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ナレーション
60 | Translation - English
ナレーション
Narration
60” HIPHOPは1970年代初めにアフリカバンバータを始めとする、黒人アーティスト達により誕生した。ストリートから発信されたこの文化は瞬く間に世界を席巻する。そして、日本でもDJを始め、ダンサー、ラッパー等、様々な才能が開花し、誰もがHIPHOPの成功と、明るい未来を信じていた。しかし、時代は移り変わり、HIPHOPの熱はしだいに失われていった。メイクノイズしようにもノイズの無い世界
Hip-hop was born in the 1970's from black artists such as Afrika Bambaataa. Coming from the streets, it quickly swept across the globe. In Japan, up-and-coming DJs, dancers and rappers all saw a bright, successful future for hip-hop. But times changed, and hip-hop fever gradually subsided, and there was no more noise to be made.
VERBAL
29” 僕自身が、前はHIPHOPばっかりに夢中だったのに対して、ピンとこなくなてきた自
分が いて、今皆メイクノイズしているのが意味があるのか、アライブなのかデッド、デッ
ドノイズなのか。確かめたい。
I was always really into hip-hop, until part of me started to wonder, is there any meaning to all the
noise everyone was making? Is it really alive, or is it just dead noise? I wanted to be sure.
BELL
7” 当時は音楽家じゃない。只のB-BOYだから。B-BOY=喧嘩してればいいんだろみたいな。
At the time we weren't considered “musicians,” just “B-Boys.” Like all we were supposed to do was get into fights.
CRAZY-A
8” 黒人の文化だから日本人の俺達がって引け目がある
It's black culture, so being Japanese there were some drawbacks.
高木完
Kan Takagi
2” 最初は特にあった
Especially at the beginning.
BELL
15”“HIPHOP=黒人文化でしょ日本人のあなた達がなにやってるの”って音楽家からそう思われていた。でもそれは違う。
ロックカルチャーが世界に広まった様に黒人がやろうが同じ風に感じてやり出したらそれが文化だから
Musicians were like “Hip-hop is black culture, what are you Japanese kids doing?” But that's wrong. Just as rock culture spread throughout the world, if you're feeling it and doing it the same way then it's just culture, whether it's being done by black people or whoever.
高木完
Kan Takagi
4” 今はそんな事だれも言わないHIPHOPが大きくなったから
Now that hip-hop has gotten bigger, no one says that anymore.
BELL
5” 当時はそんな時代HIPHOPがオーガナイズされる前で
That's how it was, before hip-hop really came to life.
ナレーション
Narration
22” 当初市民権を持たなかったHIPHOPだが、様々な才能を取り込みながらシーンはやがてピークを迎える。
さんピンCAMP。このイベントは4000人を動員し、日本のHIPHOP史に残る最大のイベ
ントと言われた
At first hip-hop was floundering, but with the introduction of many different talents the scene began to reach its peak.
Thumpin' Camp brought in 4000 people and was called the biggest Japanese hip-hop event in history.
VERBAL
6” その日を振り返って覚えてる事ありますか？結構前の話だと思いますけど
What do you remember about that day? It was pretty far back.
MURO 1
16” あの日はお祭りだったのを覚えています。
自分のステージなんですよね、身内のクルーで楽しんでました。凄い楽しかった
That day was like a festival. I had fun on my own stage with my own crew. It was awesome.
ZEEBRA
12” さんピンCAMPの前夜っていうのはさ、決して調子よくなかったしさ、HIPHOPシーンもさ。やっぱりそこから突き抜けようってパワーがあの時はあったからさ、ああいう風になった
Leading up to Thumpin' Camp, things weren't going well, like with the hip-hop scene. We had the drive to get out of that slump then, which is why it turned out the way it did.
藤田社長（サイバーエージェント）
Mr. Fujita (CEO, CyberAgent)
4” さんピンは何故かいかないといけないという使命感があって、一人で行った
I went to Thumpin' by myself, feeling like I had a duty to go.
VERBAL
2” 雨の中を？
In the rain?
藤田社長（サイバーエージェント）
Mr. Fujita (CEO, CyberAgent)
1” そうです
That's right.
KREVA
5” 大学いって服屋でバイトして、ラップやってて感じで。
I was going to college, working part-time at a clothing store, and rapping.
5” 凄い盛り上がっていた気がするシーン自体は
I feel like the scene itself was really jumping.
ナレーション
Narration
6” アーティストはHIPHOPの何に魅了されたのか
What aspects of hip-hop fascinated you as artists?
Mummy-D(RHYMESTER)
6” 中学の時聞いてびっくりした。びっくりしないとHIPHOPでは無い。
I was surprised hearing it in junior high. If it doesn't surprise you it isn't hip-hop.
