou PVs though, so if you're a fan of Jay as well, then there is much to rejoice about as her site will certainly fill your hunger for the Taiwanese superstar, LOL! \(^ o ^)/

And finally, in saving the very most important bit for last, I am dedicating this translation to my one and only Buttercup -- because she really is always there for me. Together, we have certainly had our direful downs as well as unparalleled ups, and through it all -- even if the distance that separates us is longer than that of a jellyfish to a shooting star -- we have come through it all with our hands held and a love even stronger than the last.

Because of this then, allow me to dedicate this song to you -- a song that expresses the intense joy of love, regardless of the circumstances that may bind it.

Song information:

Listen to a sample of 君がいるから (~1:10 mins)

君がいるから (Sample, ~1:10 mins)

ayaka (絢香)

Audio disc presence:
Track 13 from ayaka's album, Sing to the Sky (Released 2008/06/25).

PV availability:
Unfortunately, there is no PV for this song... but boy does it deserve one! LOL

Theme song:
This song is not the theme to anything.

Alternative versions:
There are no alternative versions for this piece at the moment.

Comments:
WARNING!!! THIS SONG IS AN ABSOLUTE JOY NUKE!!! If you have no intention of getting obliterated by joy or do not wish to suffer its radiating effects, immediately shut down your computer and hide in a bunker for six months before coming back out again, LOL. (^___^) Otherwise, please feel free to stand in an open area and get ready to be knocked off your socks by ayaka's joy bomb! \(^ o ^)/

LOL, seriously though, this song screams of the joy of being in love even though it makes a point to highlight the pain that may be associated with it. Whoever said, "No one's worth crying for and those who are will never make you cry," likely didn't listen to ayaka, who notes in her comments on this song:

This is a song that is fitting of the blue sky and, in that way, it is a song that I always have an image of within me. I really want to share this with any girl in love: that pain and the fear of losing something important can develop even in love... Still, it could be said that these are simply parts of "falling in love". I really hope to perform this song live soon.

Without a doubt, I can't wait to hear her perform this song live as well since I've grown so very addicted to it! Hurry up and release a live DVD of your previous concert already!! (Yes, I'm getting most impatient! (^___^")) Nonetheless, there is one particular part of the song that I can't help but nod enthusiastically in agreement with: the part where she argues that wanting to protect another person is the most important aspect of love. Indeed, she goes on to say that although she does not completely understand it, she certainly feels it and in saying that she highlights the emotional side of love: the side that shuns the application of logic unto it.

It's quite a pity that, in a world that increasingly adheres to logical reasoning, the emotional aspects of love are often suppressed; and yet, love is ultimately an emotion, which is why new love tends to drive those that have fallen into it almost mad for each other. Because of this, it is important that we need to not only understand love but also acknowledge it as an emotional entity that can only become increasingly burdened when tested by the demands of reason. In many ways then, to know love is to know that knowing is not the answer to knowing love. (^___^")

So, in letting our hearts do the talking then, let us invite ayaka's vocals and music to drown out our faculties and inform our hearts with the emotional rush that is so inherent of pure love with this wonderfully wonderful wonder of 君がいるから, LOL.

Lyrics:
Japanese lyrics retrieved from www.uta-net.com, a site that is always by my side.

--------------------------------------
日本語:
君がいるから
--------------------------------------
歌手: 絢香
作詞: 絢香
作曲: 西尾芳彦・絢香
--------------------------------------
目覚めて　すぐ側に君の声
“おはよう”って寝起きの顔で　はじまる

どれだけ伝わってるんだろう?
君がいる。それが幸せって

愛することで傷ついて
強くなる　意味を知る
「君を守りたい」
一番大切なものは
考えて　わかるもんじゃない
感じるものが全て

強がり。あたしの悪い癖
なぜだろう　君の前では隠せない

どれだけ涙　流しただろう?
その度に　そっと抱きしめてくれるの

失うことを怖れては
愛せない　進まない
「君と居たいよ」
会えない時の寂しさは
愛を強く　感じさせる
そのための瞬間

幸せの種　広がる大地へなげてみよう
時間をかけて　いつか大空へ高く

あたしを呼ぶ君の声が
届いたら　強くなる
愛のメロディ
この声も体も全部
歌になって　伝えるわ
どうぞって迎えてね

愛することで傷ついて
強くなる　意味を知る
「君を守りたい」
一番大切なものは
考えて　わかるもんじゃない
感じるものが全て

君に会いに行こう

-------------------------------------------------------
romaji:
kimi ga iru kara
-------------------------------------------------------
kashyu: ayaka
sakushi: ayaka
sakkyoku: nishio yoshihiko・ayaka
romaji: crystalise
-------------------------------------------------------
mezamete   sugu soba ni kimi no koe
“ohayou” tte neoki no kao de   hajimaru

doredake tsutawatterun darou?
kimi ga iru. sore ga shiawase tte

aisuru koto de kizutsuite
tsuyoku naru   imi wo shiru
“kimi wo mamoritai”
ichiban taisetsu na mono wa
kangaete   wakaru mon janai
kanjiru mono ga subete

tsuyogari. atashi no warui kuse
naze darou   kimi no mae de wa kakusenai

doredake namida   nagashita darou?
sono tabi ni   sotto dakishimete kureru no

ushinau koto wo osorete wa
aisenai   susumanai
“kimi to itai yo”
aenai toki no samishisa wa
ai wo tsuyoku   kanji saseru
sono tame no shunkan

shiawase no tane   hirogaru daichi e nagete miyou
jikan wo kakete   itsuka oozora e takaku

atashi wo yobu kimi no koe ga
todoitara   tsuyoku naru
ai no merodi
kono koe mo karada mo zenbu
uta ni natte   tsutaeru wa
douzo tte mukaete ne

ai suru koto de kizutsuite
tsuyoku naru   imi wo shiru
“kimi wo mamoritai”
ichiban taisetsu na mono wa
kangaete   wakaru mon janai
kanjiru mono ga subete

kimi ni ai ni yukou

-------------------------------------------------------
English:
Because You are Here
-------------------------------------------------------
Performed by: ayaka
Lyricist: ayaka
Composer: Yoshihiko Nishio & ayaka
Translated by: crystalise
-------------------------------------------------------
Waking up: I hear your voice right by my side
“Mornin',” you say with that sleepy face of yours.

I wonder how much I’ve been able to convey these feelings I have for you,*
But you’re here with me – and that, to me, is what happiness is.

When love hurts
It makes us stronger, that much I know.
“I will take care of you,”**
I consider that to be the most important thing,
And though I may not understand it,
It is the feeling that overwhelms me completely.

Pretending to be strong: that’s a bad habit of mine,
But for some reason, I am unable to hide my weaknesses in front of you.

I wonder how many tears you've seen me cry,
Yet each time, how softly you would come to embrace me.

Being afraid of losing the most important things,
I was neither able to love nor advance.
“I just want to be with you,”
The loneliness that I feel when we do not see each other
Only strengthens my love for you,
And it is for this that I cherish these moments.

The seeds of happiness: let us cast them to the farthest reaches of the earth,
And together, let us nurture them so that they will someday grow to the heavens.***

Your voice calls out to me and,
In reaching me, gives me strength...
This is the sound of love’s melody.****
My voice and body too, all of it
Becomes song and rushes to say*****
Take me and be a part of my life always.

Even when love hurts
It serves only to make us stronger, that I can appreciate.
“I will take care of you,”
That is what I believe to be the most important thing,
And though I do not fully comprehend it,
That is the feeling that takes me completely...

And so, I set off to see you.

Notes:
*Note 1: In its simplicity, this is such a wonderfully sweet line. (^___^) I certainly wonder the same thing a lot too...

**Note 2: Literally, “I want to protect you.”

***Note 3: Literally, “Spending time together, someday, it will grow tall towards the big sky.” Alternatively, this entire stanza can also be read as “The seeds of happiness: I will cast them to the farthest reaches of the earth and in spending time at it, see that they will someday grow to the heavens.” Why does that matter? Because if this entire stanza is read in this alternative manner, it allows for a broader interpretation of who ayaka's lover is -- specifically, the song could be seen as a song for the sky if we view the stanza under the latter interpretation. (^___^)

****Note 4: Literally, “Love’s melody.”

*****Note 5: Literally, “Becomes a song and conveys.”

Links:
ayaka Official Website (maintained by Warner Music Japan)
Purchase Sing to the Sky online (via YesAsia Global)

Put Your Music on Love Support : ayaka

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CG Works: Solidarity

nobody@vox.com(crystalise) — Mon, 08 Sep 2008 11:15:54 +0800

LOL, this is some relatively random CG I decided to throw together with some rejected design proposals (i.e. the three penguins). Not really wanting them to disappear into the myriad of files on my computer, I decided that I might as well do something simple and send them off onto this blog... (^___^")

Solidarity

They were axed as a result of theme inconsistencies with my core design, which was mainly traditional Chinese calligraphy in its style. The problem was not so much how they looked but more that they were simply penguins. Chinese tradition doesn't really have any references to these fine birds that occupy the outer reaches of the Earth and so it didn't click well with the conceptual framework of the design. (^___^")

Nonetheless, there were reasons for their creation and the idea that I was originally hoping to impart through this image was that of solidarity and the family (the project is being undertaken for an institute that supports troubled families). As for the writing to the left, that came about while I was trying to think of what to do with the empty space to the left -- that was when my iPod took matters into its own hands and played ayaka's 手をつなごう to provide me with a suitable solution, LOL (^___^) (Yes, thank you まぁちゃん (and yes, my iPod has a name), I am ever indebted to your attentiveness to my every need, LOL)

Well, it's time to send my flightlessly-winged birds off to their new home in cyberspace: "Good luck and godspeed, my not-quite-feathered friends!" (What do penguins have? It's not feathers... is it?)

