因為一篇文章,受邀對兩位美國大使簡報
Presentality英文寫作分析:
前總統府英文演講撰稿人Andrew Yang在華府智庫工作時,因為寫了一篇文章,受邀對兩位大使演講。當時,他只是個22歲大學剛畢業的實習生。文章到底哪裡好?其實他那時也不太理解。
多年後的今天,他把文章的最初稿貼出來,分析他覺得為何會得到美國政策圈的專注:
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Dear Mr. Yang,
Your PacNet piece is the best thing I’ve read. Would you be interested in coming to New York to brief us on the topic?
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📌 這是我在華府戰略暨國際研究中心 (CSIS) 任職的時候,收到的一封 email。寄件人我早已經久仰大名,曾任美國駐中國大使。他跟另一位前大使正要前往中國,希望出發前邀請我到紐約跟他們簡報。
但我收到那封信,非常困惑。因為那時的我,才22歲。我剛大學畢業不久,在智庫也還只是個實習生。兩位德高望重的大使,為何會想要把我飛到紐約去跟他們簡報?
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他們 email 裡說是因為看到我寫的文章:“PacNet piece”。
那是我生平第一次寫政策分析評論,是某個週末心血來潮寫的。寫完之後發給我老闆 (也是一位知名的中國專家),他居然直接打我手機 (never happened before) 然後問:「這是你寫的?真的是你自己寫的?沒有其他人幫你?是你寫的?」
我跟他保證我沒有抄襲之後,他就把我的文做了一些修改,然後刊登到CSIS旗下太平洋論壇 (Pacific Forum) 的刊物 PacNet。隔週,華府的兩岸政策專家居然開始討論這篇文,然後文章又被其他國際媒體轉載。
然後我就接到這兩位大使的邀約。我一路都很困惑。
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📌 文章… 到底好在哪裡?
老實說… 我那時真的不知道。在文章刊登前,我就只是會議室角落的那個實習生,默默地聽那些地位崇高的專家演講。刊登後,聽到那些專家討論我寫的東西 (但不知道是角落的這個小孩寫的),我還是不知道到底戳到了什麼點。
後來我就遺忘了它。17年之後的今天 (哎呀,透露自己年紀了) 回去看,我才看出一點點頭緒。 有三個點,值得跟各位分享,希望對你的英文寫作有幫助。最重要的點,我放在最後,所以你也可以直接跳到後面看。
一點背景:這篇文章的主題是台灣跟美國政府的溝通。2004年寫的時候,陳水扁面臨選舉壓力,推公投,讓美國很不爽。台灣官方很多團來美國跟 CSIS 等智庫見面 (畢竟不能直接見美國政府),但溝通效果不佳。我這篇文章就是討論溝通為何沒有成果。
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📌 1. 寫的很假掰,有時也有用處
我回去看的第一個感想就是:我的媽呀,怎麼這麼假掰!?用一大堆很長的字跟句子,既班門弄斧,又超級難唸…
你看看這段:
Yet officials and experts from Taiwan have been unwilling to tread into the domestic political dimensions of the referendum, and instead steadfastly insist that it is necessitated by international conditions.
這是什麼鬼東西?
“tread into the domestic political dimensions of the referendum”? “Necessitated by international conditions”?
“Steadfastly insist”? 反正就是把一堆音節很多的字,串成很多很長的句子就對了。
所以,寫的不好對不對?其實也不一定。評估文筆的好壞,沒有一定的標準,就看你的讀者喜歡哪種口吻。
Is your writing good or bad? It’s your readers who decide.
那個時候的我,是一位22歲的實習生,面對的是美國政策圈的專家們,其中很多是研究所的教授,用字遣詞都很「知識份子」(不像我公司今天的客戶,都是只說接地氣白話文的創業家)。所以:
•我沒有寫 “low point”,而是寫 “nadir”
•不是寫 “toned down enough”,而是 “sufficiently moderated”
•不寫 “fits with”,而是 “accords with”
我看了都很想打我自己。可是… 就因為我的用字像一位政策分析 (或學術) 的人會寫的,才會讓對方覺得「這個是自己人」。反而是我的老闆會精神錯亂,因為這文筆跟他辦公室外面的那個小毛頭,反差太大。
所以有時候,用很複雜的專業字眼,是一種「建立可信度」的方式。反而在你變成你的領域的佼佼者之後,就可以大剌剌的用白話文,因為沒有人會質疑你的可信度。
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📌 2. 專業之餘,還是要玩點文字遊戲
專業歸專業,偶爾還是要來點文字遊戲,讓讀者「喔」一下,不然一直用 “policy speak” (政策的語言,無聊但是精準),沒人想要看下去。
這裡就是一段「文字遊戲」:
Taiwan believes that yelling is the only recourse when its hands are tied, and that the referendum is a rather loud amplifier.
