Wen Liejimei
The sea is suitable for movies, not for songs.
China's urbanization process has a hidden grass snake gray line: what original pop music is singing. In the early days, he mainly sang local complexes and life feelings, and then sang more and more songs of the city, after all, the city is already a "matrix".
But if it's not a city with a better economy, the more likely it is to be sung? Not necessarily.
"Goodnight Beijing" by the band 43 Baojia Street, the earliest city song. /Image from the web
The capital, Beijing, is a place where cultural workers gather. In pop music alone, there are too many people singing about Beijing. The most classic "Good Night Beijing" at No. 34 Baojia Street sings the loneliness of people in the grand background. Later, Wang Feng himself wrote a song "Beijing Beijing", singing the struggle and nostalgia of the people in Beijing.
The slightly lesser punk band Mirror also wrote a tender "Goodnight Beijing", which is their most popular track, all in room K, writing about the sense of loss of passers-by in Beijing.
At present, the popular old folk band Wild Children, when he was young, wrote a song "Living Underground" in Beijing, writing the feelings of migrant workers in the North Drift:
Life is not an ideal and cannot be imagined
Not something I could understand
He didn't have to say it to the one who had sung it
Living in the basement is a lot of north drifting experience. /Image from the web
And that's not all. Xie Tianxiao's earthy lyrics have a feeling that they can surround Beijing: "Standing on the fourth ring and watching the fifth ring, driving an Audi to the Olympics." ”
Old Beijingers love to write about Beijing. He Yong's masterpiece of Chinese rock music, "Bell and Drum Tower", writes about the sense of panic that the torrent of the times flooded the well atmosphere of Beijing. Song Dongye's "AnHe Bridge" captured a lot of traffic, and it is also written as a remembrance of old Beijing.
All in all, all angles of Life in Beijing are in the songs, which in turn greatly enrich the image level of Beijing and render the taste of Beijing.
Thanks to the wandering artists, many cities have gradually kept up with the rhythm of "there are songs". Not as much as Beijing, but there are. Count at random, low absinthe "Lanzhou Lanzhou", Zheng Jun's "Chang'an Chang'an", Mr. Li's "Memories of Zhengzhou", "You Left Nanjing and No One Talks to Me Since", Wan Qing", "Kill that Shijiazhuang Man", GAI "Chongqing Soul", Zhao Lei", "Chengdu", and "West Lake". Some third- and fourth-tier cities have famous songs, "Qinhuangdao", "Anyang", "Dingxi"...
Gai's words sing the taste of the mountain city of Chongqing. /Image from the web
Then you will find that the four major lines are north of Guangzhou, Shenzhen, except for Beijing, and the other three do not have too many "theme songs". This is strange. Chengdu's "end of Yulin Road" can be fire, why can't Shennan Avenue and Guangzhou Avenue be on fire? The road names in Shanghai that are named after cities across the country are full of stories, but why can't they be fired?
The problem of the lack of songs is easy to understand. Shenzhen lacks the precipitation of humanistic life, and it is too difficult for you to outline life in a city in a high-speed and great change in a few words. And Shenzhen dream, both realistic and fast-paced, you have to write into soft songs, it is not easy. All the singers and bands like to tour guangzhou and shenzhen, but they can't write a song about the two cities, and there is a sense of cultural estrangement. People in it can't find the right context to narrate, so there's no way. Wu tiaoren writes about parts of Guangzhou and Shipaiqiao, but the taste created by Hakka has its own limitations at the circulation level.
The Gojo people did not sing the taste of Guangzhou's urban villages to the whole country. /Image from the web
But Shanghai shouldn't. The story of Shanghai is deep, and it is not an exaggeration to say that there are thousands of styles, and it is reasonable to say that the material and emotions are abundant. But there are no songs written about Shanghai that are popular in the market. I asked a few friends who were born in Shanghai or later settled in Shanghai, and they said that they were not impressed with the songs they wrote about Shanghai, and the only thing that could be blurted out was an advertising song by Libo Beer around 2000, "Everyone in Shanghai has heard", called "Reasons to Like Shanghai".
Listening to this name, why did you hear a sense of barrenness?
Those rock stars who pass by do not write about Shanghai like they do not write about Guangzhou, which is strange. However, some celebrities did say to me: "The city of Shanghai is different from Guangshen, and I always feel that I can't go in, which is a bit embarrassing." ”
This "awkward" word can be written into a sociological paper, and it is difficult to expand it.
Li Quan's "Shanghai Dream", many people do not have synaesthesia. /Image from the web
Li Quan, a representative singer of the Shanghai pop music scene, wrote a poem "Taste of the City", which does not have the word Shanghai in the whole article, but it must be written with Shanghai feelings, but there is no Shanghai flavor at all. There are only 4 comments on QQ Music, which can be seen to be too cold. The Shanghai circle represents the top floor circus, and wrote a song about Shanghai before and after the World Expo, which is likely to be the best one written in Shanghai at the moment, after all, the circle does not want to write Shanghai.
On the contrary, Hong Kong people and Taiwanese can write about Shanghai with vigor, but they do not write about the new Shanghai, but the old Shanghai, the Shanghai in the movie. Jay Chou's "Shanghai 1943" is an old song. Luo Dayou wrote "Shanghai Night" as an older song, but it did not catch up. It is true that Shanghai is not easy to write, so Luo Dayou can only write:
Tenderness
It's hard to change
Inside the rouge your incomprehensible bosom
The temperament of old Shanghai is upright, and it is difficult to have synaesthesia. It may also be that Shanghai is trapped by its own old image and feels that a song "Shanghai Beach" is enough.
Wong Kar-wai's new film "Blossoms" is about to be released, and Hu Ge's films and flowers are out. The film is adapted from Mao's novel "Blossoms", which tells the story of Shanghai from the 60s to the 1990s. When I saw this news, my first feeling was: Shanghai is a city that is suitable for movies and not for songs.