4” びっくりぶっ壊れサウンドだと思う
It's the surprising, crazy sound, I think.
KREVA
8” これでいいんだ感っていうか、ドーントバーンドーントバーンだけでラップしてこれだけみたいな。
The feeling that “this is all you need,” or like rapping to just a “dah-da-BANG, dah-da-BANG” beat.
6” でもラップが乗っているだけでカッコいい思わせてくれるのが大好き
I love how just rapping over a beat like that makes it sound cool.
DJ KAORI
13” 落ちこぼれみたいな、マイノリティみたいな、社会的に恵まれていない人達でも活躍出来る。
It's the fact that left-behind misfits, or minorities, or people who are socially underprivileged, can play an active role, too.
7” そういう精神力に私は魅かれる。HIPHOPのパワーかなって
I'm drawn by that willpower. Like the power of hip-hop.
藤田社長（サイバーエージェント）
Mr. Fujita (CEO, CyberAgent)
13”自分の中の何かを解放してくれる気がする。
退廃的な堕落した感じの人達が歌う歌が、日々の仕事の緊張感から解放しえてくれる
I feel like it frees something inside of me. The songs sung by people who have hit the skids so decadently releases me from the tension of the daily grind.
BOSE(スチャダラパー)
BOSE (Suchadarapa)
12” 自分の影響受けたもの、好きな物をなんでもギュッともってきてそれを作品にできる。
それがサンプリングの良い所。
You can bring in anything that's influenced you, anything you're into and make that into a musical piece. That's the beauty of sampling.
宇田丸(RHYMESTER)
Utamaru (RHYMESTER)
7” HIPHOP以降と以前の表現に別れると思う。世の中は、世界は全て。
I think everything can be expressed in terms of “Before and After Hip-hop,” everything in the world.
12” 良いモノは音楽、小説、映画たくさん世の中にある、でも新しい時代の表現のやり方がHIPHOPだと思う
The world is full of great music, books, and films, but I believe that hip-hop is the form of expression for the new era.
ナレーション
Narration
18” しかし、日本のHIPHOPは突如衰退を始めた。CDセールスの落ち込み、HIPHOP音楽専門誌の廃刊、アーティストのメジャー契約解消
But suddenly, Japanese hip-hop began to go downhill. CD sales were dropping, hip-hop music magazines were going defunct, and artists were losing their major label contracts.
VERBAL
6” 日本HIPHOPの問題点は何だと思います？
What do you think the problems with hip-hop are?
ZEEBRA
12” 日本はラジオがダメだと思う。
Tvじゃん、一番早くHIPHOPのリリースが知れるのはMTV、スペースシャワー。
I think Japanese radio sucks. It's all about TV: MTV and the Japanese cable music channel Space Shower, that's where you find out about hip-hop releases first.
8” そうなってくるとPVを作れないアーティストは人前にも出れないのかって、それはもう大問題
This makes it so that artists who can't make their own music videos can't get any exposure. This is a huge problem.
DJ KAORI
11” 驚く程政治的。
例えばラジオ番組一つでも、かける曲が会議で決まってしまうのが往々としてある。
It's really surprisingly political. For example, even for just a single radio show, they'll often have meetings to decide which songs can be played.
14” 日本に着た時に、良い音楽だからかかるかっていうよりは枠がガチガチに決まってあって、その枠でかかるにはおいくらですよって。
アメリカでもそういうのはあるんだけど、隙がない
When it comes to Japan, music doesn't get played because it's good, it's more like there's this strictly set frame, and it costs a certain amount of money to get played in that frame. America has this, too, but there's no gap.
NIGO
6” 日本は音楽に限らす良い物を良いと言えない。
In Japan, and not only with music, you can't call something that's good “good.”
11” 海外の良い所は良いモノは良い、ヤバいじゃんって、結局シーンの活性化にもなっている
The thing about overseas is that something that is “good” is recognized as such, and people are like “Wow!” It keeps the scene active as well.
宇田丸(RHYMESTER)
Utamaru (RHYMESTER)
7” HIPHOPジャーナリズムは必要で、それが無くなったってのは問題な所がある。
Hip-hop journalism is a necessity, and the fact that we don't really have that anymore is problematic.
12” BLASTに関しては廃刊が決まって頑張り出しやがって、急激におもしろくなって、これいいねってなったんだけど、それ普段からやれよが正直な所だね。
With BLAST, once it was decided that they were gonna fold they started actually putting out effort, and suddenly it got really good, but honestly it's like, why aren't you trying hard in the first place?
7” 批評クリティックが場所ではないよね、もはやどこも
There's no more place for critical review these days.