我還記得當時這樣寫的目的,就是要給讀者畫面:把台灣想成一個人,雙手被綁住,就只能大叫,公投就被我比喻成擴音器。
下一段,我就繼續用「樂器」的比喻:
But the way Taiwan has been voicing its opinions is flawed, and repeatedly beating this broken old drum for weeks to American ears has clearly proved counterproductive.
我還記得一位同事看到這段的時候,抬頭對我說:「我還不知道你滿會寫的耶」。這就是我要看到的效果。*不過為何要從「擴音器」變成「鼓」?我也不知道。
總之,在你的文中撒一些好玩的效果,有助於讓讀者繼續看。
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📌 3. 但遠比文筆還重要的,是寫到人家心坎裡
即使我的文筆再好,它還是不是關鍵。畢竟華府每天有那麼多文章刊出,很多人文筆比我還要好,為何是我的這篇得到關注?
我現在回去分析,認為是我有「寫到美國人讀者的心坎裡」。
要了解這個點,必須回溯一下背景。我那時是實習生嘛 (不過文章刊登時突然被晉升為研究助理),工作就是安排大大小小的會議,其中很多是台灣的官員跟專家帶團來美國,幾乎都會來 CSIS 因為是主要智庫之一。
在一次次的會議中,我看台灣方很用力的解釋,但美方卻越來越不耐煩。然後下一個訪團光臨,也說同樣的話,然後美方就更不耐煩。我恍然大悟,看到問題在哪裡,才會「心血來潮」的寫了這篇文。
因為我每天都跟美方的政策專家混在一起,很自然的就用「他們的話」把事情寫出來,而且還把他們的情緒寫進去:
Most folks in Washington… believe that the referendum is first and foremost an election gambit.
…true allies do not undermine each other’s interests for immediate political gains. That Taipei fails to see this is mind boggling, and simply infuriates the Americans.
No more one-sided complaints about Beijing or its cozy relations with America in front of U.S. officials who still feel betrayed and want apologies.
很多屬於情緒的字眼對不對:mind boggling, infuriating, feel betrayed, want apologies, etc.
這些話,都是他們身處外交場合,擺在心裡但說不出來的話。突然有人如此直白的寫出來,也等於是為他們宣洩了一些情緒。
這提醒了我一件事:溝通時,把對方的情緒表達出來,有時比任何精闢理性的論點都要強大。
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📌 需要Andrew寫的政策分析評論和分析,請留言「I want to read the PacNet piece!」。
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Presentality每天都在追蹤與分析跟英文溝通/寫作有關的文章,如果想要透過我們這些「閱讀筆記」一起學習,可在 FB 追蹤我們:https://www.facebook.com/presentality/
📌 Presentality系列文章:
1. 看貝佐斯致亞馬遜股東的最後一封信,學一些英文寫作小撇步
https://bit.ly/3xCN1cC
2. 英文演講實用的結構與技巧
https://bit.ly/2PHu3Ax
3. 在演講中的四種敘述角度
https://bit.ly/39tNUtv
4. 詩人Amanda Gorman的英文演講技巧
https://bit.ly/39sI3on
5. 從 Most Dangerous Place 文章,看經濟學人寫作邏輯
https://bit.ly/3htqJEs
6. 寫作的終極目標是「提供價值」
https://bit.ly/3yA3gYe
7. 看 Bloomberg學資深記者如何寫文章
https://bit.ly/3i3am1P
8. 用字遣詞的敏感度
https://bit.ly/3pvVA5n
圖片出處: https://careers.csis.org/
同時也有6部Youtube影片,追蹤數超過13萬的網紅約書亞樂團 Joshua Band,也在其Youtube影片中提到,#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #奮戰到底 詞 / 曲 Written:趙治德 Samuel Chao,陳州邦 Ben Chen,黃義順 Eason Huang,吳健美 Selena Goh 中譯英:宋怡萌 Joy Sung 數位平台連結 https://rmcbook.lnk.to...
