クエリ: What Have You Done for Me Latelyは誰が作詞をしましたか
文章: 恋するティーンエイジャー 「恋するティーンエイジャー」(What Have You Done for Me Lately)は、ジャネット・ジャクソンの楽曲で、3枚目のスタジオ・アルバム『コントロール』から1枚目のシングルとして発売された。
文章: 砂塵 (映画) マレーネ・ディートリヒ演じるフレンチーはフランク・レッサー作詞、フリードリヒ・ホレンダー作曲の『裏部屋の男たち(See What the Boys in the Back Room Will Have)』『You've Got That Look』を歌った。 文章: スマイラー 「レット・ミー・ビー・ユア・カー」はエルトン・ジョンが作曲した楽曲で、エルトンは同曲のレコーディングにも参加。エルトン本人が歌唱したデモ・ヴァージョンは、コンピレーション・アルバム『イエス・イッツ・ミー~レア・トラックス』(1992年)で発表された。 「マイン・フォー・ミー」は、ポール・マッカートニー&リンダ・マッカートニーが提供した楽曲。現在、ポールによるセルフ・カヴァーは公式発表されていない。 本作は、スチュワートにとって4作目の全英アルバムチャート1位獲得作品となった。本作からは、母国イギリスでは「君に別離(わかれ)を」とサム・クックのカヴァー2曲のメドレー「悲しき叫び/ユー・センド・ミー」の両A面シングルが、全英7位となった。アメリカでは、「マイン・フォー・ミー」が全米91位に達した。 文章: アイル・ビー・ゼア・フォー・ユー/ユーアー・オール・アイ・ニード・トゥ・ゲット・バイ 「アイル・ビー・ゼア・フォー・ユー/ユーアー・オール・アイ・ニード・トゥ・ゲット・バイ」は、メソッド・マンがメアリー・J. ブライジをフィーチャリング・ボーカルとして迎えたコラボレーション・シングル。 メソッド・マンのデビュー・アルバム『ティカル』(Tical)収録の「オール・アイ・ニード」(All I Need)のリミックス・バージョンとして1995年4月にリリースされた。全米シングルチャート3位、R&Bシングルチャート1位のヒットとなり、第38回グラミー賞においては「最優秀ラップ・パフォーマンス・デュオ/グループ賞」(Best Rap Performance by a Duo or Group)を受賞した。 メソッド・マンの2001年の主演映画『ビー・バッド・ボーイズ』のサウンドトラック(How High)や、メアリー・J. ブライジの2006年のベストアルバム『リフレクションズ~ア・レトロスペクティブ』(Reflections )には、レイザー・シャープ・ミックスのバージョンが収録されている。 楽曲制作とプロデュースは、RZAとメソッド・マンによって行われ、基調となるサンプリングには、ニコラス・アシュフォードとヴァレリー・シンプソン作詞・作曲の、マーヴィン・ゲイとタミー・テレルの1968年のデュエット曲「ユーアー・オール・アイ・ニード・トゥ・ゲット・バイ」(You're All I Need to Get By)が取り入れられている。 文章: バルナバによる福音書 Jesus answered: "Believe me, Barnabas that I cannot weep as much as I ought. For if men had not called me God, I should have seen God here as he will be seen in paradise, and should have been safe not to fear the day of judgment. But God knows that I am innocent, because never have I harboured thought to be held more than a poor slave. No, I tell you that if I had not been called God I should have been carried into paradise when I shall depart from the world, whereas now I shall not go thither until the judgment. Now you see if I have cause to weep. またバルナバによる福音書によれば、イエスがバルナバに福音書を書くよう促した: 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: バット・ノット・フォー・ミー 「バット・ノット・フォー・ミー」(But Not for Me) は、ジョージ・ガーシュウィンが作曲し、アイラ・ガーシュウィンが作詞したポピュラー音楽の楽曲。 1930年のミュージカル『Girl Crazy』のために書かれ、オリジナルのプロダクションではジンジャー・ロジャースが歌った。このミュージカルを基にした1932年のミュージカル『クレイジー・フォー・ユー』でもこの曲は取り上げられた。 1959年には、エラ・フィッツジェラルドが『Ella Fitzgerald Sings the George and Ira Gershwin Songbook』で、この曲を取り上げた。この作品は、1960年の第2回グラミー賞(英語版)で、最優秀女性ボーカル賞に輝き、同年には英語では同名の映画『僕は御免だ (But Not for Me)』が公開された。 文章: 第3軍に対するパットンの演説 Be seated. Men, all this stuff you hear about America not wanting to fight, wanting to stay out of the war, is a lot of bullshit. Americans love to fight. All real Americans love the sting and clash of battle. When you were kids, you all admired the champion marble shooter, the fastest runner, the big-league ball players and the toughest boxers. Americans love a winner and will not tolerate a loser. Americans play to win all the time. That's why Americans have never lost and will never lose a war. The very thought of losing is hateful to Americans. Battle is the most significant competitions in which a man can indulge. It brings out all that is best and it removes all that is base. You are not all going to die. Only two percent of you right here today would be killed in a major battle. Every man is scared in his first action. If he says he's not, he's a goddamn liar. But the real hero is the man who fights even though he's scared. Some