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Life: Hong Kong, the Suspiciously Suspicious-Smelling Seaport

nobody@vox.com(crystalise) — Wed, 27 Aug 2008 09:24:07 +0800

I've been pretty quiet in regards to the "life" side of things on my blog recently since there hasn't been much to update on it, LOL. Despite the passing of these seemingly uneventful days however, there has been something that's been getting to me about the sleepless city of Hong Kong. That "thing" is its population's overcharged sensitivity to smell.

Hong Kong's English name is derived from the Cantonese pronunciation of its Chinese name, 香港 (pronounced "xiang gang" in Mandarin but "heung gong" in Cantonese), which literally means "fragrant harbour". Of course, anyone who has recently visited Hong Kong knows that the "fragrant" part of its name has a very unique meaning since neglect has led to the city's waters becoming so polluted and pungent that the film crew of The Dark Knight cancelled the whole "jump into the harbour" scene for health and safety reasons.

The Harbour that Failed to Make the Cut

But it's not of an actual smell that I've grown weary off, I have gotten so used to that that I could almost call it the smell of home; no, the smell that I've started to find nauseating is the smell of social suspicion -- that is, the smell of distrust and motive that is borne from an exaggerated self-interest. In some ways, it is difficult to fault the population for its air of cynicism since it is arguably imposed on almost every aspect of the city's social interactions.

Indeed, the imposition of cynicism and suspicion can be viewed in the light of a rather common colloquial Hong Kong reaction to victims of fraud: 抵俾人呃 (dai bei yan ngak), which roughly translates to "deservingly cheated by others".[1] The interesting thing about the expression is neither its complete negation of sympathy towards the victim nor its applicability to almost any scenario though, the interesting bit is that the expression helps to justify the actions of perpetrators and facilitates the nullification of any wrongdoing on their part.

Understanding this twisted form of justice in Hong Kong, one can begin to unravel the reasons behind the spite that is shown to victims for something that may not actually be their fault. There is no shortage of bizarre cases in which clear victims have had their names dragged through the mud as perpetrators in the public discourse.

Take the case of ruined pop stars Gillian Chung (鍾欣桐, affectionately referred to as 阿嬌) and Edison Chen (陳冠希), for example. In that scandal, data thieves managed to steal and distribute private pictures of the two young stars engaging in, well, rigorous bedroom activities. This sparked intense public criticism of the young celebrities and also rallied public support for the thieves when they were finally apprehended. Many were convinced that the perpetrators were only doing the public a service by "exposing the truth about these individuals".

A more recent topic of chatter relating to suspicion is the paralogical proposal that Chinese champion hurdler, Liu Xiang (刘翔), faked his own injury during the Olympics to avoid competing with the world's best. Yet, the argument seems paralogical because it's based on several faulty assumptions, among which are that Liu is on a performance decline, Liu is afraid of being exposed as a loser, and people generally don't "suddenly" injure themselves on the track like that. Serious as these allegations may be, the problem remains that Liu has consistently proven himself on the field through the years leading to the Olympics.

In an environment where a victim could be "justifiably wronged" then, it seems only normal that an atmosphere of trust becomes an unconvincing proposition since it is safer to suspect ulterior motives in others. In suspecting others, one can find comfort in knowing that their superior intelligence and analytical talents will ensure that they are never the puppet and always the puppeteer. Inevitably though, every puppeteer needs a puppet -- and so perpetuates the city-wide game of charades as everyone tries to make out the underlying meaning behind everything that everyone does, including themselves.

An Air Over the City

That is to say, as much as everyone is second-guessing those around them, they are also extremely conscious of how others are second-guessing them, which leads them to be very careful with the way they are seen to do things. It's basically "impression management" put on overdrive. Some samples of this reasoning that I've been lucky enough to encounter include one of my friends having a suspicion that their colleagues are trying to sabotage their beautiful figure by asking them out to lunch everyday. Yet another incident features two colleagues who've become friends through work. When one of them wanted to introduce their sweetheart to the other, the response amounted to a perplexed: "Sorry, but what is the purpose behind that?"

Usually, in the course of human interaction, events such as colleagues asking each other out to lunch or introducing the people we love to our friends are believed to be normal forms of behaviour. Sadly, Hong Kong's extremely sharp sense of smell has no place for such innocent motives because everything always smells funny here: from the harbour to the people.

I have not escaped unscathed either, I hate myself for it but I am a lot more cynical about everything now than I was before. I still try to keep my head about me to spot the more outlandish claims, but it certainly isn't easy as I struggle to maintain hope that not everyone is out to get everyone else... But I know that not everyone is like that, and so long as I know that, I will always have hope. So, although I struggle to maintain my sense of the world's innocence, I know that I do not struggle in vain.

In the background, I hear the words of okaeri, 「自分のことばかりを考える大人はズルイんだと思っていたんです、でも必死で変えることを叫んでる人もいるんだとやっと知ったんです。」 So ayaka sings, and so I know.

Right, enough sulking, invoking the words of ayaka gives me an awesome opportunity to return to my LaLaLand of J-pop, LOL. Next up on the translation schedule, in case you haven't figured it out from the last translation post, is Miho Fukuhara's himawari. \(^ o ^)/

Well, time to make my way over to welcome the new students to their new educational home. I would have loved the event more if I didn't have to dress up for it, but I have no complaints, the students are my lifeblood and I am always excited to talk with them (mind you, when they see me next time, they'd probably fail to recognise me since my normal dress code falls in the category of "embarrassingly sloppy", LOL -- so much for impression management (^___^")). Right, gotta go, ciao!

[1] The pattern "抵俾人..." (deservingly ... by others) is used frequently in speech and the verb at the end is always interchangeable with a verb that would better fit the situation. For example, 抵俾人打 would translate to "deservingly assaulted by others". All of them similarly impact the victim by denying them sympathy for their plight and further chastising them based on hearsay or personal reasoning.

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Lyrics Translation: konya mo hoshi ni dakarete… (今夜も星に抱かれて…) ~ ayaka (絢香)

nobody@vox.com(crystalise) — Wed, 23 Jul 2008 15:25:27 +0800

Just a quick note, I've updated the previous translation post on Laugh away to reflect the fact that the song now has two PVs, hooray! \(^ o ^)/

Before I get into this post though, I should really note that this post features an extremely contextualised translation - so if you are hoping for a more literal interpretation, click here to jump to the user comments segment. I initially tried to strike a more balanced translation but found it exceedingly difficult to convey the beauty of the lyrics under that approach... So I took the lazy way out, LOL (^__^")

Nonetheless, I still don't feel that I have done any justice to the piece, though I can promise you I tried very hard to do so. Indeed, the song's lyrics were so powerful in Japanese that it led Sky Crawlers (スカイ・クロラ) director, Mamoru Oshii (押井守), to redo the ending credits so that he could better fit it to the song. This is a significant gesture because Oshii is known for his adamant refusal to use any musical work that was not tailor-made for his movies... but after listening to this, he seems to have decided otherwise. (^___^")

Anyhow, the summer is certainly making its presence felt these days as the heat has been torturous in Hong Kong. As I wake up each morning to face that pale and diluted blue sky, I scorn - the thought of how hot it is outside sends chills through my spine... and with the Olympics a mere few weeks away, I can't imagine what it'd be like for the horses and their jockeys as the city hosts the equestrian events.

Shooting Clouds Out of the Air

At a time when I am trying to find any possible shade I could, it's difficult to understand why the Chinese government would ever want to ensure cloudless skies by sniping the poor balls of fluff out of the air with their darned anti-aircraft guns...

As if stepping up their control of 1.3 billion people was not enough to ensure a "peaceful and harmonious" Olympics, Beijing has gone the extra mile to reign in control of the weather as well. (-___-") If you are interested in how the whole thing works, hop on to this USA Today article.

Still, the two months leading up to the Games have been somewhat hectic as the government finds itself clearing up pollution, algae and political commentators in anticipation of welcoming the world through its doors. Anyway, I've gone on enough about this; I just wanted to share my awe at the Chinese army's ability to shoot clouds out of the air... LOL (^___^")

So, getting back on track as we long for the future that will bring us the Olympics, let us move on to this jewel of a song (^___^)

Song information:

Listen to a sample of 今夜も星に抱かれて・・・ (~1:30 mins)

今夜も星に抱かれて・・・ (Sample, ~1:30 mins)

ayaka (絢香)

First appearance:
Track 15 from ayaka's album, Sing to the Sky (Released 2008/06/25).

PV availability:
This PV marks the first ayaka video that features no sign of her whatsoever... (@__@) In her stead, viewers will be treated to scenes from The Sky Crawlers; which could be a good thing or a bad thing depending on which you are a bigger fan of - clearly, I fall in the "not all too impressed" camp, LOL (^___^")

Theme song:
This song is the theme to the movie, スカイ・クロラ (also known as The Sky Crawlers).

Alternative versions:
There are no alternative versions at this moment.

Comments:
Listening to the first few lines of the song, ayaka's serenade certainly makes the ballad seem like nothing more than an ode to love, but it is not until the bridge of the song that the context of her words are truly revealed - the piece is not so much a song of love as it is a eulogy for someone she loves. In the booklet that came with the CD, her notes on this song go:

"In spending time with the people we love, a warm feeling is evoked from the touch of their skin. Though these occasions don’t seem particularly special, they are in fact irreplaceable moments. Sadly, we often get too used to a person and it is only when we lose them that we begin to realise this. In this way, the happiness that frames the moment of “now” is a happiness that we ourselves should strive to be grateful for with its every occurrence."

