クエリ: take me down to the little white churchは誰の歌ですか
文章: リトル・ビッグ・タウン リトル・ビッグ・タウン(Little Big Town ) はアメリカ合衆国のカントリー・ミュージック・ヴォーカル・グループ。1998年、カレン・フェアチャイルド、キンバリー・シュラプマン、ジミ・ウエストブルック、フィリップ・スウィートの4名で結成された。カルテット形式で、4パートに分かれてハーモニーを形成し、4人が交互にリード・シンガーを担当する。ウエストブルックとスウィートはリズムギターも演奏する。 マーキュリー・ナッシュビル・レコードとレコーディング契約を結んだがシングルもアルバムも発表されず、2002年、モニュメント・レコードからセルフタイトル・アルバム『Little Big Town 』を発表した。このアルバムから2枚のシングルが発表されたが、あまりヒットせずにレーベルを離れた。2005年頃、クリント・ブラック所有のレーベルであるエクイティ・ミュージック・グループと契約し、同年、彼らにとって2枚目のアルバム『The Road to Here 』を発表した。このアルバムからのシングル『Boondocks 』、『Bring It On Home 』はカントリー・チャートで10位以内に入り、プラチナ認定された。2007年、3枚目のアルバム『A Place to Land 』が発表され、このアルバムからの最初のシングル『I'm with the Band 』はカントリー・チャートで40位以内に入った。その後間もなく、『A Place to Land 』の権利と共にキャピトル・レコード・ナッシュビルに移籍し、シングル『Fine Line 』、『Good Lord Willing 』を発表した。2010年、アルバム『The Reason Why 』が発表され、このアルバムからのシングル『Little White Church 』は10位以内に入り、2012年のアルバム『Tornado 』からのシングル『Pontoon 』で初めて第1位となった。 これまで『ビルボード』誌のカントリー・チャートで14曲がランクインしている。これにはダウンロードのみのクリスマスの曲や2008年にシュガーランドとジェイク・オーウェンと共演したドリーム・アカデミーの『Life in a Northern Town 』のカヴァー曲も含まれている。
文章: along 中世英語より<古英語"andlang =and- + lang(=long) 英 IPA: /l/, SAMPA: /@"lQN/ 米 IPA: /l/, SAMPA: /@"lON/ 音声 (米): along ~に沿って。. They were waiting for me in the drawing-room, which is a very large room, stretching along the entire front of the house, with three long windows reaching down to the floor. Doyle 彼らは私を客間で待っていました、それはとても広い部屋で、床に達する3つの長い窓が、家の前面全体に沿って広がっていました。(コナン・ドイル) They were waiting for me in the drawing-room, which is a very large room, stretching along the entire front of the house, with three long windows reaching down to the floor. Doyle 彼らは私を客間で待っていました、それはとても広い部屋で、床に達する3つの長い窓が、家の前面全体に沿って広がっていました。(コナン・ドイル) ~を通って。 Swiftly and silently he made his way along the track which ran through the meadows. Doyle 素早く、静かに、草原を抜ける小道を彼は進んだ。 Swiftly and silently he made his way along the track which ran through the meadows. Doyle 素早く、静かに、草原を抜ける小道を彼は進んだ。 alongside herealong therealong wherealong along the lines along those lines ドイツ語: entlang , lngs フィンランド語: pitkin ハンガリー語: mentn , mellett , hosszban オランダ語: langs ポーランド語: wzdu (2)na caej dugoci ロシア語: вдоль (vdol’) (2)по (po) スウェーデン語: lngs タイ語: along (比較形なし) along ~といっしょに I am going to the store. Do you want to come along with me? 店に行くけど、一緒に行きたい? I am going to the store. Do you want to come along with me? 店に行くけど、一緒に行きたい? 進んで、前進して。 Don't stop here. Just move along. ここで止まらないで、前に進んで。 Don't stop here. Just move along. ここで止まらないで、前に進んで。 all along along of along with coming along get along 文章: トーマス・C・カンサ On May 28th my Golden Week Holiday began and my bags were packed to catch the late night highway bus. My wife got home a bit early from work to pack some sandwiches and fruits for my trip. It was these ordinary, everyday acts of love and support that encouraged and kept me motivated. The trip was the usual twelve hour trip from Osaka city to Sendai City. I waited for an hour to catch the bus into Ishinomaki City. It is a ninety minute trip by bus. What a reception I received when I got to the base! I felt like I had never lef! t the place. The volunteer center where I had to sign in had been relocated. Some of the staff remembered me from my last trips and welcomed me as though I was a like a long lost celebrated friend and I was introduced to the new staff members. I did my rounds, saw the people that I met on my previous trips and got my work schedule set. We talked about the human misery in disasters but, behind the scenes lay man's best