men will get over their fright in a minute under fire, some take an hour, and for some it takes days. But the real man never lets his fear of death overpower his honor, his sense of duty to his country, and his innate manhood. All through your army career you men have bitched about what you call 'this chicken-shit drilling.' That is all for a purposeto ensure instant obedience to orders and to create constant alertness. This must be bred into every soldier. I don't give a fuck for a man who is not always on his toes. But the drilling has made veterans of all you men. You are ready! A man has to be alert all the time if he expects to keep on breathing. If not, some German son-of-a-bitch will sneak up behind him and beat him to death with a sock full of shit. There are four hundred neatly marked graves in Sicily, all because one man went to sleep on the jobbut they are German graves, because we caught the bastard asleep before his officer did. An army is a team. It lives, eats, sleeps, and fights as a team. This individual hero stuff is bullshit. The bilious bastards who write that stuff for the Saturday Evening Post don't know any more about real battle than they do about fucking. And we have the best teamwe have the finest food and equipment, the best spirit and the best men in the world. Why, by God, I actually pity these poor bastards we're going up against. All the real heroes are not storybook combat fighters. Every single man in the army plays a vital role. So don't ever let up. Don't ever think that your job is unimportant. What if every truck driver decided that he didn't like the whine of the shells and turned yellow and jumped headlong into a ditch? That cowardly bastard could say to himself, 'Hell, they won't miss me, just one man in thousands.' What if every man said that? Where in the hell would we be then? No, thank God, Americans don't say that. Every man does his job. Every man is important. The ordnance men are needed to supply the guns, the quartermaster is needed to bring up the food and clothes for us because where we are going there isn't a hell of a lot to steal. Every last damn man in the mess hall, even the one who boils the water to keep us from getting the GI shits, has a job to do. Each man must think not only of himself, but think of his buddy fighting alongside him. We don't want yellow cowards in the army. They should be killed off like flies. If not, they will go back home after the war, goddamn cowards, and breed more cowards. The brave men will breed more brave men. Kill off the goddamn cowards and we'll have a nation of brave men. One of the bravest men I saw in the African campaign was on a telegraph pole in the midst of furious fire while we were moving toward Tunis. I stopped and asked him what the hell he was doing up there. He answered, 'Fixing the wire, sir.' 'Isn't it a little unhealthy up there right now?' I asked. 