Of course, her notes were written in Japanese in the booklet, but I took the liberty of translating it in order to provide more context for understanding the song. The nice thing about the album is simply that ayaka takes time out to write notes on all the songs in the album and also explains why the album is titled, Sing to the Sky, LOL. I'll be translating these notes as I go through the songs in this album, so stay tuned as I work my way through it. (^___^")

Returning to the focus of this segment, despite noting that this song is more of a eulogy, it is really not about the loss but about the appreciation of the love left behind; not about sorrow and regret but about joy and gratitude; not a lamentation but a celebration. The song's message is not in the literal reading of its words but in understanding the concepts that it is implying through the lyrics, vocal expression as well as melody.

今夜も星に抱かれて・・・ is such an evocative piece that one requires no PV nor understanding of the lyrics to "see" what ayaka is singing of. Close your eyes as you listen and allow the simple yet beautiful melody to take you into a world where the night sky is filled with stars. Close your eyes and let ayaka's vocals guide you through a love that is at its warmest, most honest and most intense expression. Close your eyes and you will see what this piece is truly about.

After that, you probably won't even need to read the lyrics, but just in case you do want to reaffirm what you felt, feel free to scroll down to the next segment (you'll probably have to keep your eyes open though... (^___^")). Remember, this translation is highly contextualised - if you are looking for a more literal interpretation, click here to jump down to the user comments segment... (^___^)

Lyrics:
As always, Japanese lyrics are retrieved from www.uta-net.com.

--------------------------------------
日本語:
今夜も星に抱かれて・・・
--------------------------------------
歌手: 絢香
作詞: 絢香
作曲: 西尾芳彦・絢香
--------------------------------------
この世で一番心地よい場所　それはあなたの胸の中
胸に耳あて鼓動感じるの

What l need now is you
あなたのリズムで眠りそうになる
You made me what l am
このささやかな幸せが続くように…

あなたの愛をこの身に感じ　あたしも伝えるの
あなたの胸に抱かれ　あなたの匂いに包まれて

What l need now is you
これ以上の幸せなどないの
You made me what l am
あたしに不安などないの　あなたがそばにいるから…

５年たった今でも　ゆらゆらと陽炎のように
星になった君に触れることは　できないけれど
今夜も夢を見よう…

What l need now is you
Everyday Everynight l miss you
You made me what l am
Everyday Everynight Everything is you

そばにいるから

-------------------------------------------------------
romaji:
konya mo hoshi ni dakarete...
-------------------------------------------------------
kashyu: ayaka
sakushi: ayaka
sakkyoku: nishio yoshihiko・ayaka
romaji: crystalise
-------------------------------------------------------
kono yo de ichiban kokochiyoi basho   sore wa anata no mune no naka
mune ni mimiate kodou kanjiru no

What I need now is you
anata no rizumu de nemurisou ni naru
You made me what I am
kono sasayaka na shiawase ga tsudzuku you ni...

anata no ai wo kono mi ni kanji   atashi mo tsutaeru no
anata no mune ni dakare   anata no nioi ni tsutsumarete

What I need now is you
kore ijou no shiawase nado nai no
You made me what I am
atashi ni fuan nado nai no   anata ga soba ni iru kara...

gonen tatta ima de mo   yurayura to kagerou no you ni
hoshi ni natta kimi ni fureru koto wa   dekinai keredo
konya mo yume wo miyou...

What I need now is you
Everyday   Everynight   I miss you
You made me what I am
Everyday   Everynight   Everything is you

soba ni iru kara

-------------------------------------------------------
English:
Even Tonight, I am Nestled in the Stars...*
-------------------------------------------------------
Performed by: ayaka
Lyricist: ayaka
Composer: Yoshihiko Nishio & ayaka
Translated by: crystalise
-------------------------------------------------------
At your bosom, as I listen to the gentle throbbing of your heart
Through my earmuffs, I find my only solace in this world.

You are all that I need now
And in your comforting rhythm, I can find the safety of sleep.
It was you who made me what I am
And that is why a simple happiness flourishes in me still.

Held closely in your arms and enveloped tenderly in your perfume,
I feel your love within me as I reciprocate my feelings for you.

I need nothing more but you now,
As I know that there is no greater joy than this.
You were the one who made me what I am
And that is why nothing can trouble me, so long as you are with me.

...Five years from this day, my love for you will continue to burn...
And although I can’t snuggle up to that star you have become,
Even tonight, I could still dream...

All I need is you,
Everyday and every night... I miss you so.
I am who I am because of you,
My everyday, my every night, my everything... is you.

Because I know, unfailingly, that you are always by my side.

Notes:
*Note 1: This is the contextual version of the translation, if you are looking for the literal version - click here.

Links:
ayaka Official Website (maintained by Warner Music Japan)
Purchase Sing to the Sky online (via YesAsia Global)

Fuel Your Passion : ayaka

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CG Works: The LOVE SUPPORT Banners

nobody@vox.com(crystalise) — Sun, 29 Jun 2008 01:22:15 +0800

If you read any of my recent translation posts, you may have noticed that I've been putting up banners at the end of them. Hopefully, the message was clear from just glimpsing at them, LOL. (^___^") In general, there are two different sets of banners although both carry the same notion: music should be properly bought.

I was prompted to embark on this endeavour because of the increasingly errant arguments I've recently found myself getting into. Some of my friends don't quite understand why I would waste my money on original copies of games, movies, music and whatever it is that I wish to so have since all these things can readily be attained "for free". Indeed, it got even more confusing for them when they realised that I do download things... and that the things I download are the same things I buy... (^___^") So I guess I can't really blame them for finding my position a little odd, can I?

Nonetheless, arguments can seem somewhat unavoidable as my group and I do sit around talking about theoretical issues every now and then, so it's no surprise that we would launch into discourses on the false premises behind the concept of "copyright", the omni-capital might of corporations, and the propagation of the neoliberal agenda, amongst other things (yes, I really am as boring as I sound). But try as I might, I find it very hard to support their position on this issue.

Don't get me wrong though, I have no love for the entertainment industry's incessant chiming that "downloading is theft", nor do I have any respect for their heavy-handed tactics of taking individuals to court in what amounts to outright corporate bullying. No, it is not because I buy their arguments that I buy originals.

Rather, my commitment to purchasing these items is borne from the reasoning that I ultimately live in a meritocratic society, whether I like it or not. It must be stressed then that in a meritocratic society, people are asked to "vote with their wallets" - and when this becomes the primary means of communicating the public will, the purchase of music inevitably buys an artist credibility and legitimacy; however, it also means the converse is ever truer: not purchasing anything from an artist will effectively amount to a vote of no confidence.

Thus, it is for this reason that I have no qualms about forking out the money to buy my music, among other things. It is not in support of the capitalist machinery, but in support of the artist. Not for EMI, but for Hikki; not for avex, but for Ai-chin; not for Warner, but for ayaka; and certainly, not for Sony, but for YUI.

As mentioned, I'm not trying to say that downloading is a bad thing - in fact, I doubt J-pop could have grown so large without such facilitation but in the end of the day, there aren't many avenues with which I could show my appreciation for the impact their work has on my life; so, fortunately for me, one of these methods is hopping into a store and picking up that disc.

With that then, allow me to move on to address each of the two sets of banners and give a very brief description of what I was trying to convey with the words I used, LOL. (^___^")

The LOVE SUPPORT stream

You may have already figured this out, but "love support" is a play on the compound noun, "life support". The idea is simply to encourage people to support the things they love and, at a time when people seem to be buying less music, it serves as a reminder for us not to inadvertently pull the plug on our music.

The banners that have so far been created under this stream are,

Put Your Music on Love Support : Utada Hikaru

Put Your Music on Love Support : Ai Otsuka

Put Your Music on Love Support : ayaka

Put Your Music on Love Support : YUI

Put Your Music on Love Support : alan

Put Your Music on Love Support : Perfume

Put Your Music on Love Support : Miho Fukuhara

The PASSION stream

I have to admit that although it seems quite simple, I actually put quite a lot of thought into the words, "FUEL YOUR PASSION" - specifically thinking of each word, the direction of their meaning, rhythm, pronunciation and so on. The point of this stream is to raise awareness that we, as individuals, have a responsibility to sustain the things that we truly feel about.

The banners created to date in this stream are,

Fuel Your Passion : Utada Hikaru

Fuel Your Passion : Ai Otsuka

Fuel Your Passion : ayaka

Fuel Your Passion : YUI

Fuel Your Passion : alan

Fuel Your Passion : Perfume

Fuel Your Passion : Miho Fukuhara

Out of Steam

Well, I've run out of steam, so I guess it's time to bring this post to its conclusion. Check back in a day or so as a translation post follows shortly on the heels of this post! LOL (^___^")

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Lyrics Translation: okaeri (おかえり) ~ ayaka (絢香)

nobody@vox.com(crystalise) — Fri, 06 Jun 2008 01:59:19 +0800

Hopefully, I'll be able to update this blog a little more frequently in the coming weeks to bring it closer up to speed with where I want it... Right now though, I'll have to play quite a bit of catch up in terms of translations, LOL.

Before I begin though, allow me to handle some matters of housekeeping as I note corrections and updates to previous posts. The first correction is for a relatively silly blunder at the end of the first segment in the last translation post, Fight The Blues. The second correction is a little more important as it was a correction of the translation to 恋愛写真 (renai shashin). That error was an honest mistake since I did believe that the word I translated really meant what it meant until I later learnt that I was only "almost right" but not quite "completely correct", LOL. (^__^")

Finally, I have updated the posts on 三日月 (mikadzuki) and 手をつなごう (te wo tsunagou) to reflect the fact that they now have alternative versions courtesy of ayaka's newer singles. I should have updated mikadzuki earlier since the live version was released in her previous single but I couldn't muster enough time to do so... Anyhow, with that out of the way, let's get back to discussing ayaka's latest offering - the very heart-warming piece, おかえり (okaeri).