VERBAL
3” さんピンCAMPの時代はインターネットも普及してないし
The Internet wasn't so widespread in the time of Thumpin' Camp
10” 物が広がるのに時間がかかったていうのもあったかもしれないし、最近賞味期限が短い？
Maybe it's that it took some time for things to get around back then, but do you feel that you get a shorter shelflife nowadays?
DABO
11” 気はするよね。ありがたみがあまり無いのかな。ただで聞けるし、その場にいかなくてもyoutubeで動画がアップされているし。
It does feel that way. Kinda feels like maybe it's not worth it. You can listen for free, and you can see acts on YouTube without actually having to be there.
14” 適当に10個ぐらいピックして見てたら、なるほどね、こんな感じだって何となく知った気になれる。「何年に何とかだしたんでしょ？」ってコラーッ！みたいな
You can pick 10 clips at random to check out, and you get that “OK, I get it” kind of feeling. “Hey, you released something-or-other in whatever-year, right?” It's like “Hey!”
ZEEBRA
18” 残念ながら内側から直せるのに直っていないのは現場のDJ、クラブプレイで日本語がかからない、ほとんど、一晩に一曲、二曲かかれば良い方。
Unfortunately, those who are in a position to fix things aren't doing anything. Like the club Djs, who don't play any Japanese music. Usually, you'll get one, maybe two songs in a night if you're lucky.
20” ラジオダメ、DJ日本語かけないならそこには繋がらない。正直日本のHIPHOPシーンがまだまだなのはラッパーよりも他だと思う。
こんなこと言ったら他の奴らふざけるなと思うかも知れないけど、まだまだなのはお前らのせいだと俺は思うぜ
If radio sucks, and Djs won't play Japanese songs, then they get cut out. To be honest, it's not the rappers' fault that the Japanese hip-hop scene hasn't reached full potential yet. Those other people will probably get pissed when I say this, but I think it's your fault, guys.
ナレーション
Narration
26” 今までも、ジャズ、ブルース、ロック、パンク等、海外から輸入された文化が時代の波に飲まれて入った。HIPHOPもまた日本において流行の文化でしかなかったのだろうか？
Up to now, jazz, blues, rock, punk, and other forms of culture that have been imported from overseas have faded away with time. Do you think that in Japan, hip-hop is maybe nothing more than a passing cultural fad?
KREVA
8” 外側だけもらってきちゃってる気がする、音楽の手前っていうのか。
I feel like we're only getting the superficial part of it, stopping right in front of the music, if you will.
15” ジェールズサンタナとかはニュージャージーにスタジオ作って金をかけるなら全部機材って話しているのは知らなくて、バンダナの巻き方ばかり気にしてる
People have no idea about, say, Julez Santana, who built his own studio out in New Jersey, and decided that if you're gonna spend money then you should go all out and buy all your own equipment. All they're thinking about is how they tie their bandanas.
DABO
12” Usの大金持ちの気持ちでリリックを書いてしまう、今の子はジェイジーの気持ちで、ファットジョーの気持ちでって、
People end up writing their lyrics thinking that they're some rich American rapper, kids these days thinking they're Jay-Z, or Fat Joe.
Mummy-D(RHYMESTER)
25” 全部輸入しなくていい。皆リアルでいる事に凄く自信が無いから、そういう形を持ってきちゃう。あの時ジェイジーがあんな事言てった、ケアレスワンがこうやんなきゃダメだって言ったら皆それを素直に全て吸収してやっちゃう。
It doesn't all need to be imported. No one is confident enough to keep it real, so they turn out that way. So if Jay-Z say this or that, or KRS-One says you gotta do things this way, everyone just sucks it all in so obediently and does everything the way they're told they should.
4” 俺らのリアルが出来ない。
But that's not “real” for us.
BOSE(スチャダラパー)
BOSE (Suchadarapa)
5” ゴールドチェーンとか実際ゴールド買える訳じゃないからしてんのおかしいじゃん
Trying to wear gold chains when you can't actually afford to buy gold, that's ridiculous.
9”ベンツのエンブレムつけるんだったらTOYOTAの奴ぶらさげた方がおもしろいじゃん
If you're gonna be sporting a Bentz emblem, wearing a Toyota symbol would be more amusing, you know?
ナレーション
Narration
12” アメリカのHIPHOPシーンのエッセンスの一つディスリスペクト。
アーティスト同士が罵り合う事で、話題になり、セールスにも繋がってる
The “Dis” is main part of the essence of the American hip-hop scene.
By arguing and insulting each other, artists get their names in the news, and even sales are effected.
VERBAL
2” ディスってどう思います?
What do you think about dissing?