'Yes sir, but this goddamn wire has got to be fixed.' I asked, 'Don't those planes strafing the road bother you?' And he answered, 'No sir, but you sure as hell do.' Now, there was a real soldier. A real man. A man who devoted all he had to his duty, no matter how great the odds, no matter how seemingly insignificant his duty appeared at the time. And you should have seen the trucks on the road to Gabs. Those drivers were magnificent. All day and all night they crawled along those son-of-a-bitch roads, never stopping, never deviating from their course with shells bursting all around them. Many of the men drove over 40 consecutive hours. We got through on good old American guts. These were not combat men. But they were soldiers with a job to do. They were part of a team. Without them the fight would have been lost. Sure, we all want to go home. We want to get this war over with. But you can't win a war lying down. The quickest way to get it over with is to get the bastards who started it. We want to get the hell over there and clean the goddamn thing up, and then get at those purple-pissing Japs. The quicker they are whipped, the quicker we go home. The shortest way home is through Berlin and Tokyo. So keep moving. And when we get to Berlin, I am personally going to shoot that paper-hanging son-of-a-bitch Hitler. When a man is lying in a shell hole, if he just stays there all day, a Boche will get him eventually. The hell with that. My men don't dig foxholes. Foxholes only slow up an offensive. Keep moving. We'll win this war, but we'll win it only by fighting and showing the Germans that we've got more guts than they have or ever will have. We're not just going to shoot the bastards, we're going to rip out their living goddamned guts and use them to grease the treads of our tanks. We're going to murder those lousy Hun cocksuckers by the bushel-fucking-basket. Some of you men are wondering whether or not you'll chicken out under fire. Don't worry about it. I can assure you that you'll all do your duty. War is a bloody business, a killing business. The Nazis are the enemy. Wade into them, spill their blood or they will spill yours. Shoot them in the guts. Rip open their belly. When shells are hitting all around you and you wipe the dirt from your face and you realize that it's not dirt, it's the blood and gut of what was once your best friend, you'll know what to do. I don't want any messages saying 'I'm holding my position.' We're not holding a goddamned thing. We're advancing constantly and we're not interested in holding anything except the enemy's balls. We're going to hold him by his balls and we're going to kick him in the ass; twist his balls and kick the living shit out of him all the time. Our plan of operation is to advance and keep on advancing. We're going to go through the enemy like shit through a tinhorn. There will be some complaints that we're pushing our people too hard. I don't give a damn about such complaints. I believe that an ounce of sweat will save a gallon of blood. The harder we push, the more Germans we kill. The more Germans we kill, the fewer of our men will be killed. Pushing harder means fewer casualties. I want you all to remember that. My men don't surrender. I don't want to hear of any soldier under my command being captured unless he is hit. Even if you are hit, you can still fight. That's not just bullshit either. I want men like the lieutenant in Libya who, with a Luger against his chest, swept aside the gun with his hand, jerked his helmet off with the other and busted the hell out of the Boche with the helmet. Then he picked up the gun and he killed another German. All this time the man had a bullet through his lung. That's a man for you! Don't forget, you don't know I'm here at all. No word of that fact is to be mentioned in any