Wen | Ling Fox Bo Guang
Recently, Jay Chou's songs dominated the charts on a certain platform and re-emerged after 20 years. Hua Chenyu, who was also ridiculed as a "Leader of Chinese Music", sang several new songs at the concert, and the new song chose to mock those who attacked him. As a result, naturally, there was another wave of more ferocious ridicule.
At the same time, this year's music entertainment festival (TMEA) on a certain platform selected the top ten hot songs of the year. As a result, the top ten hot songs are undoubtedly divine comedies, and most of the short video divine comedies.
The decline of the Chinese music scene can be said to be a cliché, and I have personally written a lot of manuscript analysis of the Chinese music scene. The development of Chinese music has been foreshadowed, that is, the prelude to the outbreak, here is my annual song list, probably to say.
However, most of the songs under this song ranking are bands, domestic and foreign bands, but there are more domestic bands, especially some new bands, such as Su Zixu & The Paramecia of art rock, and the psychedelic band Nerve Passenger (Neuro traveler), which has a good melody and arrangement, the old band sound toys, sound fragments and so on.
There is no Brilliance Chenyu in this song ranking, nor is there a Hong Kong and Taiwan song that everyone is familiar with before 2010, nor is there Jay Chou. Of course, some people will say that NetEase Cloud does not have the copyright of Jay Chou's music, which is indeed a fact. But in the early mp3 era, when there was no charge, almost most of Jay Chou's classic songs were downloaded.
Bo Guangjun is more nostalgic for the Zhou King Taolin and the songs of his contemporaries, and occasionally listens to them, or likes to discover new songs that are good. Because of the analysis of the number of new and old bands in the mainland, the works, and the development of the Chinese music industry, I believe that this is the future of the Chinese music scene.
Why does Jay Chou rule the Chinese music scene? We can see the Taiwanese music scene of the same era
Many people may not have understood that if the economic base determines the superstructure.
In terms of economic development in 2021, and then to the population base of the mainland and the vastness of the region, why is Chinese music so far worse than the development of Chinese music in the Jay Chou era in the 2000s?
This is the problem of the development of China's music industry, to put it simply, the development of the music industry on both sides of the strait and the three places is different, behind which is economic development.
Regardless of the economic level of the mainland in 2021, the per capita GDP is still not as good as that of the Hong Kong and Taiwan period in early 2000, and the people's living standards are the foundation. In terms of development, the cultural industry, such as the music industry, such as movies, television dramas, etc., is not as mature as the cultural industry of Hong Kong and Taiwan in the early 20th century.
The era of Hong Kong and Taiwan music records is very mature, music production, creators, listeners, etc. is a virtuous circle of relationships, coupled with the new folk song movement in the 70s, Luo Dayou and other generations of exploration and accumulation, and finally ushered in the outbreak of Jay Chou's generation in the 2000s.
Why is the Taiwanese music scene so strong after 2000? Because there is more than one Jay Chou, there are also Tao Zhe, Wang Lihong, Lin Junjie, Mayday, Sun Yanzi, Liang Jingru, Fei'er Orchestra, Xin Orchestra, Adu, Guangliang, SHE, Xiao Yaxuan, Penny Dai, Zhang Hang, Cai Jianya and other musicians and singers.
In the middle of 2000, the era of recording collapsed, and then entered the era of digital music. At that time, there was no copyright protection, and musicians made money by color ringtones. However, because the Hong Kong and Taiwan music scene is at its peak, it makes a lot of money, plus film and television dramas and various commercial activities live very well.
The most critical question is, how did the Hong Kong and Taiwan music scene decline?
Although the Economic Development and Personal Living Standards of the Hong Kong and Taiwan Music Scenes are relatively high, the music industry chain is very mature. However, the collapse of the record era after 2000, the huge attractiveness of the mainland market, and then the problems of its own region, population and so on, eventually led to a period of rapid decline after 2010.
Because the Hong Kong music scene is small in population, small in territory, and more commercial, the Hong Kong music scene will not work after 2000. The Taiwanese music scene has bred a new generation of Jay Chou because of its population, wider geographical area, language advantages, etc.