BOSE(スチャダラパー)
BOSE (Suchadarapa)
16” やり方があると思う。僕らも気に入らない事は表現することはいいと思うから、そういうやり方が嫌だっていうのは面白いと思うんだけど
I think there's a certain way to do it. We believe in expressing ourselves regarding things that bother us, so I think it's funny that some people don't like that form of expression.
NIGO
24” たまにディスられたりするテリヤキでも。
僕にしてみるとディスられたのは相手にされちゃったって事でHIPHOPとして認められたって取り方をしちゃう。僕は一HIPHOPファンとして嬉しいし、そういう風に感じちゃう
I get dissed once in awhile, even being in Teriyaki Boyz.
The way I see it, having someone dis me is like having them accept and recognize me as really being “hip-hop.”
VERBAL
8” キングギドラとして公開処刑をやったときは相手がkjだったじゃないですか、その時の心境は？
When rapper Ki came out with “Koukai Shokei (Public Execution)” about King Giddra, how did you feel about it at the time?
ZEEBRA
7” そうだな、あれはね、もの凄くストレートな欲求というか。
Yeah, that was just straight desire, I guess you could say.
9” 俺も初めてコンビニで聴いた時、耳を疑ったし、自分かと思ったし、ぶっちゃけ本当に思った。
The first time I heard it playing in a convenience store I couldn't believe my ears, like was this really about me? It really hit me.
VERBAL
3” 一時期DMXっぽいっていわれた事ないですか？
Did anyone ever tell you that you reminded them of DMX?
ZEEBRA
8” あるね。まず間違いないのはDMXがあの声でリリースする前からあの声でライブしてた
Yeah, but one thing's for sure: I've been doing live shows with that voice since before DMX ever released anything with that voice.
12” 真似っていうのは何も無しじゃなくて、色んな物をミックスアップしてたら真似じゃないと思う。俺もすげー色んな人達をミックスアップしてきたし
It's not that I'm copying anyone, because if you mix up a bunch of different stuff then I don't think that's “copying.” And I've mixed up lots of different people.
VERBAL
4” 結果的に望んだ結果になりましたか？
And did you get the results that you were hoping for?
ZEEBRA
16” 方向的には俺の望んだプロセスになったというか、まぁ、彼がそういうスタイルのラップをやらなくなって、別にそれ以外の所には全く文句ないんだよね。
Directionally I guess you could say I achieved the process I was going for, and he isn't doing that style of rap anymore so I really don't have anything else to complain about.
VERBAL
4” あの曲でたときのリップスライムの心境は？
How did Rip Slyme feel when that song came out?
RYO-Z(RIP SLYME)
16” もう、俺達はゴンフィンガーですよ、ヤッターみたいな。
憧れのZEEBRAさん達のキングキドラにディスリスペクトとはいえ、連なる感じが、もう舞い上がって
We were really stoked, we were like “Awesome!”
Although it was a dis on Zeebra and King Giddra, who we look up to, we were so happy to feel like we were right there with them.
ILMARI
6” アルバム買ったからね。ノリノリで車の中で聴いてたから、完全に拾ってた
I even bought the album. We rocked out to it in the car, we were all over it.
DABO
18” 日本でも下町の方とかそうだけど、チャキチャキ系の人達は普通に吹っかけてくるじゃない、言葉でさ「おい、ブサイク」みたいな、「誰がブサイクやねん」でこれでハハッハで終わりみたいな。
Even in Japan, down in the old town, sometimes you get people on the street kind of provoking you, verbally, like “Hey, ugly!” and you go “Who you callin' ugly?” and then ha ha ha, you have a laugh and it's over, you know?
5” でもなんか日本だと「アイツ俺の事いってんの」って
But in Japan, it's like “Is that guy talking about ME?”
VERBAL
1” マジになっちゃう？
It gets serious?
DABO
5” マジになっちゃうていうか、いえいえ遊びだってみたいなさ
Sort of, it's more like a “No, man, I'm just kidding!” kind of thing.
DJ KAORI
6” HIPHOPのアーティストの人達って狭い中で争っちゃてるて部分が…
In this really small area there are some hip-hop artists that tend to fight with each other...
VERBAL
2” お互い食いあっちゃてる
Bringing each other down?
DJ KAORI
6” ある。あるし、何かちょっといけると足を引っ張ったり、凄くメンタリティーが
Yeah. That, and there's the mentality that once someone starts to make it, they pull him back down.
VERBAL
1” 何でですかね？
Why is that?
DJ KAORI
8” ねぇ、なんかちょっとゲトーだなって思う所あるから。戦うべき敵は他にいないかなって思うんだよね、いつも
It feels really ghetto to me. I think, isn't there some other enemy you should be fighting against?