letters. The world is not supposed to know what the hell they did with me. I'm not supposed to be commanding this army. I'm not even supposed to be in England. Let the first bastards to find out be the goddamned Germans. Some day, I want them to rise up on their piss-soaked hind legs and howl 'Ach! It's the goddamned Third Army and that son-of-a-bitch Patton again!' Then there's one thing you men will be able to say when this war is over and you get back home. Thirty years from now when you're sitting by your fireside with your grandson on your knee and he asks, 'What did you do in the great World War Two?' You won't have to cough and say, 'Well, your granddaddy shoveled shit in Louisiana.' No sir, you can look him straight in the eye and say 'Son, your granddaddy rode with the great Third Army and a son-of-a-goddamned-bitch named George Patton! All right, you sons of bitches. You know how I feel. I'll be proud to lead you wonderful guys in battle any time, anywhere. That's all. 文章: else Else も参照。 else 女性 elsa の複数形。 中英語 < 古英語 elles (“他の”) < ゲルマン祖語 *aljasa; *aljis (“他の”) の属格 < 印欧祖語 *al- 古フリジア語: elles (“他”) 古高ドイツ語: elles, ellies (“他”) デンマーク語: eller (“又は”), ellers (“さもなければ”) スウェーデン語: eljes, eljest (“又は、さもなければ”) ノルウェー語: elles (“又は、さもなければ”) ゴート語: (aljis, “他”) ラテン語: alius (“他、別の”) 古典ギリシア語: λλο (llos) ギリシア語: 他の (他の) ギリシア語: 他の (他の) (イギリス英語(容認発音:RP), アメリカ英語) IPA(?): /ls/, 時折 IPA(?): /lts/ else (比較形なし) 他の。別の。 Can anyone else (=any other person) help me?誰か別の人が手伝ってくれませんか What else (=what other thing) is there?何か別のものがありますか。 Can anyone else (=any other person) help me?誰か別の人が手伝ってくれませんか What else (=what other thing) is there?何か別のものがありますか。 不定代名詞及び疑問代名詞に対して上記の用法で用いるが、その他の場合は、other が一般に用いられる。 anybody else anyone else anyplace else anything else anywhere else elsewhere elsewhither everybody else everyone else everyplace else everything else everwhere else nobody else no one else no place else nothing else nowhere else somebody else someone else someplace else something else somewhere else what else is new else (比較形なし) そうでなければ、さもなければ、それ以外で。 How else (=in what other way) can it be done?それ以外の方法で可能なのか? I'm busy Friday; when else (=what other time) works for you?金曜日は忙しいんだ、その日以外ならいつが都合が良い? How else (=in what other way) can it be done?それ以外の方法で可能なのか? I'm busy Friday; when else (=what other time) works for you?金曜日は忙しいんだ、その日以外ならいつが都合が良い? otherwise or else else その他に、さもなければ。 Then the Wronskian of f and g must be nonzero, else they could not be linearly independent.よって、関数f、gのロンスキー行列式は0以外でなければならず、そうでなければ、fとgは線形独立ではない。 Then the Wronskian of f and g must be nonzero, else they could not be linearly independent.よって、関数f、gのロンスキー行列式は0以外でなければならず、そうでなければ、fとgは線形独立ではない。 and if not or then 文章: ラストダンスは私に 作詞者のドク・ポーマスは本楽曲を作詞した当時、小児麻痺の影響で脚に金具を付け両手で松葉杖をついて歩くという状態にあったため片手を女性の手に添え、もう片方の手は相手の肩か腰に当てて、ダンスを踊るということができなかった。でも、女性に手を取ってもらい肩に手を当ててもらいながら、自分は松葉杖をついてでも動くから、ラストダンスだけは私のために残して置いてくれ、そして一緒に踊ろう、というドク・ポーマスの思いが詞に込められているという。 オリジナルがヒットしたこともあって世界中で数多くの歌手によって歌われており、アメリカ国内では1983年にドリー・パートン、2006年にマイケル・ブーブレがそれぞれシングルとしてカバーした。 ポール・マッカートニーは、ドリフターズのヴァージョンを聴きながらビートルズの楽曲「ヘイ・ジュード」を作曲したというエピソードがある。これを元に、1981年にはザ・キングトーンズが大瀧詠一プロデュースで、2つの楽曲をシンクロさせたシングル「ラストダンスはヘイジュード」をリリースしている。 文章: ケルシー・パターソン パターソンの死刑執行の前の最期の言葉は以下の通りだった: 「何のための供述書だ。何か云ってみろ。俺は死に値する殺人犯じゃない。俺と家族の金を盗りやがれ。俺の真実はいつも俺の真実だ。親戚も友人もいない、俺にお前たちは何をしても怖くないんだ。お前たちの同類に葬儀屋はいない。殺人者。(冒涜につき省略)金は呉れてやる。権利をよこせ。権利をよこせ。権利をよこせ。俺の命を返しやがれ。 