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still into you drum 在 Jun Kung 恭碩良 Facebook 的最佳解答
The Greatest drummer of all time !
If you've ever wondered why Jeff Porcaro is considered one of the greatest studio drummers of all time, do yourself a favor and take five minutes to check out the drum track from Toto's 1982 hit "Roseanna." Here are a few of my thoughts as I listened to this master at work:
1. Jeff's technique here is stellar. If you've every tried to play this song, you've quickly realized just how HARD it is. From the basic groove (inspired by the Purdie shuffle), to the "four on the floor" pre-chorus pattern, to the melodic bass drum lines in the chorus, every section is a (lengthy) study unto itself.
Technical virtuosity at this level is commonplace today, but in 1982 - an era before click tracks and Pro Tools influenced everything we do - fitting all these ideas together so seamlessly was really HARD. Jeff makes it sound like a walk in the park.
2. This is pretty much a master class on what to do in a recording studio. One of the greatest pieces of advice I ever received from a sound engineer was "When listening to a playback, definitely trust your ears, but also WATCH the movement of the meters on the mixing board. Your goal should be to make each meter should go to exactly the same spot with every stroke."
In listening to Jeff's playing here, you understand exactly what that engineer meant. Every backbeat, every ghost note, every fill, every cymbal crash, every rhythmic idea is expressed with absolute clarity and consistency. Even though the drums may blend in with the other instruments in the context of the full mix, this kind of articulation must be present in every limb from start to finish if you aim to create a great studio track.
3. Technique aside, what has always set Jeff's playing apart (and still does 34 years later) is the energy, elegance and sheer musicality that he brought to pop and rock music.
Porcaro was able to cram all of these sophisticated ideas into a radio-friendly pop song and make it work because each idea makes perfect SENSE in the overall context of the song. Yes, there's plenty for drummers here, but the drum parts also make perfect sense for the average music listener just looking for a toe-tapping beat. And this is truly the magic that was Jeff Porcaro - like the man himself, his drums danced and sang and brought us joy and happiness. It's the reason he was so much in demand in his time, and why we can still learn so much from him today.
still into you drum 在 YOSHITOMO NARA Facebook 的精選貼文
Nobody’s Fool ( January 2011 )
Yoshitomo Nara
Do people look to my childhood for sources of my imagery? Back then, the snow-covered fields of the north were about as far away as you could get from the rapid economic growth happening elsewhere. Both my parents worked and my brothers were much older, so the only one home to greet me when I got back from elementary school was a stray cat we’d taken in. Even so, this was the center of my world. In my lonely room, I would twist the radio dial to the American military base station and out blasted rock and roll music. One of history’s first man-made satellites revolved around me up in the night sky. There I was, in touch with the stars and radio waves.
It doesn’t take much imagination to envision how a lonely childhood in such surroundings might give rise to the sensibility in my work. In fact, I also used to believe in this connection. I would close my eyes and conjure childhood scenes, letting my imagination amplify them like the music coming from my speakers.
But now, past the age of fifty and more cool-headed, I’ve begun to wonder how big a role childhood plays in making us who we are as adults. Looking through reproductions of the countless works I’ve made between my late twenties and now, I get the feeling that childhood experiences were merely a catalyst. My art derives less from the self-centered instincts of childhood than from the day-to-day sensory experiences of an adult who has left this realm behind. And, ultimately, taking the big steps pales in importance to the daily need to keep on walking.
While I was in high school, before I had anything to do with art, I worked part-time in a rock café. There I became friends with a graduate student of mathematics who one day started telling me, in layman’s terms, about his major in topology. His explanation made the subject seem less like a branch of mathematics than some fascinating organic philosophy. My understanding is that topology offers you a way to discover the underlying sameness of countless, seemingly disparate, forms. Conversely, it explains why many people, when confronted with apparently identical things, will accept a fake as the genuine article. I later went on to study art, live in Germany, and travel around the world, and the broader perspective I’ve gained has shown me that topology has long been a subtext of my thinking. The more we add complexity, the more we obscure what is truly valuable. Perhaps the reason I began, in the mid-90s, trying to make paintings as simple as possible stems from that introduction to topology gained in my youth.