ピストン西沢
Piston Nishizawa
13” シーンが小さすぎて分かんない。だから日本のHIPHOPの人が日本のHIPHOPの人をディスってもそれがHIPHOPの世界ではワァーてなるかもしれないけど。
I think the scene is too small. Maybe that's why when you have Japanese hip-hop artists dissing other Japanese hip-hop artists, the whole hip-hop world gets really excited.
8” だからHIPHOPの枠を飛び出る事を目標に、だけどHIPHOPらしさは忘れないっていうそういう部分が必要なんじゃないの
That's why I think we need to work at breaking out of this hip-hop frame, but without losing the spirit of hip-hop.
KREVA
8” 結局「公開処刑」も自分からさ、自分のディスられている奴買うほど、マゾじゃないから、買わなかったけど
I'm not as masochistic as the guys who buy the record of someone who's dissing them, so I never bought “Koukai Shokei.”
13” ただ、もう最悪だったね、その時は。最悪だった。あんまり思い出したくないね。
But it really sucked at the time. It was horrible. I really don't even want to think about it.
8” 俺はその気持ちを他の人に味はせたくないから、ディスは反対かな
I wouldn't want to make anyone else feel like that, so I guess I'm against dissing.
Mummy-D(RHYMESTER)
8” 俺はね、とにかくね俺個人の意見だけど、ディスなんか無くなればいいって思ってる。
As for me, well, personally I think that the dis just needs to go.
15” 俺が10何年かHIPHOPの歴史を見てて、日本のね、その中でグッと盛り上がった時期っていうのはね絶対もうLOVEで固まってたの。
I've been observing the history of Japanese hip-hop for 10-something years now, and the time that it really got exciting was when everyone had love for each other, seriously.
ナレーション
Narration
26” 利益を優先し流行を追いかけるメディア、目まぐるしく変化し続けるマーケット、
スタイルばかりを模倣してしまったシーン
様々な問題が浮き彫りになる中、アーティストは何を考えているのだろうか？
日本のHIPHOPシーンの問題は何ですか？
A media looking to make a profit by chasing after trends, a market that is constantly changing at a bewildering rate, and a hip-hop scene that focuses mainly on ripping off style.
With a range of problems popping up, what are the artists thinking?
What is the problem with Japanese hip-hop?
ピストン西沢
Piston Nishizawa
11” 一番最初のホーオーって言ってた所から、80年代終わりから進化してDAYONEがきて、日本語ラップっておもしろいじゃんって、コミカルな方向に膨らむ。
From the first time someone said “Ho-oh!” around the end of the 80's, it evolved and then we got the song “DaYoNe,” and Japanese rap became fun, started becoming comical.
9” その後にVERBAL達がでてきて、そっから今あんま進化してないから、それで俺はちょっと停滞感があるんじゃないかと思う
After that Verbal and them came out, and from then on it hasn't really evolved much, which is why it's feeling kind of stagnant, I think.
DJ JIN(RHYMESTER)
11” 皆音楽知らないんだよね全然、それでHIPHOPって言ってるから、そこはちょっと不安は感じる。正直
No one really knows anything about music, you know? And they're saying they're hip-hop, which makes me feel a little uneasy, to be honest.
15” もちろんHIPHOPをやってる子だったらHIPHOPの事はもちろん知っててほしいし、それプラス、それはどういう音楽でできてるんだろうって、最低でもやる側だったら、そこはある程度掘ってほしいし
Of course if there are kids who are doing hip-hop, I want them to be knowledgeable about hip-hop, and I want them to think about things like where it comes from musically, especially if you're going to be doing hip-hop yourself.
KREVA
11” Cdが売れなくなってきているっていう前にサウンドがしょぼいのが多いなって思ってて、曲じゃなくてナリっていうの、ノリとかじゃなくてナリ。
More problematic than CD sales slipping is the fact that too much of the sound is so weak. Not the songs themselves or the beats or anything, but the composition.
7” ちゃんと高いクオリティで出してる物が本当に少ないなっていうのが結構問題かなって思ってるんだよね
I think a big problem is that there really isn't much out there that's being made with real quality.
DJ KAORI
24” 何かラッパーの人で多いのは何を言っているのか分かんない人が凄く多いなって感じますよね。でもやっぱりステージのお客さんの前でやるからにはね、伝えたい事がないと、やぱり、ラップってそういう言葉が刺さってくる所がいい所だったりするし
I really feel that with a great number of the rappers out there, you can't understand a word they're saying. But I think that if you're out there on stage, in front of an audience, you should have something that you want to get across. After all, the words are one of the good parts of rap.
Mummy-D(RHYMESTER)
17” 作詞として歌詞として、全然歌謡曲が達している位置まで全然達していないと思うから、そこがダメな所だし、そこが希望でもあるっていうかさ
Lyrically, and in regards to writing lyrics, I don't think that hip-hop has reached the place that pop music has reached, and I think that that's a problem but it's also a kind of source for hope.