I do have to admit that I really love this song because of the wonderful message it resonates. Indeed, my heart melted completely when the sound of bagpipes filled the air perhaps because I have always attributed the hymn of the bagpipe to the feeling of home. In a song that brings us closer to ayaka, the girl at 20, instead of ayaka, the artist at 20, we are invited to share in her most intimate thoughts as the lyrics unveil an open love letter to her most prized possession: her family.

Still, ayaka always amazes me with her writing and, although I didn't understand it in the right context at first, when I finally realised what she meant in "当たり前の幸せなんかこの世界に一つもない" ("There is no such thing as a normal happiness in this world") the floodgates of my heart opened as I am reminded of how blessed I truly am.

Well, since I am already beginning to talk about the contents of the song itself, perhaps it's time for me to don my rocket sneakers and blast off to the next segment to continue my chatter, LOL. (^__^")

Song information:

Listen to a sample of おかえり (~1:40 mins)

おかえり (Sample, ~1:40 mins)

ayaka (絢香)

First appearance:
Track 1 from ayaka's single, おかえり (Released 2008/05/14).

PV availability:
A PV exists for this song and it features ayaka singing along the harbour. This is interlaced with segments that show soap bubbles floating home amidst snippets of everyday scenes (these segments are a lot more meaningful than they appear after one analyses the lyrics). There is also a scene after the song's bridge of ayaka standing in a sun-tinged waterfront that allows the unconventional beauty that defines her to shine through. Finally, and this may be reading too far into the PV, there is a lamppost that appears at the beginning and the end that is reminiscent of the second mikadzuki PV, which actually serves to deepen the concept of a return home if this connection is true.* Nonetheless, the PV is certainly worth checking out as it does very well to convey that warm fuzzy feeling of home sweet home.

*To understand how mikadzuki could relate to the concept of "home" for ayaka, it may help to check out the translation post here. The history of the song as well as its contents link up very well to that of okaeri and in fact, it added a twist to my understanding of mikadzuki's lyrics. Finally, if you were to watch the second mikadzuki PV again, you would realise that there were scenes related to the concept of "home" there as well... (^__^")

Theme song:
This song is used as the theme to the drama, 絶対彼氏 ("zettai kareshi"; trans. "the absolute boyfriend").

Alternative versions:
There are no alternative versions of the song as of now but a live version may emerge in later singles, LOL. (^__^)

Comments:
The beauty of okaeri lies in the intimacy of the thoughts that are set into the lyrics as the song reads much like a confession of love to her family while each verse introduces a separate reflection on the elements that inspire her to live each day. Nonetheless, there is one sentiment from the song that I would like to highlight because of how often it is forgotten despite how much we may be reminded of it - that the ordinary is always extraordinary.

That sentiment is elevated beyond its common understanding in the line, "There is no such thing as a normal happiness in this world," as it pinpoints how that particular emotion is usually taken for granted by those who are lucky enough to experience it. Indeed, in this line, ayaka points out that happiness is always a very special feeling no matter how normal it may seem because the feeling of happiness is always a blessing. This draws out the extraordinary from what is sometimes considered ordinary to reveal how fortunate we are to be touched by the warmth of an "ordinary" happiness.

Apart from this, each verse carries its own weight in expressing the thoughts of ayaka, which certainly makes it very rich in regards to the themes that could be derived from it. Overall, the music supports her vocals very well and the tune of the bagpipes certainly accentuates that feeling of "home" ever further. In the end, it needs to be said that ayaka's masterful adjustment of her vocals to concord with the softness and strength of the music and lyrics does nothing short of painting the most wonderfully vivid display of affection for her family.

Once again, ayaka does not fail to impress; and once again, it's time to move on to the most important part of the post - the translation segment, LOL. (^___^)

Lyrics:
Japanese lyrics are retrieved from www.uta-net.com as always.

--------------------------------------
日本語:
おかえり
--------------------------------------
歌手: 絢香
作詞: 絢香
作曲: 西尾芳彦・絢香
--------------------------------------
おかえり　sweet home
帰る場所　愛をありがとう

また平気なフリをして
悲しみの色を塗りつぶして　笑ってしまうんです
信じることの大切さ　わかってるのに
いざという時　疑ってしまうんです

空っぽの体　流れる時に
浮いてしまいそうになるけど
あなたのこと　抱きしめたい
このキモチが突き動かすの

おかえり　I'm home
一言で満たされる心
おかえり　sweet home
帰る場所　愛をありがとう
sweet home

自分のことばかりを考える大人はズルイんだと
思っていたんです
でも必死で変えることを
叫んでる人もいるんだと　やっと知ったんです

当り前の幸せなんか　この世界に一つもない
あなたのため　そう思えた
このキモチが突き動かすの

おかえり　I'm home
スピードが加速してく毎日
おかえり　sweet home
変わらない　ずっとある景色
sweet home

探して　なくした
心の傷が
立ち向かう　強さに変われたのは
「おかえり」があったから

おかえり　I'm home
一言で満たされる心
おかえり　sweet home
帰る場所　愛をありがとう
sweet home

おかえり　I'm home
大丈夫　あなたがいるから
おかえり　sweet home
待っててね　もうすぐ着くから
sweet home

-------------------------------------------------------
romaji:
okaeri
-------------------------------------------------------
kashyu: ayaka
sakushi: ayaka
sakkyoku: nishio yoshihiko・ayaka
romaji: crystalise
-------------------------------------------------------
okaeri   sweet home
kaeru basho   ai wo arigatou

mata heiki na furi wo shite
kanashimi no iro wo nuri tsubushite   waratte shimaun desu
shinjiru koto no taisetsu sa   wakatteru no ni
iza to iu toki   utagatte shimaun desu

karappo no karada   nagareru toki ni
uite shimaisou ni naru kedo
anata no koto   dakishimetai
kono kimochi ga tsuki ugokasu no

okaeri   I’m home
hitokoto de mitasareru kokoro
okaeri   sweet home
kaeru basho   ai wo arigatou
sweet home

jibun no koto bakari wo kangaeru otona wa zuruin da to
omotte itan desu
demo hisshi de kaeru koto wo
sakenderu hito mo irun da to   yatto shittan desu

atari mae no shiawase nanka   kono sekai ni hitotsu mo nai
anata no tame   sou omoeta
kono kimochi ga tsuki ugokasu no

okaeri   I’m home
supiido ga kasoku shiteku mainichi
okaeri   sweet home
kawaranai   zutto aru keshiki
sweet home

sagashite   nakushita
kokoro no kizu ga
tachi mukau   tsuyosa ni kawareta no wa
“okaeri” ga atta kara

okaeri   I’m home
hitokoto de mitasareru kokoro
okaeri sweet home
kaeru basho   ai wo arigatou
sweet home

okaeri   I’m home
daijoubu   anata ga iru kara
okaeri   sweet home
mattete ne   mou sugu tsuku kara
sweet home

-------------------------------------------------------
English:
Welcome Home
-------------------------------------------------------
Performed by: ayaka
Lyricist: ayaka
Composer: Yoshihiko Nishio & ayaka
Translated by: crystalise
-------------------------------------------------------
On the way to my sweet home, I can already hear the words, “You’re home!”*
I am returning to the place that gave me the love that I am so thankful for.**

Blotting out my sadness and painting a smile on my face,
I pretend as if everything is alright.
I admit that although I can understand the importance of belief,
It is in the most critical of moments that I doubt myself.

And though this empty body of mine seems to
Almost float through the passage of time,
There is this feeling that always carries me forward:
The feeling of longing to hold you in my arms.

Before I could even say, “I’m home!” I could already hear, “You’re back!”***
Those very words are enough to cause my heart to brim over.****
Returning to my sweet home, I could already hear the words, “You’re home!”
I am returning to the place that blessed me with a love that I am forever grateful for:
My sweet home.

I truly believe that those
Who only keep their own interests at heart are characters of deceit;
But I also know that there are those
Who are desperately crying out for change.

Because of you, I have come to appreciate that
There is no such thing as an ordinary happiness in this world...
And it is this knowledge that continues to drive me forward.

Before I could even call out, “I’m home!” I can already hear, “You’re back!”
In this continued acceleration of everyday life...
I could hear the words, “You’re home!” echoing from my sweet home,
And therein lays a scene that remains eternally unchanging,
There in my sweet home.

Having searched and having lost,
There are emotional wounds that I have to face.
It was in the power of those simple words
That I drew my strength: the words, “You’re home.”

Already I can hear them say, “You’re back!” Before I could enter, “I’m home!”
Indeed, their words are more than enough to fill my heart over.
Returning to the sweetness of home, I can already hear, “You’re home!”
I’m heading back to the place where I owe my debt of gratitude for the love it bestowed upon me:
My sweet home.

I can already hear the words, “You’re home!” As I dream of replying, “I’m home!”
Everything is truly alright now because you are there.
On my way home, I could already hear the words, “You’re back!”
Wait for me, I’ll be soon arriving,
My sweet, sweet home.

Notes:
*Note 1: Literally, “Welcome home, sweet home.” When literally translated it actually makes no sense... which is why quite a number of words were added to make it more comprehensible in English.

**Note 2: Literally, “To this place I am returning, thank you for all your love.”

***Note 3: Literally, “Welcome home, I’m home.” This verse really caused me to mix up my “okaeri” and “tadaima” since I somehow ended up taking “okaeri” to mean “I’m home” after hearing this verse enough. I have a habit for interchanging between languages in mid-sentence or repeating the same thing in different languages when it’s short (for example, “itadakimasu, let’s eat!”), so by hearing “okaeri, I’m home” enough, my brain somehow managed to confuse the meaning of “okaeri”... so yea...

****Note 4: Literally, “That one word overflows my heart.” But as you noticed, although the Japanese have one word for “welcome home”, two words are required for the English language.