friends - the pets and farm animals. Like the people I had come to know, they resembled shadows that I occasionally bumped into. I joined the volunteers that went into the devastated areas to rescue animals and take them back to the shelters. On my first rescue assignment I had seen an array of carcasses of animals. floating ! in the rivers. It was such a tragic sight and I became emotionally dra ined. On my next trip I found it mildly easier to cope andhelped (support) an awareness project about the plight of pets in general. I made time to visit one of the shelters for animals which housed predominantly cats. I was told that the shelter held a family of eighty cats which need to be fed and cleaned daily. Some needed medical care. Some of these feline creatures just ignored me as I passed by .Some came all over me. I was touched not only by the cats but by the dedication of one Ms. Abe who was the mother to all the cats. I asked her how she could do this day in and day out She replied: " The same way you came over a thousand kilometers to share your know-how with people that meant nothing to you". I was curious and asked her what might that be. She told me that it comes down to one's humanity and love for all life forms. I spent a few hours with cats and soon had to get back to some other unfinished work. On my way to my next destination I designed a cat tower . I went to a friend in the community who is a carpenter. He told me to call him the next day and that he would have a mini cat tower ready for me to collect. We invited Ms. Abe to adjudicate on the construction of the cat tower and modify it if it was necessary. Well, suffice to say it is built and installed, and there are a few more orders for the cat towers! While I was visiting the cats and doing my other volunteer work I dropped in for a cup of tea at Matsumura’s Sports Shop. Mr. Matsumura has this new project. It is a greenery project. He has the support of one of the world’s best natural garden designers (Ishihara.Garden designer).I watched his DVD in the shop and I signed on to join this project. For many years I have been mountain cleaning in Japan. I am fond of the outdoors and nature in general. My wife and I have many varieties of herbs, flowers and other plants on our balcony. I have been collecting plants for this new greenery project. I have to be careful of the plants I choose to send up to that area because the winters are very harsh. I guess I will now have to learn about the climate and the type of plants that will flourish in them. This journey into the tsunami and earthquake devasted zones of Japan has been a life changing experience for me. I intend to do many more things and hopefully they will bring joy and comfort to many affected people. On a personal level, I hope my involvement reaffirms my belief in the undaunting spirit of the human race. I will be going back there, soon 文章: オリジナル・ドール Welcome to Me 2:30 Little Me (Just Yesterday) 3:30 As Far As the Eye Can See 文章: ウィリアム・カレン・ブライアント 代表作『タナトプシス(死の考察)~Thanatopsis』は1811年、17歳のときに作った。死のみじめさをさんざん説明したのちに「余裕で迎えられるように悔いのない日々を送ろう」と締める作品で、一般に受けた。 THANATOPSIS.