As a kid listening to U.S. armed-forces radio, I had no idea what the lyrics meant, but I loved the melody and rhythm of the music. In junior high school, my friends and I were already discussing rock and roll like credible music critics, and by the time I started high school, I was hanging out in rock coffee shops and going to live shows. We may have been a small group of social outcasts, but the older kids, who smoked cigarettes and drank, talked to us all night long about movies they’d seen or books they’d read. If the nighttime student quarter had been the school, I’m sure I would have been a straight-A student.
In the 80s, I left my hometown to attend art school, where I was anything but an honors student. There, a model student was one who brought a researcher’s focus to the work at hand. Your bookshelves were stacked with catalogues and reference materials. When you weren’t working away in your studio, you were meeting with like-minded classmates to discuss art past and present, including your own. You were hoping to set new trends in motion. Wholly lacking any grand ambition, I fell well short of this model, with most of my paintings done to satisfy class assignments. I was, however, filling every one of my notebooks, sketchbooks, and scraps of wrapping paper with crazy, graffiti-like drawings.
Looking back on my younger days—Where did where all that sparkling energy go? I used the money from part-time jobs to buy record albums instead of art supplies and catalogues. I went to movies and concerts, hung out with my girlfriend, did funky drawings on paper, and made midnight raids on friends whose boarding-room lights still happened to be on. I spent the passions of my student days outside the school studio. This is not to say I wasn’t envious of the kids who earned the teachers’ praise or who debuted their talents in early exhibitions. Maybe envy is the wrong word. I guess I had the feeling that we were living in separate worlds. Like puffs of cigarette smoke or the rock songs from my speaker, my adolescent energies all vanished in the sky.
Being outside the city and surrounded by rice fields, my art school had no art scene to speak of—I imagined the art world existing in some unknown dimension, like that of TV or the movies. At the time, art could only be discussed in a Western context, and, therefore, seemed unreal. But just as every country kid dreams of life in the big city, this shaky art-school student had visions of the dazzling, far-off realm of contemporary art. Along with this yearning was an equally strong belief that I didn’t deserve admittance to such a world. A typical provincial underachiever!
I did, however, love to draw every day and the scrawled sketches, never shown to anybody, started piling up. Like journal entries reflecting the events of each day, they sometimes intersected memories from the past. My little everyday world became a trigger for the imagination, and I learned to develop and capture the imagery that arose. I was, however, still a long way off from being able to translate those countless images from paper to canvas.
Visions come to us through daydreams and fantasies. Our emotional reaction towards these images makes them real. Listening to my record collection gave me a similar experience. Before the Internet, the precious little information that did exist was to be found in the two or three music magazines available. Most of my records were imported—no liner notes or lyric sheets in Japanese. No matter how much I liked the music, living in a non-English speaking world sadly meant limited access to the meaning of the lyrics. The music came from a land of societal, religious, and subcultural sensibilities apart from my own, where people moved their bodies to it in a different rhythm. But that didn’t stop me from loving it. I never got tired of poring over every inch of the record jackets on my 12-inch vinyl LPs. I took the sounds and verses into my body. Amidst today’s superabundance of information, choosing music is about how best to single out the right album. For me, it was about making the most use of scant information to sharpen my sensibilities, imagination, and conviction. It might be one verse, melody, guitar riff, rhythmic drum beat or bass line, or record jacket that would inspire me and conjure up fresh imagery. Then, with pencil in hand, I would draw these images on paper, one after the other. Beyond good or bad, the pictures had a will of their own, inhabiting the torn pages with freedom and friendliness.
By the time I graduated from university, my painting began to approach the independence of my drawing. As a means for me to represent a world that was mine and mine alone, the paintings may not have been as nimble as the drawings, but I did them without any preliminary sketching. Prizing feelings that arose as I worked, I just kept painting and over-painting until I gained a certain freedom and the sense, though vague at the time, that I had established a singular way of putting images onto canvas. Yet, I hadn’t reached the point where I could declare that I would paint for the rest of my life.
After receiving my undergraduate degree, I entered the graduate school of my university and got a part-time job teaching at an art yobiko—a prep school for students seeking entrance to an art college. As an instructor, training students how to look at and compose things artistically, meant that I also had to learn how to verbalize my thoughts and feelings. This significant growth experience not only allowed me to take stock of my life at the time, but also provided a refreshing opportunity to connect with teenage hearts and minds.