Links:
ayaka Official Website (maintained by Warner Music Japan)
Purchase おかえり online (via YesAsia Global)

Put Your Music on Love Support : ayaka

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Lyrics Translation: te wo tsunagou (手をつなごう) ~ ayaka (絢香)

nobody@vox.com(crystalise) — Wed, 26 Mar 2008 18:01:38 +0800

I cried watching the PV, I cried listening to the single, I cried reading the lyrics, and I certainly cried translating this beautiful ballad... But it wasn't because of any heartache that this translation post was delayed, it was more the headache from the flood of work that came in two and a half weeks ago.

Nonetheless, this song still occasionally induces tears because its lyrics are just so touching and meaningful to me. I must say that I do become sentimental quite easily and am very prone to sniffling. Nonetheless, I had mentioned before that I really enjoy ayaka's work because she seems to always capture and express my thoughts, feelings and experiences like no other artist (as in the case of 三日月, for example).

手をつなごう is no different in this respect and triggers my memories of the time when I left home for the great Canadian unknown. The beauty of this song lies not in taking my perspective however, its beauty lies in taking the perspective of those I left. Certainly, it was in understanding these words through my mother's eyes that I truly related to the wealth of emotion crafted into this piece.

It was in taking that view that many lines in the song struck me very hard since they reminded me of the times when I chose to "be strong" as I ventured off. It's no exaggeration to say that I still have certain regrets about the way I conducted myself then in order to convey "strength". I was young and, for lack of a better expression, just plain stupid (that's not to say that I am any smarter now though...). I was silly enough to confuse apathy for strength and, as a result, acted in equally silly ways to display my affection.

Through this translation however, I feel that I could now allow these regrets to transcend the realm of raw emotion. In translating this song, I have found a vehicle to transport the joyless regret from the intangible mechanisms of my heart to the tangible surfaces that my words shape. But in doing so, I do not hope to banish these feelings into a stone prison of writing, rather I hope to preserve them as words set in this tablet of virtual stone.

With this release then, let us move forward to discover the beauty in 手をつなごう - a masterpiece that will continue to help me fight the blues of life.

Song information:

Listen to a sample of 手をつなごう (~1:50 mins)

手をつなごう (Sample, ~1:50 mins)

ayaka (絢香)

First appearance:
Track 1 from ayaka's single, 手をつなごう/愛を歌おう (Released 2008/03/05).

PV availability:
There is a wonderfully touching PV for this song that features a segment where the instruments stand mute while ayaka sings to the wind's chorus. The PV primarily reflects the message in the song by capturing scenes from the lives of individuals living in the more rural areas of Japan. While adding another dimension to understanding the song, the video also featured a myriad of heart-warming moments that definitely makes it worth checking out.

Theme song:
This song is used as the theme to the movie, 映画ドラえものび太と緑の巨人伝 ("eiga doraemon nobita to midori no kyojinden"; trans: "Movie: Doraemon - Nobita and the Green Giant Legend").

Alternative versions:
1. 手をつなごう <2007/12/20 日本武道館 Live ver.> (Released with the single おかえり on 2008/05/14)
Apart from the extended introduction and a different instrumental arrangement, this version of the song is simply a live version that stands testament to the beauty of ayaka's voice. Indeed, there is no place where this is more evident than at the very end of the song when the songstress joins in on the background vocals; it is there that one realises how much of a difference ayaka makes in conveying the emotional depth that defines the song. Overall, I really enjoyed this version of the song since, if nothing else, it was outstanding in highlighting the quality of ayaka's vocals.

Comments:
手をつなごう is about us facing the future but is written from the perspective of those that surround us. The lyrics actually work on two levels throughout the song: the first level being that of the personal self and the second level being about the people dearest to the self. ayaka sets out to reveal the dual-levelled nature of the song in the first verse by writing "人" in the lyrics but singing "君" in the music. This effectively frames it as a piece about everyone while simultaneously limiting it to be about only one person: you.

The ability to write one thing and read another is a commonly used linguistic trait in the Japanese language that expands on a certain concept by attributing more meanings to it. It should be noted that this usage is usually clarified by the use of furigana, but ayaka tends not to include it... LOL... (^___^") In utilising the language this way, the song becomes very personal as the words shift from a song about people in general to a song about the thoughts of those that are dearest to us. Understandably, we cannot truly know the feelings that others feel for us but, through her writing, ayaka attempts to provide us with this insight by proxy.

Knowing this is only the beginning of grasping the many messages in this song however; because from here, one realises that the lyrics cover a large and varied spectrum of motifs. Unfortunately, going through all the ideas from this piece will stretch this segment to make it unreasonably long. In this way, I intend to only discuss the two concepts that jumped out most at me from the lyrics...

Starting with the first noteworthy notion that is the acknowledgement that being able to hear this song places us among the ones that are "living in a continuing dream". That is to say, no matter how difficult life may seem, we are still living a relative good life that others may consider but a "dream". Indeed, there is another level to this line which is that simply being able to live is itself a dream and that is why although the future may seem frightening, we can still confidently take the step forward.

Indeed, the final blog post of Major Andrew Olmsted, posted posthumously, explicates the meaning of this line in such a vivid and substantive manner that I would recommend its reading to anyone interested. I should make it clear that I mean no offence by linking it from here under this context; it just appeared congruent to relate his post with the topic at hand. His post had moved me to tears and certainly, the world has lost another beautiful mind in his passing... but knowing him from his post, it seems that he will rest well in the simple assurance that life goes on for the world...

Somewhat related to the first theme, the second concept in the song is that of growth, especially the growth of those we love. Certainly, while we often think about how we are growing as individuals, we tend to also somehow assume that things will stay the same for those we are closest to. Many of my friends have commented on how others around them and the world in general has changed after their university years. There are also some that have continued to cling on to their old allegiances in an attempt to fondly remember the days when life was that much simpler.

But as ayaka demonstrates, the reason for change is not that people change; instead, change comes about because everybody grows. In terms of people, "change" is probably an inaccurate term to use because it does not recognise life's progression and implies instead that someone had simply swapped one face for another.

Surely then, people do not go through life "changing", they go through it "growing" and part of that growth is experiencing the evolution of one's life circumstances. Differential experiences inform the way we all grow and this is why by being a part of the lives of those we love, our actions and thoughts have bearings on their actions and thoughts as well. Indeed, throughout this song, ayaka sets out to show that growth is not a personal experience but a shared one instead; and ultimately revealing how we are all intertwined with our communities and why relationships require our constant attention.

In closing, ayaka's powerful and emotional vocalisation of the music and lyrics breathe life into her words as the soothing acoustics convey a comfortable melody that envelops the listener in a warmth that is passed down through the ages. Alas, spring has arrived in the gentle melody emanating from 手をつなごう.

Lyrics:
As always, Japanese lyrics are retrieved from www.uta-net.com.

--------------------------------------
日本語:
手をつなごう
--------------------------------------
歌手: 絢香
作詞: 絢香
作曲: 西尾芳彦・絢香
--------------------------------------
耳を澄ませば　聞こえる
笑い声や涙音
みんな生きてる　愛する人と

広い海を渡るには　1人じゃ迷ってしまう
一緒に行こう　光差す方へ

ぶつかっては　また抱き合って“弱さ”わけあってく

永遠ってコトバ　あるのかな？
未来を想うと　怖くなるけど
ずっと　ずっと　続く夢があるから…
手をつなごう

心が叫んでいるのに
君は見て見ぬフリをして
前だけ向いて　歩いていくよ

写真の中　笑う君“今を描けていた？”

伝えるってことは　難しいね
声を枯らしても　届かなくて
ずっと　ずっと　叫び続ける日もあるけど…

“想い”重なり花開く時
巨大な力が　生まれるから

永遠ってコトバ　あるのかな？
未来を想うと　怖くなるけど
ずっと　ずっと　続く夢があるから…きっと

この空飛べたら　会えるかな？
泣いてた自分と君に送るよ
ずっと　ずっと　信じていれば　叶うから
手をつなごう

-------------------------------------------------------
romaji:
te wo tsunagou
-------------------------------------------------------
kashyu: ayaka
sakushi: ayaka
sakkyoku: nishio yoshihiko・ayaka
romaji: crystalise
-------------------------------------------------------
mimi wo sumaseba   kikoeru
warai koe ya namida oto
minna ikiteru   aisuru kimi to*

hiroi umi wo wataru ni wa   hitori ja mayotte shimau
issho ni yukou   hikari sasu hou e

butsukatte wa mata daki atte “yowasa” wake atteku

eien tte kotoba   aru no kana?
mirai wo omou to   kowaku naru kedo
zutto   zutto   tsudzuku yume ga aru kara...
te wo tsunagou

kokoro ga sakende iru no ni
kimi wa mite minu furi wo shite
mae dake muite   aruite yuku yo

shashin no naka   warau kimi “ima wo egakete ita?”

tsutaerutte koto wa   muzukashii ne
koe wo karashite mo   todokanakute
zutto   zutto   sakebi tsudzukeru hi mo aru kedo...

“omoi” kasanari hana hiraku toki
kyodai na chikara ga   umareru kara

eien tte kotoba   aru no kana?
mirai wo omou to   kowaku naru kedo
zutto   zutto   tsudzuku yume ga aru kara... kitto

kono sora tobetara   aeru kana?
naiteta jibun to kimi ni okuru yo
zutto   zutto   shinjite ireba   kanau kara
te wo tsunagou

-------------------------------------------------------
English:
Let Us Join Our Hands
-------------------------------------------------------
Performed by: ayaka
Lyricist: ayaka
Composer: Yoshihiko Nishio & ayaka
Translated by: crystalise
-------------------------------------------------------
If you listen closely, you would hear
The sounds of laughter and tears.
This is the sound of everyone living with the ones they love.**

If, in crossing the wide ocean, you find yourself lost at sea...
Take my hand and we will go together towards that shining light.***

If you were to argue, embrace each other again afterwards and share the “weaknesses” you both face.