(タナトス・トプシー) To him who in the love of Nature holds Communion with her visible forms, she speaks A various language; for his gayer hours She has a voice of gladness, and a smile And eloquence of beauty, and she glides Into his darker musings, with a mild And healing sympathy, that steals away Their sharpness, e're he is aware. When thoughts Of the last bitter hour come like a blight Over thy spirit, and sad images Of the stern agony, and shroud, and pall, And breathless darkness, and the narrow house, Make thee to shudder, and grow sick at heart;-- Go forth, under the open sky, and list To Nature's teachings, while from all around-- Earth and her waters, and the depths of air,-- Comes a still voice--Yet a few days, and thee The all-beholding sun shall see no more In all his course; nor yet in the cold ground, Where thy pale form was laid, with many tears, Nor in the embrace of ocean, shall exist Thy image. Earth, that nourished thee, shall claim Thy growth, to be resolved to earth again, And, lost each human trace, surrendering up Thine individual being, shalt thou go To mix for ever with the elements, To be a brother to the insensible rock And to the sluggish clod, which the rude swain Turns with his share, and treads upon. The oak Shall send his roots abroad, and pierce thy mould. Yet not to thine eternal resting-place Shalt thou retire alone--nor couldst thou wish Couch more magnificent. Thou shalt lie down With patriarchs of the infant world--with kings, The powerful of the earth--the wise, the good, Fair forms, and hoary seers of ages past, All in one mighty sepulchre.--The hills Rock-ribbed and ancient as the sun,--the vales Stretching in pensive quietness between; The venerable woods--rivers that move In majesty, and the complaining brooks That make the meadows green; and, poured round all, Old ocean's gray and melancholy waste,-- Are but the solemn decorations all Of the great tomb of man. The golden sun, The planets, all the infinite host of heaven, Are shining on the sad abodes of death, Through the still lapse of ages. All that tread The globe are but a handful to the tribes That slumber in its bosom.--Take the wings Of morning--and the Barcan desert pierce, Or lose thyself in the continuous woods Where rolls the Oregon, and hears no sound, Save his own dashings--yet--the dead are there: And millions in those solitudes, since first The flight of years began, have laid them down In their last sleep--the dead reign there alone. So shalt thou rest---and what, if thou withdraw Unheeded by the living, and no friend Take note of thy departure? All that breathe Will share thy destiny. The gay will laugh When thou art gone, the solemn brood of care Plod on, and each one as before will chase His favourite phantom; yet all these shall leave Their mirth and their employments, and shall come, And make their bed with thee. As the long train Of ages glide away, the sons of men, The youth in life's green spring, and he who goes In the full strength of years, matron, and maid, And the sweet babe, and the gray-headed man,-- Shall one by one be gathered to thy side, By those, who in their turn shall follow them. So live, that when thy summons comes to join The innumerable caravan, that moves To that mysterious realm, where each shall take His chamber in the silent halls of death, Thou go not like the quarry-slave at night, Scourged to his dungeon, but, sustained and soothed By an unfaltering trust, approach thy grave, Like one who wraps the drapery of his couch About him, and lies down to pleasant dreams. 