ナレーション
Narration
8” 日本のHIPHOPが進化するために必要なファクターって何ですか？
What are the factors that you think are necessary for Japanese hip-hop to move forward?
ピストン西沢
Piston Nishizawa
5” それはやっぱり、普通の人が聴けるHIPHOPが増えてないんだと思う
I don't think that there's enough hip-hop that your average person can listen to.
16” 普通の人が聴けるHIPHOPから、HIPHOPマニアの物から、誰の聴いた事のない新しい物を追求しているHIPHOPまで、色々な地層ができてこないとやっぱりそこまでは、まだ数が少ないと思う、やってる人も少ないと思う
From hip-hop for the average person, to hip-hop for die hard hip-hop maniacs, to hip-hop in the pursuit of new sounds that no one's ever heard before, we need many different layers of hip-hop, which we don't have now, and which not enough people are out there doing.
BOSE(スチャダラパー)
BOSE (Suchadarapa)
8” とにかくHIPHOPって自分の中からでてくる正直な物をやらないと続かないと思うんだよね。何よりもそれで
I think that you need something honest, something that comes from within, to keep going in hip-hop. That more than anything else.
7” 正直に自分が本当に面白いと思う事を、どんどん追求していかない限り、HIPHOPではないっというか
To be honest, unless you keep pursuing things that are really fun for you, then it isn't hip-hop.
宇田丸(RHYMESTER)
Utamaru (RHYMESTER)
5” 一言でいうと歌詞の内容と伝え方だと思いますね。
In a word, I think that it's the lyrical content and the style of communication.
20” 歌詞の内容をもう少しレベルアップした方がいいかなって、自分含めてなんですけど。
伝え方をもうちょっとレベルアップして、何ていうのかな、日本語ラップのある種の記号だけでウッってなっちゃう人も一杯いるってわかるし、そう人に対しての何ていうのかな、
The lyrical content needs to be brought up a notch, and this goes for myself, too. Also the way the point is put across needs to be taken up a level as well, in a way that can kind of better reach the many people out there who think “Ugh” at the slightest hint of Japanese rap.
6” 一言でいうと、そう説得力。
もうちょと説得力を増すべきだというか、一言でいえば
In a word, I think it needs more persuasive power, you could call it.
DABO
8” HIPHOPを聴かない人でも共感できるものを作れって、まぁそんな事は誰でも言うんだけどさ。
Everyone tells you to make something that people who don't listen to hip-hop can relate to.
7” 辛い事は誰しも抱えてる事だと思うから、俺悩んでんだよねとか。
I believe that painful experiences and hardship are something personal, something that everyone has to deal with.
13”そういう歌がピュアにポンと心の声をポコッとリリックにできたら、それはもう受け入れられる希望は持てると思う
So if you can write a song with lyrics that come from a pure place, from the voice in your heart, I think you can pretty much count on people accepting it.
KREVA
7” あまりのも日本語ラップのサウンドの面を語るって事が全くなされていない
No one ever discusses sound-related matters in Japanese rap, at all.
15” 気づいていない仲間のアーティストがいるんだったら、ちゃんと話してもっとこういうスタジオがあるから、一回やってみたらどうだって、それで気づくかもしれないし、そういう事を少しづつやっていけたらって思ってる、最近は
If you know an artist who has sound problems that he's not noticing, then talk to him, tell him “Hey, why don't you try recording at this studio instead?” and maybe he'll take notice. Lately I've been thinking that this kind of thing needs to happen more.
DJ JIN(RHYMESTER)
13” 只レコードをかけてるだけじゃなくて、プラス何かがないと、どんなにノリがよくても伝わらない瞬間はある、正直。
Just putting on a record isn't good enough. Without a little something added to it, sometimes your message just won't get across, no matter how fat your beats may be.
8” だから、そういう変化しないとダメかなって
So I think that that's the kind of change we really need right now.
藤田社長（サイバーエージェント）
Mr. Fujita (CEO, CyberAgent)
9” 今いってない様な気がするけど僕はこれからビジネス的にも成長市場だなって感覚をもってますけどね。
I don't believe it was mentioned just now, but from a business perspective I have a feeling that it's becoming a growing market.