And idealism! Talking to groups of art students, I naturally found myself describing the ideals of an artist. A painful experience for me—I still had no sense of myself as an artist. The more the students showed their affection for me, the more I felt like a failed artist masquerading as a sensei (teacher). After completing my graduate studies, I kept working as a yobiko instructor. And in telling students about the path to becoming an artist, I began to realize that I was still a student myself, with many things yet to learn. I felt that I needed to become a true art student. I decided to study in Germany. The day I left the city where I had long lived, many of my students appeared on the platform to see me off.
Life as a student in Germany was a happy time. I originally intended to go to London, but for economic reasons chose a tuition-free, and, fortunately, academism-free German school. Personal approaches coexisted with conceptual ones, and students tried out a wide range of modes of expression. Technically speaking, we were all students, but each of us brought a creator’s spirit to the fore. The strong wills and opinions of the local students, though, were well in place before they became artists thanks to the German system of early education. As a reticent foreign student from a far-off land, I must have seemed like a mute child. I decided that I would try to make myself understood not through words, but through having people look at my pictures. When winter came and leaden clouds filled the skies, I found myself slipping back to the winters of my childhood. Forgoing attempts to speak in an unknown language, I redoubled my efforts to express myself through visions of my private world. Thinking rather than talking, then illustrating this thought process in drawings and, finally, realizing it in a painting. Instead of defeating you in an argument, I wanted to invite you inside me. Here I was, in a most unexpected place, rediscovering a value that I thought I had lost—I felt that I had finally gained the ability to learn and think, that I had become a student in the truest sense of the word.
But I still wasn’t your typical honors student. My paintings clearly didn’t look like contemporary art, and nobody would say my images fit in the context of European painting. They did, however, catch the gaze of dealers who, with their antennae out for young artists, saw my paintings as new objects that belonged less to the singular world of art and more to the realm of everyday life. Several were impressed by the freshness of my art, and before I knew it, I was invited to hold exhibitions in established galleries—a big step into a wider world.
The six years that I spent in Germany after completing my studies and before returning to Japan were golden days, both for me and my work. Every day and every night, I worked tirelessly to fix onto canvas all the visions that welled up in my head. My living space/studio was in a dreary, concrete former factory building on the outskirts of Cologne. It was the center of my world. Late at night, my surroundings were enveloped in darkness, but my studio was brightly lit. The songs of folk poets flowed out of my speakers. In that place, standing in front of the canvas sometimes felt like traveling on a solitary voyage in outer space—a lonely little spacecraft floating in the darkness of the void. My spaceship could go anywhere in this fantasy while I was painting, even to the edge of the universe.
Suddenly one day, I was flung outside—my spaceship was to be scrapped. My little vehicle turned back into an old concrete building, one that was slated for destruction because it was falling apart. Having lost the spaceship that had accompanied me on my lonely travels, and lacking the energy to look for a new studio, I immediately decided that I might as well go back to my homeland. It was painful and sad to leave the country where I had lived for twelve years and the handful of people I could call friends. But I had lost my ship. The only place I thought to land was my mother country, where long ago those teenagers had waved me goodbye and, in retrospect, whose letters to me while I was in Germany were a valuable source of fuel.
After my long space flight, I returned to Japan with the strange sense of having made a full orbit around the planet. The new studio was a little warehouse on the outskirts of Tokyo, in an area dotted with rice fields and small factories. When the wind blew, swirls of dust slipped in through the cracks, and water leaked down the walls in heavy rains. In my dilapidated warehouse, only one sheet of corrugated metal separated me from the summer heat and winter cold. Despite the funky environment, I was somehow able to keep in midnight contact with the cosmos—the beings I had drawn and painted in Germany began to mature. The emotional quality of the earlier work gave way to a new sense of composure. I worked at refining the former impulsiveness of the drawings and the monochromatic, almost reverent, backgrounds of the paintings. In my pursuit of fresh imagery, I switched from idle experimentation to a more workmanlike approach towards capturing what I saw beyond the canvas.