Is there really such a thing as words that speak of eternity’s meaning?
When I think of the future, I begin to grow frightened but
Because it has always been a continuing dream through all this time...
Let us join hands and face tomorrow together.****

When my heart was crying out to you,
You turned to look ahead and kept on walking,
Pretending as if you didn’t notice me.

In this photograph, you are smiling back at me... Did you picture this moment then?*****

Keeping up with the world is difficult, isn’t it?
In my breaking voice, I could no longer reach you
But even then, throughout time, there will be days when I keep crying out...

As my “hope” extends into the time when flowers bloom,******
I feel an immense strength born from within all this.

Are there really words that could touch the meaning of eternity?
As I look into the future, I become afraid but
We’ve been living in a continuing dream throughout life... Of this, I am certain.

If I were to ascend to these heavens, I wonder if we would still see each other?
Through my teary-eyed self, I send my thoughts to you
Because I never doubted the fact that when you believe, you will achieve...
Facing forward then, let us join hands.

Notes:
*Note 1: Although the lyrics actually write 人 (hito) which means “person”, she actually sings 君 (kimi) which means “you”. In doing so, she is making the song personal while at the same time keeping it general. “Person” represents every personal “you”... It makes sense to me and hopefully, it makes sense to you too! LOL (^___^”)

**Note 2: To continue from the above point about “hito” and “kimi” – I translated it to “the ones” to try to combine the concept of "general, but personal". “You” are someone’s “loved one”, for example. (^___^”)

***Note 3: Literally, “Let us go together towards the shining light”.

****Note 4: Literally, “Let us join hands”.

*****Note 5: Maybe it’s just me getting sentimental... but this line is so beautiful. Here, ayaka is asking whether the person, knowing that s/he would eventually have to leave, took the picture with the knowledge that it would become precious to ayaka.

******Note 6: The use of the word 想い here is quite interesting because it actually means so many things. But it also really works because the word includes the definitions of “thought”, “feeling”, “affection”, “intention”, “desire”, “expectation” and “experience”... LOL

Links:
ayaka Official Website (maintained by Warner Music Japan)
Purchase 手をつなごう/愛を歌おう online (via YesAsia Global)

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Lyrics Translation: RED RIBBON Spiritual Song ~ AIDS Charity Project (AIDSチャリティ Project)

nobody@vox.com(crystalise) — Fri, 28 Dec 2007 17:02:05 +0800

I originally tried to follow my normal format for titles in translations but the song's title is far too long; the post is supposed to be titled,

Lyrics Translation: RED RIBBON Spiritual Song ~umare kuru kodomotachi no tame ni~ (RED RIBBON Spiritual Song ~生まれ来る子供たちのために~) ~ AIDS Charity Project (AIDS チャリティ Project)

Yup... hecka long... (-___-") LOL

Anyhow, allow me to first start off by wishing everyone a very belated Christmas!! (^___^")

A good number of unexpected events had occurred recently which caused this post to be pushed back behind schedule. One thing led to another and now, I'm blogging from my hometown in Malaysia instead! (O___o)

Before I forget, I have to mention that I updated my post on Hikki's Beautiful World because I finally "solved" the mysterious lyrics conundrum... The solution was actually very simple... Skip over here and scroll all the way down to my comments about the song (not the user comments segment) to find out what happened, LOL (-___-")

Back on track, it's easy to blame life for the delay in publishing this post but the translation took an unexpectedly long time as well. As some will know, I usually go through my translations several times to try to balance them contextually and literally: that is, trying to recreate the song's imagery in English while retaining as much of the original Japanese language as possible.

For this song, I decided to do a full-blown contextual translation because it was, well, pretty long-winded if I retained the original words. The translation that will be posted keeps the meaning of the lyrics but not necessarily the words. Nonetheless, I did save the last literal-contextual translation attempt, so if you are looking more for this style of translation then skip forward to the user comments section. (^___^") Fear not, this is not a precedent for future translations though as I approach each one on a case-by-case basis.

Despite my trouble with the lyrics, this is a really awesome song. The AIDS Charity Project is given voice by ayaka, Kazumasa Oda, Miliyah Kato, TAKE from Skoop on Somebody, TERU from GLAY, Yo Hitoto, RYO from Ketsumeishi, and Wakadanna from Shonannokaze. The song itself gives off a very reggae atmosphere and it's really great to hear all the artists melding so well into their parts.

The result is a very powerful piece that delivers a punch of pain in imparting its lessons while empowering the listener to go the extra mile in the name of love.

Well, I think I've spoken enough about nothing, LOL - moving on to the song!

Song information:

Listen to a sample of RED RIBBON Spiritual Song ~生まれ来る子供たちのために~ (~1:50 mins)

RED RIBBON Spiritual Song ~生まれ来る子供たちのために~ (Sample, ~1:50 mins)

AIDS Charity Project (AIDS チャリティ Project)

First appearance:
Track 1 from the AIDS Charity Project single, RED RIBBON Spiritual Song ~生まれ来る子供たちのために~ (Released 2007/11/28).

PV availability:
This song's PV is a rare jewel in that it doesn't only serve to promote the song but also brings a deeper level of appreciation to the musical experience. The imagery is very simple, but it is in that simplicity that its message is underscored: AIDS is not a complicated affair - it requires but only a simple solution. The PV also features a slight modification to the song's arrangement that actually works really well to bring all the emotions to heart. Altogether, the PV is extremely well-done and is certainly worth a watch - even if only for the very cute babies! LOL

Theme song:
This can be considered the Red Ribbon Campaign 2007 image song, which is a drive to promote AIDS awareness in Japan.

Alternative versions:
There are no alternative versions.

Comments:
Despite the long meandering title and lyrics, this song has a very simple message. "Be mindful of your actions and protect the ones you love." The song does have an agenda to raise awareness and educate its listeners; but this is done subtly through describing the personal struggle of an individual trying to come to terms with the aftermath of their actions.

The lyrics to the song are quite straightforward though they do make a slight modification that gives a refreshing take on protecting the people we love. The idea is expanded by the use of the word "給え" (tamae) which means "to bestow". This adds considerable weight because it takes the concept one step further by highlighting that protection is something that an individual has to actively give. In other words, protection is an active act that is driven by the impulse to defend those we love as opposed to a passive act of simply not bringing them harm.

It is this take on protecting others that touches the fundamental nature of love. For love may be many things but, in all its forms, love is protection and guardianship. That desire to protect could be expressed in many ways - from the provision of food, shelter and education, to the act of scolding or nagging, even anger and disappointment can be expressions of love. This understanding seems to recall the words of Canadian novelist Ralph Connor who said: "Love, you know, seeks to make happy rather than to be happy."

As for the music, the piece is clearly influenced by elements of reggae although Kazumasa Oda did pull off quite a stroke of genius by incorporating all the strengths of each artist into this one song. The song remains necessarily subdued until somewhere near the middle when everyone is singing in unison to what is the darkest hour of the piece. Suddenly, ayaka's voice is set free, dissipating the looming darkness to make way for tidings of reassurance and empowerment.

In all, this song is a well-formed piece that delivers a powerful and emotional experience to the listener while, at the same time, pushing forth a simple but relevant message.

With that, let us move forward to the lyrics of this very brilliantly executed piece. (^____^)v

Lyrics:
As always, Japanese lyrics are taken from uta-net.com, with (believe it or not) some corrections...

--------------------------------------
日本語:
RED RIBBON Spiritual Song ~生まれ来る子供たちのために~
--------------------------------------
歌手: AIDSチャリティ Project
作詞: 小田和正・桜井和寿 (Mr. Children)・RYO (ケツメイシ)・若旦那 (湘南乃風)
作曲: 小田和正
--------------------------------------
多くの過ちを僕もしたように
愛するこの国も戻れないもう戻れない
あのひとがそのたびに許してきたように
僕はこの国の明日をまた想う

ひろい空よ僕らは今どこにいる
頼るもの何もない
あの頃へ帰りたい

昔おやじの背中見て
むかつき一人実家飛び出
無理して背伸び純粋な目
くすんでいくのに苦しんで
大人になるな男になれ*
心の奥の声で歌え
貧乏暇なし上等だぜ
子供にその背中で教えたれ

ひろい空よ僕らは今どこにいる
生まれ来る子供らのために
何を語ろう

君よ愛するひとを守り給え
大きく手を拡げて
子供たちを抱き給え
ひとりまたひとり友は集まるだろう
ひとりまたひとりひとりまたひとり

真白な帆を上げて
旅立つ船に乗り
力の続く限り
ふたりでも漕いでゆく
その力を与え給え
勇気を与え給え

やっちゃならない誤ちを認めながらに
時は流れその中でページをめくる新たに
大切なのは何ができるか?って始める
それが人を呼んで皆同じ気持ち抱いてく
無関心はもういい行為すら放棄
しているならば子供たちの笑顔までは遠い
未知ならば一から僕ら力出して
始めよう自ら子供らの未来へ

愛するひとを守り給え
愛するひとを守り給え
愛するひとを守り給え...