30” 僕らがやってるインターネットも似た様なとこがあって、アメリカではやったインターネットビジネスを見よう見まねで、日本で皆始めて凄く注目されて、ガーンとあがったんだけど、ネットバブルが弾けて、叩かれ、低迷し、また出てきて叩かれ、livedoor事件とかがあって、いったりきたりしているんですけど、長い目でみると、どんどん成長してきている、HIPHOPのシーンもそれに近いんじゃないかと思ってるんですけど
There is a strong resemblence to our field of the Internet, I think. Following America's example of taking on Internet business, at first everyone in Japan started to attract attention, and then things really started to pick up steam, but then the Net Bubble burst, everyone took a beating, the market went soft, we took a beating again, then we had the Livedoor scandal, and it's still a bit shaky, but over time things have been progressing rapidly. I think the hip-hop scene really resembles this.
ナレーション
Narration
6” 日本のHIPHOPに未来はありますか？
Is there a future for Japanese hip-hop?
BELL
18” 絶対にHIPHOPは衰退しないと思う。今が一番悪いかもしれないね。そういうの皆築き始めて、何かやってきた第２世代のシーンでできあがると思うんだ。今振るいにかけてるからさ、落ちた奴は出てこないし、受かった奴はもっとでっかくなると思うし
Hip-hop will never fall. We're at our lowest point now, maybe, but we're going to push on and become the next great generation on the scene. It's like we're screening everyone now, and so far no one has failed, and those who've made it are gonna make it even bigger.
高木完
Kan Takagi
6” 可能性はあっちこっちに秘めてるってことだと思うけどね、色んな物を聴けたり、チョイスえきたり出来るっていうのは
We're able to listen to and choose from a wide variety of stuff, and I see a lot of potential.
CRAZY-A
8” 逆にだから未来があるんだよ、まだ出来てないんだから、まだ皆未完成
On the contrary, the fact that we haven't fully evolved yet shows that there is a future, we're still evolving.
MURO
5” 未来はあるからやってます。あるからやってますよ。
We do have a future, that's why I'm doing this. That's why I'm doing it.
ILMARI
8” 常に新しく変化してってほしい願望はりますけど
I have the hope that hip-hop can continue to constantly evolve.
DJ JIN(RHYMESTER)
10” あるはあるとしか言いようがないね。でも、今までみたいな事をやっててもダメだと思うんだよね
All I can say is that yes, there is a future. But we can't keep on doing things the way we have been up to now.
宇田丸(RHYMESTER)
Utamaru (RHYMESTER)
6” こんだけ浸透して勝手にやっている人が増えてるから、すぐ無くなる事はないだろうし、
With so much permeation and so many people out there doing it, hip-hop won't go away anytime soon.
Mummy-D(RHYMESTER)
14” 本当に伝わる言葉、ちゃんとささる言葉ってそういう物は自分も含めてだけどまだ出来てないような気がして、それがあるからまだやってられてるっていうか、希望でもあるっていうか
This goes for myself as well, but I feel like we haven't really found the words that truly get the message out, words that really stick, and that's why we're able to keep going, because we still have that sort of hope.
藤田社長（サイバーエージェント）
Mr. Fujita (CEO, CyberAgent)
8” JAPANESE HIPHOPこそ成長市場だと思ってるんですよ。今逆にいうと底値で買い時っていうか。
I think that Japanese hip-hop really is a growth market. Now is the time to buy in, while the price is low.
7” 凄く前の世代と今の新しい世代が上& | | Japanese to English: The Depletion of Resources and Reusable Energy | Source text - Japanese
資源の枯渇性と再生可能エネルギー
人類が築いた高度で文化的な生活は、資源によって支えられている。しかし、長年にわたって地球の資源を使い続けてきた人類は、いま、資源について真剣に考えなくてはならない時を迎えている。使えば補うことができない石油や石炭などの化石燃料の問題、森林資源の減少に伴う地球規模の環境問題など、人類がこれからも持続的な発展を続けていくためにはこのような問題を解決しなくてはならなくなった。
地球の資源には限りがある。特に多くの資源を海外からの輸入に頼っている日本は資源の無駄使いをすることはできない。資源の埋蔵量を年間の生産量で割った数値を「可採年数」という。たとえば石油の可採年数は45年、天然ガスの可採年数は64年となっているが、これらの数字は、もしこのままのペースで資源を採掘した場合、その年数で無くなってしまうかもしれないということを意味している。
そこで、このような枯渇してしまう危険性のあるエネルギー資源に替えて、主に太陽エネルギーをもとにした再生可能なエネルギー資源の開発・実用化が急がれている。再生可能なエネルギー資源には、太陽光・熱や、風力、バイオマス、波力など太陽エネルギー起源のものの他、地球の地下に貯えられたマグマ熱を利用する地熱エネルギー、月と地球の引力を利用する潮汐エネルギーなどがある。
これらのエネルギー資源は、化石燃料などに比べると、枯渇性の心配がないこと、資源量が多いこと、政治的な駆け引きによる供給途絶の心配がないこと、環境への負荷や影響が小さいことといった特徴がある。一方で、エネルギー密度が低いことや、地域や時間に依存して変動するため安定的な供給が現在の技術や社会体制のもとでは難しい場合が多いなど、実用化に向けてはまだまだ課題が多いことも指摘されている。 | Translation - English
The Depletion of Resources and Reusable Energy
The high-level, cultured modern lifestyle created by mankind is made possible by our natural resources. But now, after many years of continuous use, the time has come for mankind to think seriously about the Earth's resources. The problem of fossil fuels such as petroleum and coal, which can't be replenished once used, the depletion of our forests and environmental problems on a global scale, these are the kind of problems that mankind now must solve in order to continue to thrive from here on.