Children and animals—what simple motifs! Appearing on neat canvases or in ephemeral drawings, these figures are easy on the viewers’ eyes. Occasionally, they shake off my intentions and leap to the feet of their audience, never to return. Because my motifs are accessible, they are often only understood on a superficial level. Sometimes art that results from a long process of development receives only shallow general acceptance, and those who should be interpreting it fail to do so, either through a lack of knowledge or insufficient powers of expression. Take, for example, the music of a specific era. People who lived during this era will naturally appreciate the music that was then popular. Few of these listeners, however, will know, let alone value, the music produced by minor labels, by introspective musicians working under the radar, because it’s music that’s made in answer to an individual’s desire, not the desires of the times. In this way, people who say that “Nara loves rock,” or “Nara loves punk” should see my album collection. Of four thousand records there are probably fewer than fifty punk albums. I do have a lot of 60s and 70s rock and roll, but most of my music is from little labels that never saw commercial success—traditional roots music by black musicians and white musicians, and contemplative folk. The spirit of any era gives birth to trends and fashions as well as their opposite: countless introspective individual worlds. A simultaneous embrace of both has cultivated my sensibility and way of thinking. My artwork is merely the tip of the iceberg that is my self. But if you analyzed the DNA from this tip, you would probably discover a new way of looking at my art. My viewers become a true audience when they take what I’ve made and make it their own. That’s the moment the works gain their freedom, even from their maker.
After contemplative folk singers taught me about deep empathy, the punk rockers schooled me in explosive expression.
I was born on this star, and I’m still breathing. Since childhood, I’ve been a jumble of things learned and experienced and memories that can’t be forgotten. Their involuntary locomotion is my inspiration. I don’t express in words the contents of my work. I’ll only tell you my history. The countless stories living inside my work would become mere fabrications the moment I put them into words. Instead, I use my pencil to turn them into pictures. Standing before the dark abyss, here’s hoping my spaceship launches safely tonight….
still into you drum 在 約書亞樂團 Joshua Band Youtube 的最佳解答
#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #奮戰到底
詞 / 曲 Written:趙治德 Samuel Chao,陳州邦 Ben Chen,黃義順 Eason Huang,吳健美 Selena Goh
中譯英:宋怡萌 Joy Sung
數位平台連結 https://rmcbook.lnk.to/u5u0eI5o
實體專輯、實體樂譜 https://bit.ly/3iHVHGc
電子樂譜 https://reurl.cc/e8xoxL
Verse1
一直渴望 有一個家
My longing for a place called home
卻因害怕 徬徨掙扎
Was hindered by this fight with fear
直到遇見祢 經歷祢
Till I came face to face with You God
帶領我 進入祢應許之地
Lead me on, into Your promised land
Chorus1
You fight for me 奮戰到底
You fight for me, until the end
太奇妙太徹底 祢愛永無止盡
Marvelous, too complete, Your love will never end
無止盡就算世界 分崩離析
Never ends, the world may end and fall apart
我仍要高舉祢
Still I will lift You high
祢就是我的勝利
For You are my victory
Verse2
在祢懷裡找到安息
I find my peace in Your embrace
不再恐懼 不再逃避
No longer running from my fears
完全接納我 擁抱我
Now I am held by You, loved by You
恢復我 完全潔淨我生命
Restore me, my life is completely clean
Chorus2
You fight for me 奮戰到底
You fight for me, until the end
太奇妙太徹底 祢愛永無止盡
Marvelous, too complete, Your love will never end
無止盡就算世界 分崩離析
Never ends, the world may end and fall apart
我仍要高舉祢
Still I will lift You high
祢就是我的勝利
For You are my victory
Chorus3
You fight for us, You fight for us
受刑罰 受鞭傷 我復活的君王
Took the blame, every stripe, My resurrected King
我一生都要仰望 祢的十架
All of my life I look to, the blessed cross
我全心感謝祢 使我回到祢的家
Thankful with all my heart, You’ve brought me home to You now
-
製作人 Producer / 趙治德 Samuel Chao
配唱製作人 Vocal Producer / 陳州邦 Ben Chen
編曲 Arrangement / 趙治德 Samuel Chao、李匯晴 Green Lee
Piano & Organ / 李匯晴 Green Lee
Strings / 趙治德 Samuel Chao
Acoustic & Electric Guitar / 孫立衡 Peter Sun
Bass / 鴨兄 Brother Duck
Drum / 蔣孟平 Benjamin Chiang
和聲配唱製作人 Background Vocal Producer / 陳州邦 Ben Chen
和聲編寫 / 陳州邦 Ben Chen
和聲 / 陳州邦 Ben Chen、吳宇婕 Christine Wu
錄音 Recording Engineer / 劉員杰 Francis Law、單為明 Link Shan(Drum)
剪輯 Editing Engineer / 趙治德 Samuel Chao、蔣孟平 Benjamin Chiang、劉淑莉 Lily Liu
混音 Mixing Engineer / 孫立衡 Peter Sun
錄音室 Studio / 異象工場、Lights up studio(Drum)
-
奉獻 Asia for JESUS/ 約書亞樂團事工
https://goo.gl/5AAgQP
聯繫約書亞樂團:
https://www.joshua.com.tw/web/
-
這裡可以找到我們!