Statement to what. State What. I am not guilty of the charge of capital murder. Steal me and my family's money. My truth will always be my truth. There is no kin and no friend; no fear what you do to me. No kin to you undertaker. Murderer. [Portion of statement omitted due to profanity] Get my money. Give me my rights. Give me my rights. Give me my rights. Give me my life back.」 ペリー知事はなぜパターソンの減刑を拒否したのかをこう説明した。「この被告は非常に凶暴な人間です。テキサスでは仮釈放なしの終身刑は認められておらず、この被告が再び犯罪を犯さないと保証できないため自由にすることはできないと判決が下りました。正義と公共安全のためにこの被告の恩赦と猶予を拒否しました。 This defendant is a very violent individual. Texas has no life without parole sentencing option, and no one can guarantee this defendant would never be freed to commit other crimes were his sentence commuted. In the interests of justice and public safety, I am denying the defendant's request for clemency and a stay.」 文章: 南正人 Caravan, famous Thai band was invited to this MATSURI. Mr. Surachai, the leader of the band told me, "Nami-San, What a nice beautiful festival! I hope we will hold peaceful festival like this someday in my country. In Thailand when we plan these festivals most of the time we get in trouble and never be peaceful like this." I could not forget his words for a while. So when I had a chance to visit Thailand in 1992, I tried to find him. Pik-San took me to meet him. "Hello! Mr. Surachai, I finally came to see you! I'll give you my hand if you plan the festival." I expected his good reaction. But he said "I'm sorry, Nami-San, I'm now sick and I don't have enough energy. So please find someone as your partner. 文章: かつて愛した女性へ 「かつて愛した女性へ」 は、アルバート・ハモンドが1975年に発表した楽曲。フリオ・イグレシアス・アンド・ウィリー・ネルソン盤が1984年全米5位、カントリー・チャートでは第1位、アダルト・コンテンポラリー・チャートでも3位を記録した。英詩はハル・デヴィッド。 文章: ワニのパラドックス 原文は次の通り。 A Crocodile had stolen a Baby off the banks of the Nile. The Mother implored him to restore her darling. "Well," said the Crocodile, "if you say truly what I shall do I will restore it: if not, I will devour it." "You will devour it!" cried the distracted Mother. "Now," said the wily Crocodile, "I cannot restore your Baby: for if I do, I shall make you speak falsely: and I warned you that, if you spoke falsely, I would devour it." "On the contrary," said the yet wilier Mother, "you cannot devour my Baby: for if you do, you will make me speak truly, and you promised me that, if I spoke truly, you would restore it!" (We assume, of course, that he was a Crocodile of his word; and that his sense of honour outweighed his love of babies.) 訳文 文章: アフター・ユーヴ・ゴーン 歌詞 [Chorus] After you've gone and left me crying After you've gone there's no denying, You'll feel blue, you'll feel sad, You'll miss the bestest pal you've ever had There'll come a time, now don't forget it, There'll come a time, when you'll regret it Oh! Babe, think what you're doing You know my love for you will drive me to ruin, After you've gone After you've gone away, away. [Verse] Don't you remember how you used to say You'd always love me in the same old way And now it's very strange That you should ever change Perhaps some other sweetie's won your heart Tempted you away But let me warn you tho' we're miles apart You'll regret some day 「アフター・ユーヴ・ゴーン」(After You've Gone)は、1918年のポップス曲。ターナー・レイトン(英語版)作曲, ヘンリー・クリーマー(英語版)作詞。日本語では「君去りし後」ないし「君去りしのち」の曲名で言及されることもある。 文章: ラヴ・イズ・ジャスト・ア・フォー・レター・ワード 「ラヴ・イズ・ジャスト・ア・フォー・レター・ワード」は、ボブ・ディランが作詞作曲しジョーン・バエズが1968年に発表した楽曲。バエズのコンサートの定番曲として知られる。