文章: 長大語 The Boy Bands Have Won, and All the Copyists and the Tribute Bands and the TV Talent Show Producers Have Won, If We Allow Our Culture to Be Shaped by Mimicry, Whether from Lack of Ideas or From Exaggerated Respect. You Should Never Try to Freeze Culture. What You Can Do Is Recycle That Culture. Take Your Older Brother's Hand-Me-Down Jacket and Re-Style It, Re-Fashion It to the Point Where It Becomes Your Own. But Don't Just Regurgitate Creative History, or Hold Art and Music and Literature as Fixed, Untouchable and Kept Under Glass. The People Who Try to 'Guard' Any Particular Form of Music Are, Like the Copyists and Manufactured Bands, Doing It the Worst Disservice, Because the Only Thing That You Can Do to Music That Will Damage It Is Not Change It, Not Make It Your Own. Because Then It Dies, Then It's Over, Then It's Done, and the Boy Bands Have Won. インドで2010年に出版された書籍に、1086単語・5633文字のタイトルのものが存在する。 小説『ロビンソン・クルーソー』の原題は、 文章: ドント・レット・ミー・ダウン ※出典 文章: ダウン・トゥ・アース (ピーター・ガブリエルの曲) 「ダウン・トゥ・アース」(英: Down to Earth)は、ピーター・ガブリエル作詞・歌唱の楽曲。作曲はピーター・ガブリエルとトーマス・ニューマン。南アフリカ共和国のゴスペル・グループであるソウェト・ゴスペル・クワイアをフィーチャーしている。 映画『WALL・E/ウォーリー』のエンディングテーマであり、同作品のサウンドトラックに収録され、後にコンピレーション・アルバム『Rated PG』にも収録された。 第66回ゴールデングローブ賞主題歌賞及び第81回アカデミー賞歌曲賞にノミネートされ、第51回グラミー賞では最優秀歌曲賞(映画・テレビ部門)を受賞した。 文章: ブラジルにおける売春 The Brazilian government turned down $40 million in U.S. anti-HIV/AIDS funding in 2005, because the U.S. government required all recipients to sign an anti-prostitution pledge. Brazil's AIDS commissioner Pedro Chequer was quoted as saying "Sex workers are part of implementing our AIDS policy and deciding how to promote it. They are our partners. How could we ask prostitutes to take a position against themselves?" The Brazilian anti-AIDS program, which employs prostitutes to hand out information and free condoms, is considered by the United Nations to be the most successful in the developing world. 文章: 私を野球に連れてって 『私を野球に連れてって』(わたしをやきゅうにつれてって、英: Take Me Out to the Ball Game)は、アメリカ合衆国の古いノベルティソング。1908年に作曲され、以来野球文化圏の野球ファンの愛唱歌となっている。 文章: ウェイク・ミー・アップ・ホウェン・セプテンバー・エンズ 「ウェイク・ミー・アップ・ホウェン・セプテンバー・エンズ」は、アメリカのロックバンド、グリーン・デイの楽曲。バンドの7枚目のアルバム『アメリカン・イディオット』に収録。シングルカットされ、アメリカのビルボードHot100チャートで6位を記録し、ホット・モダン・ロック・トラックスチャートで2位、ホット・メインストリーム・ロック・トラックスチャートでは12位を記録している。 作詞はビリー・ジョー・アームストロング、作曲はグリーン・デイ。 文章: ジョージ・メテスキー 1973年、合衆国最高裁判所は、判事がその危険性を認めない限り、精神障害を持つ被告人はニューヨーク州矯正局(英語版)が運営する医療機関に収容してはならないという判断を下した。 メテスキーは裁判を受けずに病院に収容されたため、矯正システムとは無関係のクリードムア精神医学センター(英語版)に移送された。 医師たちがメテスキーを無害であると判断したことと、裁判で下されるはずだった25年の最高刑の3分の2を病院の中で過ごしたことから、メテスキーは1973年12月13日にクリードムア精神医学センターを退院した。その後、自宅近くにあるコネチカット精神衛生クリニック( Connecticut Department of Mental Hygiene)に通院した。 退院の際、一人の記者が彼に取材したところ、彼はもう暴力に訴えることはしないとしつつも、コン・エジソンに対する怒りと恨みはまだ残っているとした。 また、彼は「爆弾の設置を始める前に、市長や警察本部長、新聞各種宛てに900通も手紙を送ったが、誰も葉書一つもくれなかった。新聞の広告欄にも応募したが、すべて却下された。だからあのような方法をとって世間に訴えるしかなかった」(I wrote 900 letters to the Mayor, to the Police Commissioner, to the newspapers, and I never even got a penny postcard back. Then I went to the newspapers to try to buy advertising space, but all of them turned me down. I was compelled to bring my story to the public.)とも述べている。 ウォーターバリーに帰ったメテスキーは、退院から20年後に90歳で死去した。 文章: トーマス・C・カンサ STORY2 The days are fast slipping by and soon it will be three years since the great Tohoku earthquake and tsunami. I have been in and out of the affected areas fifteen times so far 2013/10/ 5-8th. Visible changes and restoration are taking place but the deep scars remain to remind us about the devastation. Bridges and ports are built and roads link to some development and progress. But, the invisible human scars of heart-breaking loss will remain. Children born after the devastation will hear about the devastation.Those who have lived through