YouTube▸https://bit.ly/3hBNTH5
Apple Music▸https://apple.co/3Au41TK
Spotify▸https://spoti.fi/3As1fi4
KKBOX▸https://bit.ly/3dJyCTz
My Music▸https://bit.ly/2UnIVpA
friDay音樂▸https://bit.ly/2UkxJdm
LINE MUSIC▸https://bit.ly/3fyxAeu
-
異象工場官方商城▸https://shop.asiaforjesus.net/
約書亞樂團官網▸https://www.joshua.com.tw/
約書亞樂團Facebook▸https://www.facebook.com/joshuaband
約書亞樂團Instagram▸https://www.instagram.com/joshua_band/
約書亞樂團微博▸https://weibo.com/joshuaband
約書亞樂團微信▸joshuaband
still into you drum 在 約書亞樂團 Joshua Band Youtube 的精選貼文
#歡迎追蹤並且分享我們的音樂 #約書亞樂團 #奮戰到底
奮戰到底 / You Fight for Me
詞曲 Lyricist & Composer:趙治德 Samuel Chao、陳州邦 Ben Chen、黃義順 Eason Huang、吳健美 Selena Goh
英譯詞 Translator:宋怡萌 Joy Sung
演唱 Vocal:趙治德 Samuel Chao
數位平台連結▶https://rmcbook.lnk.to/u5u0eI5o
實體專輯、實體樂譜▶https://bit.ly/3iHVHGc
電子樂譜▶https://reurl.cc/e8xoxL
﹥Verse1
一直渴望 有一個家
My longing for a place called home
卻因害怕 徬徨掙扎
Was hindered by this fight with fear
直到遇見祢 經歷祢
Till I came face to face with You God
帶領我 進入祢應許之地
Lead me on, into Your promised land
﹥Chorus1
You fight for me 奮戰到底
You fight for me, until the end
太奇妙太徹底 祢愛永無止盡
Marvelous, too complete, Your love will never end
無止盡就算世界 分崩離析
Never ends, the world may end and fall apart
我仍要高舉祢
Still I will lift You high
祢就是我的勝利
For You are my victory
﹥Verse2
在祢懷裡找到安息
I find my peace in Your embrace
不再恐懼 不再逃避
No longer running from my fears
完全接納我 擁抱我
Now I am held by You, loved by You
恢復我 完全潔淨我生命
Restore me, my life is completely clean
﹥Chorus2
You fight for me 奮戰到底
You fight for me, until the end
太奇妙太徹底 祢愛永無止盡
Marvelous, too complete, Your love will never end
無止盡就算世界 分崩離析
Never ends, the world may end and fall apart
我仍要高舉祢
Still I will lift You high
祢就是我的勝利
For You are my victory
﹥Chorus3
You fight for us, You fight for us
受刑罰 受鞭傷 我復活的君王
Took the blame, every stripe, My resurrected King
我一生都要仰望 祢的十架
All of my life I look to, the blessed cross
我全心感謝祢 使我回到祢的家
Thankful with all my heart, You’ve brought me home to You now
-
製作人 Producer / 趙治德 Samuel Chao
配唱製作人 Vocal Producer / 陳州邦 Ben Chen
編曲 Arrangement / 趙治德 Samuel Chao、李匯晴 Green Lee
Piano & Organ / 李匯晴 Green Lee
Strings / 趙治德 Samuel Chao
Acoustic & Electric Guitar / 孫立衡 Peter Sun
Bass / 鴨兄 Brother Duck
Drum / 蔣孟平 Benjamin Chiang
和聲配唱製作人 Background Vocal Producer / 陳州邦 Ben Chen
和聲編寫 / 陳州邦 Ben Chen
和聲 / 陳州邦 Ben Chen、吳宇婕 Christine Wu
錄音 Recording Engineer / 劉員杰 Francis Law、單為明 Link Shan(Drum)
剪輯 Editing Engineer / 趙治德 Samuel Chao、蔣孟平 Benjamin Chiang、劉淑莉 Lily Liu
混音 Mixing Engineer / 孫立衡 Peter Sun
錄音室 Studio / 異象工場、Lights up studio(Drum)
-
奉獻 Asia for JESUS/ 約書亞樂團事工
https://goo.gl/5AAgQP
聯繫約書亞樂團:
https://www.joshua.com.tw/web/
-
這裡可以找到我們!