-------------------------------------------------------
romaji:
RED RIBBON Spiritual Song ~umare kuru kodomotachi no tame ni~
-------------------------------------------------------
kashyu: AIDS chariti Project
sakushi: oda kazumasa・sakurai kazutoshi (Mr. Children)・RYO (ketsumeishi)・wakadanna (shonannokaze)
sakkyoku: oda kazumasa
romaji: crystalise
-------------------------------------------------------
ooku no ayamachi wo boku mo shita you ni
aisuru kono kuni mo modorenai   mou modorenai
ano hito ga sono tabi ni yurushite kita you ni
boku wa kono kuni no ashita wo mata omou

hiroi sora yo bokura wa ima doko ni iru
tayoru mono nani mo nai
ano koro e kaeritai

mukashi oyaji no senaka mite
mukatsuki hitori jikka tobide
muri shite senobi junsui na me
kusunde iku no ni kurushinde
otona ni naru na otoko ni nare
kokoro no oku no koe de utae
binbou hima nashi joutou daze
kodomo ni sono senaka de oshietare

hiroi sora yo bokura wa ima doko ni iru
umare kuru kodomora no tame ni
nani wo katarou

kimi yo aisuru hito wo mamori tamae
ookiku te wo hirogete
kodomotachi wo daki tamae
hitori mata hitori   tomo wa atsumaru darou
hitori mata hitori   hitori mata hitori

masshiro na ho wo agete
tabidatsu fune ni nori
chikara no tsudzuku kagiri
futari de mo koide yuku
sono chikara wo atae tamae
yuuki wo atae tamae

yaccha nara nai ayamachi wo mitome nagara ni
toki wa nagare sono naka de peeji wo mekuru arata ni
taisetsu na no wa nani ga dekiru ka? tte hajimeru
sore ga hito wo yonde minna onaji kimochi idaiteku
mukanshin wa mou ii   kouisura houki
shiteiru naraba   kodomotachi no egao made wa tooi
michi naraba ichi kara bokura chikara dashite
hajimeyou mizukara   kodomora no mirai e

aisuru hito wo mamori tamae
aisuru hito wo mamori tamae
aisuru hito wo mamori tamae...

-------------------------------------------------------
English:
RED RIBBON Spiritual Song ~For the Children~*
-------------------------------------------------------
Performed by: AIDS Charity Project
Lyricist: Kazumasa Oda, Kazutoshi Sakurai (Mr. Children), RYO (Ketsumeishi) & Wakadanna (Shonannokaze)
Composer: Kazumasa Oda
Translated by: crystalise
-------------------------------------------------------
I have made many mistakes in the past
And in doing so, I have burnt every bridge to return to this land of love.
The passage of time has sanctioned me with the gift of forgiveness,
And my mind drifts again to wonder about the future of this land.

Calling out to this big blue sky... Where have we come to?
I have nothing to lean on here...
My only wish is to return to a time before it all.

Before the time when I looked on at my dad’s back***
As he stormed out of the house in abhorrence...
I understand now that, in my naivety, I had gone too far.
As I continue my struggle to grow up into a man –
Into an adult – I begin to find that it’s so very dark in here...
Deep within me, I hear a lonely voice singing,
“There is no rest for the wicked”... I realise, I have to stay my course.
To my children, I must teach the reason behind my father’s disgust.

Calling out to this giant expanse of blue... Where have we come to now?
For those who have just come into the world,
What need we say?

Remember... that loving someone means promising to protect them.
Spread your arms wide to reach out
And embrace each child.
One by one, take faith in the people you will encounter.
One by one, person by person...

...Cast up a sail of pure white
And set out on a journey.
Let us row forward in this boat together,
To the limits of our strength, let us row.
Dedicate this strength to those you love.
Dedicate your courage to those you love.

We can turn to a new page in our lives,
So long as we come to terms with the mistakes we have made.
For myself, I have thought of what I could do...
Here, I called out to her... I know we still share the same feelings.
If we were to act indifferently, then we would be acting irresponsibly;
Showing how unfaithful we are to the joy that is our children's.
As the uncertain future beckons, let us start anew and forge forward...
From here on, let us run towards a future that belongs to our children.

...For those you love, promise a pledge of protection.
...For those you love, grant the gift of guardianship.
...For those you love, promise a pledge of protection...

Notes:
*Note 1: For some reason, this line does not appear in the uta-net transcription of the lyrics... I have added it back in, obviously, LOL (-___-“).

**Note 2: Literally “RED RIBBON Spiritual Song ~For the Sake of the Children who have Just Come into the World~”... (^___^")

***Note 3: Not sure what got into me but I mistranslated "father" to "grandfather" despite my going through the lyrics several times... This mistake could still be seen in the comments segment, since I can't edit that but I changed it in the translation post. Thanks to Sam for asking a question that raised an alarm in my head! LOL (^___^")

Links:
Red Ribbon Campaign 2007 Official Website (maintained by Yahoo! Japan)
Purchase RED RIBBON Spiritual Song ~生まれ来る子供たちのために~ online (via YesAsia Global)

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Tribute: Hearkening the Beat of an Angel ~ BoA

nobody@vox.com(crystalise) — Wed, 19 Dec 2007 18:01:28 +0800

BoA in Summer '04

The end of last week certainly brought news that seemed a little untimely, though the news itself wasn't much of a surprise. In essence, BoA decided to confess that she had gone through some love loss with her line of work and there are plans in the pipeline that will allow her to put her music career on hold as she goes to the US to further her studies.

I say the news is untimely only because it looked as though she was beginning to connect with her music again. In her most recent singles, Sweet Impact, LOVE LETTER and LOSE YOUR MIND, there seemed to be a heartening return-to-form when compared to the relatively lacklustre songs she's been performing of late.

That being said, however, the revelation did less to shock me than it did to confirm my suspicions that she had gotten lost along the way. Above the colourless songs were the live appearances where her fatigue was clear but - for a singer who is known for so much energy - somehow unthinkable.

Nonetheless, she did continue to reveal in the news conference that this very personal struggle had been going on for quite some time. The conflict was reflected in her work as it was evident that she had lost some of her soul for music. But it seemed that that was not all she lost as she moved on to confess that she was afflicted with doubts about her own personal identity.

In that sense, the struggle was not about what she stood for, as she was always clear on that, but rather it was on trying to understand who she was as a person. Knowing her story however, it's hard to fault her for losing herself in her dizzying rise to fame.

At the time she was "discovered", she was only 11 and had not actually planned to audition for a position - instead, it was her brother who took her along as he tried to become South Korea's next top superstar. In a stroke of luck, the panel of judges caught sight of her after her brother's audition and requested that she try her hand as well. That was the moment that she impressed the judges of that nationwide auditions programme ad lib.

BoA in Naturelle

Once on board, the South Korean media giant, SM Entertainment, put her through an evidently brutal training regime to master the arts of dance, song, and... well... Japanese, LOL. It was through these series of gruelling tests that Boa Kwon became BoA and it was in this same way that many accused her of being a manufactured idol - everything about her was so purposely fine tuned for the consumption of the South Korean and Japanese populaces that it seemed almost too perfect.

But she did the Koreans proud as she embodied the paragon of their pedigree and captured the imagination of the Japanese public. Beyond Korea and Japan, her fame spread across Asia and slowly trickled into other parts of the world. In short, BoA was a triumph in idol engineering... she was everything to everyone.

Indeed, the formula for raising young idols would have worked, if not for one oversight in the consideration; like much social thought, they forgot to factor human agency into their equation. As BoA continued to mature, it was inevitable that she would realise that being everything to everyone meant she had to be nothing to herself. Her love for music then, like her very image, was sculpted by the dictates of people in suits - not something that she had grown to love on her own.

It is in this way then that, as I read the news, I breathed a sigh of relief. Not because I wanted for an end (or a pause) to her very successful career, but because I wanted her to have the courage to be honest to herself. Through the years, BoA has invested almost all her strength and spirit into dazzling her fans as well as living up to the expectations of two populations. In Korea, she was persistently berated for not knowing her own roots as she appeared bias towards the Japanese market; while in Japan, she was constantly reminded that she didn't really belong - not that she ever expressed wanting to belong.

Weathering these tests of character and still smiling at every event despite how obviously tired she is, I now honestly hope that she could go on a hiatus and disappear from the public sphere for a while. This will give her time to reflect on where she wants to take her life to and reclaim the adolescence that was unwittingly robbed from her. In this time of self-reflection, she may connect with her music at a more personal level or she may find her vision in yet another discipline... Regardless, I can ask for nothing more than for her to find an identity which she could confidently declare to be truly her own.

I am BoA: Nike Women Campaign

To date, she still has at least another Japanese single in 2008 to release before she moves away from the limelight, so we can expect to hear from her for the time being. Beyond that, I can only wish her the very best for the journeys that lie ahead and I pray that somewhere down the road, she will find that magic spark that will finally allow her to comfortably say, "I am BoA."

Know that wherever you go, BoA, you will always be missed and thank you for all the inspiration you have given us.

お誕生日おめでとう！
On a completely unrelated side note, I meant to publish this post yesterday but was unable to do so due to other responsibilities... LOL (^___^")

ayaka looking up at a Jewelry day

Anyhow, yesterday was December 18th which was, in fact, ayaka's birthday. So, to that end, I just wanted to say: HAPPY 20TH BIRTHDAY, ayaka! (^___^)

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Lyrics Translation: For today ~ ayaka (絢香)

nobody@vox.com(crystalise) — Sun, 09 Dec 2007 01:01:17 +0800

I admit that I've been slow off the ball with my translation posts for the past month - and believe me, I've really wanted to cover a lot more than I have. Hopefully, December will see me doing some catch up although I can't promise much since I will be away on vacation later in the month, LOL (^___^")...

First off, in case you didn't know, the guest list for the 58th Kouhaku Uta Gassen (紅白歌合戦) is up - this is an annual event on the Japanese music calendar that cannot be missed! It's got 56 of 2007's most popular acts all waiting to duke it out with each other in either the white team (male) or red team (female). For those comfortable with Japanese, here is the full list of performers on the official NHK website. If you prefer a romanised list, I took the liberty of "translating" it below - the numbers in the brackets represent how many times they have appeared before. (^___^)v

The Kouhaku panel also firmly put an end to the on-going debate about whether Ataru Nakamura (中村中) is male or female. To fans, it's obvious she is female but legally speaking he is a male... Nonetheless, she has undergone gender reassignment surgery, so technically he should really be a she now (Confused yet? LOL). If you've ever seen her perform however, you'll know she's female and that is exactly the opinion of Kouhaku as well. I have to say that I have always been for reforming classifications of sex - having only two legally recognised sexes is downright discriminatory...