and experienced the devastation still speak as if it happened just yesterday. They have grow to understand that nothing will ever be the same again. A lady told me that if there had been no tsunami I would not have become a part of their lives for I may have not have come to their part of the world. Even if I did come I would have been just another tourist passing through. Somehow the people who I meet on my first or second trip are those who are very close-knit . A trip to the tsunami area is never complete if I do not say hello to these families. Some do complain in a friendly way saying my visits are not as frequent as it used to be. I did the same during the Hanshin earthquake in Kobe. I was there frequently but as time passed people I met were moving forward and it was time I stepped back and became an observer and now seventeen years has since passed. The bridges and ports are built. The roads are linked but, the human loss cannot be replaced . We sowed flower seeds in Spring. Mainly sunflowers. When I got there in the summer it was a joy to see some of the sunflower plants, over three meters tall, just swinging in the warm summer breeze welcoming the locals, volunteers and tourists. People of all ages admired and got pleasure from the sunflowers. These are the little signs of hope. When someone passes you when you are watering the plants and stop to greet and admire the flowers with small chit chats. Strangers offering you cold drinks and mineral water from the vending machines warning you about sunstroke and the importance of consuming lots of liquid. Yes , Summer was extremely hot in Japan this year. Maybe it is the effect of the climate change. As volunteers or repeaters, as the volunteer center calls those who make multi trips into the tsunami area to volunteer, I have met many musicians that come over to entertain the people in the temporary shelters. There are so many different types of volunteering to be done. Children who have lost someone in the tsunami need care and the volunteers take care of these children's need. The elderly just want a cup of tea and a chat . They have a story to tell and I have learnt much from them . Their experience in that part of the country helps me with my work. It is very easy to forget why we are there. We sometimes get too enthusiastic and get carried away in what we are doing . It is very important for me to revalue my volunteering and try as hard as possible to accommodate their needs. My tea and lunch breaks are very important times for me to communicate with the local people and go back to understanding what it was like before the tsunami. I know full v well that I can't turn the tide but I think it is important to know where they came from so we work to give them as familiar an environment as possible. My October 2013 trip was a bit different. I was invited by an outside group to accompany them and to coordinate their volunteer projects. They were trying to build a bridge between their home town of Marukame in Shikoku to Ishinomaki. They had a long forgotten historical link. It was a 150 years old tombstone of a shipwright. The shipwright was born in Marukame and died in Ishinomaki.We spend the first day collecting all the information and data from the education board and some of the local people. At night I visit the public bath house and soak my long day away .The winter can be very harsh up in the Tohoku area . The plants have to be covered . But this year it is still very warm to cover the plants or take some of them indoors. I also tried to encourage some of the people to plant winter radish and onion in deep flower pots. I planted two different kinds of radish and they should be harvested by late December. It was very encouraging to get a call five days after I sowed the radish seeds to tell me they are sprouting. They sound very excited for they have something to wait for. I do use the word volunteer but I can't really tell someone what volunteering means in this context. I grew up in Tongaat and we had Beggars Day on Thursdays and now I would not use the word but the reality is that my house in Tongaat was where the old , the handicapped and poor dropped in for mealie-meal sour porridge. Now some one told me it is called corn porridge. That was a natural thing to do. The irony is that my mother cooked that porridge everyday for us but on Thursdays it was just a bigger pot. So growing up in that sharing environment I feel a bit uneasy when I tell some one I am volunteering. Bear in mind we were poor because there were ten children and two adults to feed. I just enjoy being in the tsunami area . It reminds me of Old Tongaat when the whole town was just one big family. We were there at funerals, weddings , parties etc. helping without an invitation. The call is still very strong so I will be heading back to the tsunami area in a few months’ time to harvest the radish . 文章: シスター・アクト~天使にラブ・ソングを~ 翌朝デロリスは聖歌隊の練習に参加するが、この聖歌隊は物凄く下手である。デロリスは年長修道女のメアリー・ラザラスの後を継いで聖歌隊の指導を申し出る。デロリスは修道女達に確かな音程でテンポに合わせる歌い方を教える。また大人しく内気なメアリー・ロバートの殻を打ち破らせる(『Raise Your Voice 』)。日曜日、聖歌隊はアップ・テンポの聖歌を演奏し(『Take Me to Heaven 』(リプライズ))、教会の人々は驚くが、より多くの信者および多くの寄付金が集まる。しかし修道院長は伝統的な質素な聖歌がモダンに変更されたことに恐れを抱く。 修道院長はデロリスを辞めさせたかったが、オハラ神父は教会を買い取ろうとしている人たちがこの聖歌隊を気に入っており、教会の存続のための寄付をされたと語る。それ以降、聖歌隊は大成功し、寄付金により教会を修復することができる(『Sunday Morning Fever 』)。オハラ神父が素晴らしいニュースを持ってくる。聖歌隊に法王の前で行なわれるスペシャル・コンサートに出演のオファーが来たのである。しかしこの名声は高い代償を払うこととなる。 カーティスと手下はテレビで聖歌隊と一緒にいるデロリスを見つける。カーティスは手下に修道院へ行き、デロリスを連れてくるよう命じる。TJ、ジョーイ、パブロはどのように修道院へ侵入するか話し合う(『Lady in the Long Black Dress 』)。一方修道院長は神に祈りを捧げ、なぜ神はデロリスという試練を自分に課したのかを尋ねる(『Haven’t Got A Prayer 』)。その直後エディから電話がある。就寝前、修道女達は翌日に控えた法王の前でのコンサートのためデロリスに成功を祈ってもらう(『Bless the Show 』)。修道院長がやって来て、デロリスに裁判の日程が翌日に繰り上がったため、すぐに出て行くよう告げる。他の修道女達もこれを聞いていたため、デロリスは自分の正体を明かし、皆と演奏できないと語る。荷物を取りに急ぎ、他の修道女達が失望して自室に戻っていると、メアリー・ロバートに追いかけられる。 文章: ラッキーセブン 7回はラッキーセブンであるとされるため、日本のプロ野球においては、7回表・裏の攻撃前にそれぞれのチームの応援歌が球場に流され、ファンが大きく盛り上がる。また、北海道日本ハムファイターズは2009年より「ラッキーイニング」と称して8回裏攻撃前に同種のセレモニーを行っている(ビジター球場では7回に行っている)。 アメリカ・メジャーリーグベースボールにおいては、7回裏の前に「Seventh-inning stretch」と呼ばれるちょっとした休憩時間が挟まり、「Take Me Out to the Ball Game(わたしを野球に連れてって)」をスタジアム全体で歌うことが恒例となっている。 文章: アイ・アム・ザ・ウォルラス 「アイ・アム・ザ・ウォルラス」(I Am the Walrus)は、ビートルズの楽曲である。1967年11月にシングル盤『ハロー・グッドバイ』のB面曲として発売された。ジョン・レノンによって書かれた楽曲で、作曲者のクレジットはレノン=マッカートニー名義となっている。なお、EP『マジカル・ミステリー・ツアー』のブックレットには「"No you're NOT!" Said Little Nicola」というサブタイトルがつけられている。同年12月に公開されたテレビ映画『マジカル・ミステリー・ツアー』に演奏シーンが収められ、同名のサウンドトラックEP盤(英国)、LPアルバム(米国)に収録。映画ではビートルズのメンバーがサイケデリックな格好をしたり、セイウチをはじめとした動物の着ぐるみを着て演奏するシーンで使用されている。 本作は、ルイス・キャロル作の物語『鏡の国のアリス』の「セイウチと大工」に触発されて書いた楽曲。プロデューサーのジョージ・マーティンは、伴奏で追加されたヴァイオリン、チェロ、ブラスなどのオーケストラのアレンジも手がけた。 1967年12月の全英シングルチャートで、「アイ・アム・ザ・ウォルラス」が収録されたシングル盤『ハロー・グッドバイ』とEP『マジカル・ミステリー・ツアー』の2作品が上位2位を独占したため、「アイ・アム・ザ・ウォルラス」は同時に1位と2位を獲得した楽曲となった。なお、歌詞に出てくる「You've been a naughty girl, you've let your knickers down(まったくきみはいけない娘だね。すぐにニッカーズを下ろしちゃって。)」というフレーズが問題視されたことにより、BBCより放送禁止の措置を受けた。