The Earth's resources are limited. Japan in particular, which is largely dependant on resources imported from overseas, cannot afford to waste these resources. The figure attained by dividing the amount of a resource's reserves or deposits by its annual production output is known as its “reserve-to-production ratio". For example, the reserve-to-production ratio of petroleum is 45 years, and 64 years for natural gas, which is the number of years in which these resources will disappear if we continue to mine them at this rate.
Now, to substitute these depletable resources, we are hurriedly working at the development and implementation of reusable reusable energy sources, especially solar energy. Reusable energy comes from solar light and heat, wind power, biomass, wave power, and other sun-derived sources, in addition to geothermal energy utilizing heat from magma under the Earth's surface, and tidal energy which utilizes the gravitational pull of the Earth and moon.
Compared with fossil fuels, these energy resources have advantages such as lack of threat of depletion, abundance of resources, lack of supply disruption due to political bargaining, and having minimal negative effects on the environment. On the other hand, the low energy density and fluctuation of these energy sources depending on the region and time, and the fact that stable service of this type is difficult to achieve with our present level of technology under the current social system are indications that we still have much to do to work toward the implementation of these techniques. | | Japanese to English: 学校崩壊 (The Collapse of Schools) | Source text - Japanese
みんな同じがいいという価値が、この十年ほどのあいだにものすごく強くなっていると言ったが、それは、外から、つまり社会の側から、学校のなかに入ってきたものである。学校はそれに流されていることは明らかだが、それは学校がつくり出した考え方ではない。
まず、いじめの問題でもはっきりしてきたように、みんな同じような生活の仕方をしなくてはいけないとう雰囲気がひじょうに強くなった。
最近は、人とちがうことをやれば、それがいじめの対象になる。授業に積極的に参加して、手を挙げたりしてはいけない。何かの役員になって一生懸命がんばるのもだめだ。がんばってクラスをまとめようとすれば、いじめの対象にされるか、何もしないところまで引きずり下ろされる。みんなと同じようにできないと、これもいじめの対象になる。だから、みんな自分を目立たせないように必死になっている。まさに個性を発揮してはいけないのである。おかしなことに、このような雰囲気は、個性が大事だというかけ声が強くなってきたなかでだんだん強まっている。
大人の社会でも、最近、たいへんな仕事をしている人が引きずり下ろされることが多くなった。以前は、人びとのあいだに、この人たちにはむずかしいことをやってもらうのだから、たとえば給料はいっぱい取ってもしかたがないというような、控えめなところがあったと思う。そうした考えがなくなったのは、やはり平等という感覚が行きわたったからだと思う。その一方で、人びとのあいだに嫉妬心がものすごく強くなっているのだ。
学校崩壊、河上亮一（1999）、pp.134-135 | Translation - English
It has been stated that over the past ten years or so, more importance is being placed on uniformity, but this is a value that has been entered into schools from the outside, or in other words, from society. Although it is clear that schools are getting carried away with this way of thinking, it is not an idea that was created by the schools themselves.
First off, as made clear by the bullying problem, the general attitude that everyone should live their lives in the same manner has gained strength.
Recently, to do something different from everyone else can make one a target of bullying. Actively participating in class, raising your hand, these things are considered taboo. Becoming a class officer and putting out effort towards something, this is also frowned upon. Try working hard at bringing the class together, and you'll either find yourself being bullied or being dragged too far down to do anything. Also, failure to do things the same way as everyone will get you picked on as well. For this reason, everyone tries their utmost not to let themselves stand out. It is just plain forbidden to show any kind of individuality. Oddly, this attitude is becoming stronger in a time when people are being told more and more that "individuality is important."
In recent years, people in adult society with difficult jobs are being dragged down more and more as well. I think that previously, there was more modesty among people, and the general sentiment was that if someone was going to do hard work then naturally they should be rewarded with a high salary. I believe that this kind of thinking has disappeared due to an increasing sense of equality. On the other hand, feelings of jealousy among people are also growing very strong.
The Collapse of Schools, Kawakami Ryoichi (1999), pp. 134-135
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