After 2010, the Taiwanese music scene can not be renewed, there is no new Heavenly King Tianhou, the audience is familiar with the grass East, Five people and other bands in the past two years, almost the same as "The Distance Between Us and Evil" and "Want to See You" and other new Taiwanese dramas. It is with economic development and social changes began to take the small and refined route.
Wang Feng was ridiculed, xu Song was frequently mentioned? Why can't the mainland music scene produce Jay Chou?
In the 1980s and 1990s, the mainland music scene did not establish a mature music industry chain in the recording era, and the market music at that time was only Chinese rock represented by Cui Jian, and later campus folk songs. Other state-run music artists like Han Hong, Tengger and Tan Jing were the "planned economy" period, and everyone was not in one dimension, but they were the hottest in the market.
In 2001, the WTO was signed, and mature Hong Kong and Taiwan commercial music entered the mainland market in an all-round way. The mainland music industry chain is not working, and commercial music is not. Except for the top groups of state-run music, rock and folk songs like Cui Jian, Xu Wei, Park Shu, Zheng Jun, Han Hong, Tengger, etc. (Wang Feng, Li Jian are all later fired), they can't beat the Hong Kong and Taiwan musicians of the 8090s, as well as Jay Chou's generation of Hong Kong and Taiwan musicians.
Although Daolang was born immediately after the music in the mainland market, it was suppressed by mainstream musicians in the mainland. The phoenix legend has become a legend, Hu Yanbin is probably a level, the status can be comparable to the Zhou Wang Taolin's mainland musicians, until now is also very stable.
Xu Song and Wang Sutaki debuted around 2010 and finally came out because of their good level. Other online musicians such as Pang Long in "Two Butterflies", and love singers such as Zheng Yuan, Liu Zhe and HuanZi. Probably because the song is too popular, it has slowly passed after 2012.
Why can't Jay Chou be born in the mainland? A large part of this is environmental factors, but it does not mean that there are no talents in the mainland. People only saw Xu Song, but there are many musicians as talented as Xu Song, especially those in the independent music scene in the mainland, who have to be unknown because of various factors.
The songs accumulated by independent music in the mainland ushered in the first wave of explosions in the next decade.
Jay Chou dominates the list, and Brilliance is getting weaker and weaker? Why is the Chinese music scene in the past 10 years so hard to hear
From 2012 to 2017, in addition to the mainstream pop musicians who could not beat Jay Chou's generation, Hua Chenyu, Deng Ziqi, Huo Zun, Liang Bo, Mao Buyi and so on. Then there is the accumulation before excavating the mainland music scene, Li Jian, Li Ronghao, Zhao Lei and other people are all so hot, a certain player sang folk songs, folk songs are on fire; then hip hop, and then bands and rock -
We all know what happened next, and around 2017 was another watershed.
First, the rise of capital, the frequent drafts every year and the donkeys of the music variety production team have been squeezed dry, and later capital found that it was easiest to make money in idol drafts, so it embarked on this evil road. Like the previous music draft, there is nothing after-sales only to make money, and it does not care about industrial establishment and talent training, the difference is that one is still quite strong, and one is completely powerless.
This has led to hundreds of millions of fans of "rice circle" singing and dancing love beans songs, but the level of the song is really not good, and ordinary listeners have never heard of it.
Second, the music carrier has changed again, from the digital music era to the short video music era. Although a lot of digital music has begun to charge, short video music that does not charge is still the main force of dissemination, and the carrier of short video music determines that music is short and fast, and it is fast food.
In the end, it promoted the network divine comedy of "The Wind Blowing" and the popularity of the short video divine comedy of "Learning Cat Calling".
If we think about it carefully, the Divine Comedy in the short video era has similarities with the Internet Divine Comedy before 2010, and they are popular songs that can no longer be popular. Short-term burst of popularity, short-term time overgassing. The problem is that the era of the Internet Divine Comedy gave birth to Daolang, Phoenix Legend, Xu Song, Wang Sutaki and other musicians.