Getting back into the song, ayaka's For today took an especially long time to get to because it took an especially long time to legally obtain! This is because the song is ayaka's first digital single, which means it is only available for download. I tried my luck on the US iTunes store to no avail; their ayaka offerings are pitiful at best...

Regardless, although I can understand companies wanting to experiment with digital music sales because it cuts costs down so very much, it really shouldn't be this hard to legally pay for something... Rest assured that I have managed to pay for it and it is only with that that I am able to bring you a translation of an excellent new addition to ayaka's music repertoire, For today.
--------------------------------
58th Kouhaku Performer List:
Red Team: aiko (6), Aming (2), ayaka (2), Angela Aki (2), Sayuri Ishikawa (30), AKB48 (1), Ai Otsuka (4), Miyuki Kawanaka (20), Kaori Kouzai (15), Koda Kumi (3), Natsuko Godai (14), Sachiko Kobayashi (29), Fuyumi Sakamoto (19), Yoshimi Tendo (12), DREAMS COME TRUE (12), Shoko Nakagawa (1), Mika Nakashima (6), Ataru Nakamura (1), Mitsuko Nakamura (12), Yoko Nagayama (14), Ayumi Hamasaki (9), Hello! Project 10th Anniversary Commemoration Kouhaku Special Team (10), Yo Hitoto (4), Ayaka Hirahara (4), BoA (6), Kaori Mizumori (5), mihimaru GT (2), Leah Dizon (1), Akiko Wada (31)
White Team: Masafumi Akikawa (2), Hiroshi Itsuki (37), w-inds. (6), EXILE (3), Gackt (5), Saburo Kitajima (44), Takeshi Kitayama (3), Kobukuro (3), Kome Kome Club (5), Masashi Sada (19), Sukima Switch (3), Masato Sugimoto (1), SMAP (15), Akira Terao (2), TOKIO (14), Hideaki Tokunaga (2), Ichiro Toba (20), Toshihide Baba (1), Kiyoshi Hikawa (8), Ken Hirai (5), Akira Fuse (23), Porno Graffiti (6), Kiyoshi Maekawa (17), Noriyuki Makihara (2), Kenichi Mikawa (24), Shinichi Mori (40), WaT (3)

Song information:

Listen to a sample of For today (~1:20 mins)

For today (Sample, ~1:20 mins)

ayaka (絢香)

First appearance:
ayaka's first digital single, For today (Released 2007/11/11).

PV availability:
No, there is no PV for this song - remember, digital singles are all about keeping costs down: a PV would defeat its purpose! LOL

Theme song:
I guess I should take this opportunity to say that I usually don't mention when songs are used as themes to commercials. So yea, this song is used as a commercial theme (Glico's Pocky commercial, to be exact) but I'm going to say that it's not really being used as a theme for anything. (^___^")

Alternative versions:
There are no alternative versions of the song at the moment.

Comments:
Overall, the title and lyrics to the song are quite straightforward. Despite references to the past and inkling notes of the future, the song stays on point by focusing on the present. Readily understandable though they may be, the lyrics do criticise our modern lifestyles through the out-of-place mention of televisions.

In those two words, "テレビ消した" (switched off the TV), the song fashions itself into a criticism that is echoed by the anonymous maxim: "Technology is the science of arranging life so that one need not experience it." The criticism is that technology, in providing us our creature comforts, isolates us from experiencing life - effectively spoiling us and dumbing us down in the process. We go about life experiencing everything at a superficial level; that is, we can work without really knowing how anything works! LOL (^____^")

Musically, the song is filled to the brim with life, underscoring the emotional rush that comes from living for the moment and reciprocally, ayaka delivers an excellent performance to give voice to that emotional surge. In essence, For today is an upbeat song that is filled with a joy for life - a joy that ayaka does so well to impart through her pinpoint vocals.

Moving on to the translation, it needs to be said that it is without doubt that this song deserves much better than to be kept as a digital single but such is the nature of business. I can only hope that this strategy does not become too much of a trend because I really do enjoy buying the physical singles with all the goodies that come with them, LOL.

Lyrics:
Japanese lyrics are taken from uta-net.com.

--------------------------------------
日本語:
For today
--------------------------------------
歌手: 絢香
作詞: 絢香
作曲: 西尾芳彦・絢香
--------------------------------------
昨日の長い電話がこたえて
長い夢を見てたような目覚め

もしもあの時
「あぁしてれば」なんて
違うもう1人の自分　想像して

つまずいて転んで
心のままに行こう
何気ない日常に
目を向けたら奇跡が
Sunnyday　ウソみたい
僕を照らしてる
テレビ消して　空へ

懐かしい人に会った日はなぜか
今の自分見つめ直してる

体の中　喜びや怒り
愛も恋も皆同じ　流れてる

負けず嫌いな自分も
最近少し好きさ
たまにやりすぎて
後悔なんかもするだろうけど
Sunnyday　明日
世界が終わっても　いいさ
今を生きる

つまずいて転んで
心のままに行こう
何気ない日常に
目を向けたら奇跡が
Sunnyday　ウソみたい
僕を照らしてる
テレビ消して

“愛してほしい”願望も
ストレートにぶつけて!
そのくらいの気持ちで
いたらいいんじゃない?

-------------------------------------------------------
romaji:
For today
-------------------------------------------------------
kashyu: ayaka
sakushi: ayaka
sakkyoku: nishio yoshihiko・ayaka
romaji: crystalise
-------------------------------------------------------
kinou no nagai denwa ga kotaete
nagai yume wo miteta you na mezame

moshimo ano toki
“aa shitereba” nante
chigau mou hitori no jibun   souzou shite

tsumazuite koronde
kokoro no mama ni gyou*
nanigenai nijou ni
me wo muketara kiseki ga
Sunnyday   uso mitai
boku wo terashiteru
terebi keshita   sora e

natsukashii hito ni atta hi wa naze ka
ima no jibun mitsume naoshiteru

karada no naka   yorokobi ya ikari
ai mo koi mo minna onaji   nagareteru

makezu kirai na jibun mo
saikin sukoshi sukisa
tama ni yari sugite
koukai nanka mo suru darou kedo
Sunnyday   ashita
sekai ga owatte mo   iisa
ima wo ikiru

tsumazuite koronde
kokoro no mama ni gyou
nanigenai nijou ni
me wo muketara kiseki ga
Sunnyday   uso mitai
boku wo terashiteru
terebi keshita

“aishite hoshii” ganbou mo
sutoreeto ni butsukete!
sono kurai no kimochi de
itara iin ja nai?

-------------------------------------------------------
English:
For today
-------------------------------------------------------
Performed by: ayaka
Lyricist: ayaka
Composer: Yoshihiko Nishio & ayaka
Translated by: crystalise
-------------------------------------------------------
Answering yesterday’s lengthy phone call,
It seemed as though I was awakened into a long dream.

At the time, I kept thinking,
“If only I did it this other way...”.
Certainly, I could have imagined a somewhat different person for my self.

Stumbling around and falling over,
I struggle to get to these things in my heart.
Looking at the insensible passing days,
The wonder of this
Sunny day seems hard to believe...
Yet its light keeps shining on me.
I switched the TV off and turn to face the sky.

Why is it only on the days that I am to meet someone dear to me,
That I rigorously scrutinise myself?

In my very being, I have had feelings of joy and rage,
As well as love and passion - flowing from within me, all the same.

Indeed, I've recently come to like
This side of me that hates to lose.
Though I may regret it sometimes,
I still occasionally overdo things.
On this sunny day, I realise that even if
The world were to end tomorrow, it’ll be okay...
Because I’ve been living for today.

Fumbling around as
I try to get into my heart,
I look at these days of indifference,
And the brilliance of this
Sunny day almost seems like a lie...
Yet its light keeps shining on me,
Motivating me to turn the TV off.

That passionate desire for love:
Run straight to it!
Isn't it these emotions
That make life worth living?**

Notes:
*Note 1: She actually sings an even more twisted pronunciation than this romanisation – sounding almost like “kokoro no mama ne ga wa”. Nonetheless, the kanji 行 has several readings, among which is “gyou”. I acknowledge that my romanisation still negates the furigana at the end, which is confusing, but ayaka does tend to play around with the pronunciation of her lyrics to better express her music.

**Note 2: Literally, "The desire for 'I want love' - run straight to it! Being filled with these emotions, isn't it good enough?"

Links:
ayaka Official Website (maintained by Warner Music Japan)
Purchase For today online (via HMV Japan Digital - Japanese member account required)

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ちいさな 愛 ~i~

Lyrics Translation: kimi ga iru kara (君がいるから) ~ ayaka (絢香)

CG Works: Solidarity

Life: Hong Kong, the Suspiciously Suspicious-Smelling Seaport

Lyrics Translation: konya mo hoshi ni dakarete… (今夜も星に抱かれて…) ~ ayaka (絢香)

CG Works: The LOVE SUPPORT Banners

Lyrics Translation: okaeri (おかえり) ~ ayaka (絢香)

Lyrics Translation: te wo tsunagou (手をつなごう) ~ ayaka (絢香)

Lyrics Translation: RED RIBBON Spiritual Song ~ AIDS Charity Project (AIDSチャリティ Project)

Tribute: Hearkening the Beat of an Angel ~ BoA

Lyrics Translation: For today ~ ayaka (絢香)

ちいさな愛 ~i~