YouTube▸https://bit.ly/3hBNTH5
Apple Music▸https://apple.co/3Au41TK
Spotify▸https://spoti.fi/3As1fi4
KKBOX▸https://bit.ly/3dJyCTz
My Music▸https://bit.ly/2UnIVpA
friDay音樂▸https://bit.ly/2UkxJdm
LINE MUSIC▸https://bit.ly/3fyxAeu
-
異象工場官方商城▸https://shop.asiaforjesus.net/
約書亞樂團官網▸https://www.joshua.com.tw/
約書亞樂團Facebook▸https://www.facebook.com/joshuaband
約書亞樂團Instagram▸https://www.instagram.com/joshua_band/
約書亞樂團微博▸https://weibo.com/joshuaband
約書亞樂團微信▸joshuaband
still into you drum 在 Freeyon Chung 鍾君揚 Youtube 的最讚貼文
Heitung and I were still figuring out what we wanted to do a cover of when Jessie J was brought up. We both knew and liked this song, so we started figuring out how to turn it into a duet and the rest is history! I think it's pretty obvious that I had a blast recording this song haha I hope you enjoyed it as well! Let me know what you think of it as well as what songs you might want to hear next :D
Don't forget to subscribe for updates!
Subscribe To My YouTube Channel:
http://www.youtube.com/FreeyonChungKwanYeung
Like My Facebook Page:
https://www.facebook.com/FreeyonChung
Follow Me On Instagram:
https://www.instagram.com/FreeyonC
~~~~~~~~~~
I'm feeling sexy and free
Like glitter's raining on me
You're like a shot of pure gold
I think I'm 'bout to explode
I can taste the tension like a cloud of smoke in the air
Now I'm breathing like I'm running, 'cause you're taking me there
Don't you know... you spin me out of control?
Ooh ooh ooh ooh
We can do this all night
Damn, this love is skin tight
Baby, come on!
Ooh ooh ooh ooh
Booming like a bass drum
Sparking up a rhythm
Baby, come on!
Ooh ooh ooh ooh
Rock my world until the sunlight
Make this dream the best I've ever known
Dirty dancing in the moonlight
Take me down like I'm a domino
Every second is a highlight
When we touch, don't ever let me go
Dirty dancing in the moonlight
Take me down like I'm a domino
Ooh baby, baby, got me feeling so right
Ooh baby, baby, dancing in the moonlight
Ooh baby, baby, got me feeling so right
Ooh baby, baby, dancing in the moonlight
Ooh baby, baby, got me feeling so right
Ooh baby, baby, dancing in the moonlight
Ooh baby, baby, got me feeling so right
Ooh baby, baby
Ooh ooh ooh ooh
Rock my world until the sunlight
Make this dream the best I've ever known
Dirty dancing in the moonlight
Take me down like I'm a domino
Every second is a highlight
When we touch, don't ever let me go
Dirty dancing in the moonlight
Take me down like I'm a domino
still into you drum 在 Still Into You - Paramore (Drum Cover) - Rani Ramadhany 的推薦與評價
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still into you drum 在 Paramore - Still Into You DRUM | COVER By SUBIN - YouTube 的推薦與評價
Paramore - Still Into You DRUM | COVER By SUBIN ... [Drummechanic | Drum Technician | Changgyo Kim] 드럼미캐닉 | 드럼테크니션 김창교. ... <看更多>
still into you drum 在 Still Into You - Paramore () Pop Drum Cover Score book ... 的推薦與評價
039 | Still Into You - Paramore () Pop Drum Cover Score book Sheet Lessons Tutorial. 128,453 views128K views. Sep 30, 2018. ... <看更多>