What about the Internet Divine Comedy era and short video music? The old Fan next door? Flower porridge? Liu Yuning? Li Yuanjie? Little Pan Pan? This is not as good as dreaming and still. I feel that their songs are quite popular, but the heat does not seem to be very good. As for "Love 105 ° C You", People and Zhao Lei are folk musicians of the Eight Classics, but there are two big hot brother songs that are on fire, and like Liu Shuang in "Mohe Ballroom", the mainstream is not too red.
These are not as good as the mainstream musicians of Jay Chou's era, Li Ronghao, Deng Ziqi, Hua Chenyu, Huo Zun, Liang Bo, Mao Buyi, etc., which eventually led to the current Chinese music scene.
The Chinese music scene has not been saved? I predict that Chinese music will usher in a real explosion
I believe that many people have seen that the development of this cultural industry and economic development, social environment, cultural consumption platform and other development is closely related, and every technological change will lead to great changes in the cultural industry.
Around 2010, thanks to China's economic development and urbanization, offline music platforms began to develop rapidly. That's music festivals, livehouses and all kinds of underground performances. In the past, the mainstream of the record era was records, advertisements, film and television dramas, etc., offline was a bar, and concerts were not something that ordinary musicians could do. The digital music era is a dismal online, only Jay Chou and others have supported it, the line is even more bleak, many musicians can only run variety shows, and bar resident singing can not feed people.
Around 2020, offline music platforms will fully blossom and become a blowout trend. According to the data, there are 56 music festivals across the country during the five-day holiday, an increase of 37% over the same period in 2019, and the number of box office and attendance increased by 252% and 173% respectively compared with 2019.
This is combined with the Chinese environment with a large population, a wide area and a complex culture. Although the number of users on music platforms, communication carriers, music festivals and livehouses is still far from being able to compare with music variety shows, digital music and short videos, the next decade will also be a decade of competition. But more and more young people are in the pit, and the audience is getting more and more, which is a process of one or another, unless new music platforms are reinvented again in the future.
As a result, in recent years, a large number of new bands and new independent musicians have emerged. A variety of musical styles, the level is also very good. It's just a lack of digging, packaging promotion and a virtuous circle. Because of the development of this music platform, the number of users has expanded, a large number of so-called "net red bands" have come into being, and there are obviously popular independent musicians.
These musicians are not well evaluated in the circle, thinking that it is not real rock, electronic music, hip hop, antique style and so on.
However, they have raised the lower limit of Chinese music, right? At least the summer invasion plan, the Sea of Oranges and the Desert River Ballroom, are better than "Learn to Cat Call" and "The Wind Blows", right? The music industry will continue to expand in the next decade, and internet celebrity bands and such musicians are ten times, or even a hundred times, than they are now.
Then music companies and platforms will make money and musicians will survive better. There will be more young people with a musical foundation to enter the industry, have money to buy better equipment, invite more professional musicians, and have better music production. In this virtuous circle, Chinese music will not only get better and better, but also may even give birth to world-class bands and musicians under healthy competition.
Let's think about it carefully, if the Internet celebrity band and "Mohe Ballroom" replaced the singing and dancing love beans, "Learn to Cat Call" and the lower limit of music tailoring, what would the upper limit of Chinese music look like then?
Finally, the marketization of independent music in the mainland and the expansion of commercialization are the general trend, after all, "reverse capital" has returned to the "planned economy", and the era of the record era is impossible. And excessive commercialization will lead to the "traffic economy", we have just come out and even have not yet successfully transformed -
What I personally worry about most is that it is not the development of the virtuous circle of existing platforms and companies, but the operation of large capital entering the market according to the previous "traffic economy", so that the ironclad will be finished. The most similar thing in China's cultural industry is online text, if a platform can innovate in the new era, online novels are likely to be a different world.
The result is that large capital has entered the game, the management is more stringent, and the traffic economy model is used to operate, and finally the network text has become what it is now. In the future, if the mainland independent music has a virtuous circle and becomes bigger and bigger, it will usher in a real explosion, and vice versa.
Finally, I hope that the Chinese music scene and Chinese music are getting better and better!