A few days ago in the circle of friends to see the theater manager kneeling to beg for the film video, it is still quite sighing.
It's been a long time since a theatrical film has piqued our interest. For many friends, the memory of the last time they walked into the movie theater is almost blurred.
People began to worry about whether the movie would die.
This kind of question, when reality has no solution, time will always give the best answer.
Since the advent of the film, movies and cinemas have become inseparable feelings in the hearts of generations of film fans, a small blessing related to individual life, and a big lyric about the feelings of home and country.
The experience of going to a cinema to watch a good movie with a full audience is one of the most wonderful moments of life.
Like movies, as long as many things are associated with the word "feelings", they always have an immortal vitality and are alive and well in the memories of generations.
A song, a taste, an old place can all be wrapped up in certain moments of life, hitting us at a casual moment.
On the days of leaving the cinema, classic Cantonese song variety shows such as "Sound and Endless" have completed our emotional replenishment to some extent.
It's not that feelings are necessarily elixirs, in the end it is still necessary to open the sugar coating of feelings and try whether the pills inside are strong enough.
The show itself was designed to celebrate the 25th anniversary of Hong Kong's return to the motherland, and many very important songwriters have disappeared. XX is correct above all else, can not choose, can only accept.
Fortunately, in the memory of fans, every melody and note has its own place in the memory, so that the life of Hong Kong Music will not stop.
A few issues to chase down, what PK competition and other rules do not care at all, just listen, listen to each song, watch everyone's interpretation. In the Hong Kong music scene in the 1980s and 1990s, these people gathered together to be half of the country.
Lin Zixiang and Ye Qianwen, like Guo Jing and Huang Rong in Jin Yong's novel, have excellent singing skills and first-class creativity. They have been hiding in the rivers and lakes for decades, and then they come out of the mountains, or they are still a sword to seal the gods.
Lin Zixiang, who is in his seventies, stood on the stage full of vigor and sang "Shine Out a Thousand Points of Light", skewered "The Long Road Accompanies You", "Boys Should Be Self-Reliant", and "Butterfly Change" three classics, strong and majestic, more stable and more sufficient than the breath of many young singers.
Hong Kong singers, dedication is always first-class. Singing and dancing, the level can not be, but the attitude must be in place.
In the early years, Andy Lau was ridiculed all the way for poor singing skills, fitness, running, sports, exhaustion of various ways to practice breath, practice physical fitness, singing skills are also constantly polished, and then when the concert is held, ridicule is not self-destructive.
The hard-working of Hong Kong artists is really obvious to all. In contrast, some artists in the mainland really seem too leisurely, singing and dancing to create a hand, it does not prevent singing around, nor can it stimulate the self-honing state of mind.
Therefore, looking at Lin Zixiang and Ye Qianwen in the program, not to mention the song itself, just from their singing status, they retain the tenacity of Hong Kong's golden age artists, which is an internal strength related to the Spirit of Hong Kong.
As soon as I stopped there, I saw why so many brilliant stars could be born on such an island in Hong Kong.
They have a spirit of Hong Kong people who work hard, endure hardships and do not hesitate to work hard. All the time, based on their own duties, "do a good job". This may be the plain background of the so-called Cantonese songs.
Just like Lin Zixiang's singing of "Boys Should Be Self-Reliant", as soon as he opened his mouth, he was like an elderly predecessor recounting his past.
The reason, not so obscure, eloquently said, a sentence "be a good man, hot blood and hot intestines", plain and popular, but also the boy's arrogance in the world, with ordinary worldly fireworks, inspiring.
The Cantonese song itself is, of course, fascinating.
I didn't catch up with the golden age of Cantonese songs in the 1980s and 1990s, and those classic melodies came more from the memories obtained from Hong Kong films later, "A Laugh in the Sea", "Ghost of a Woman"...
Cantonese songs hide a whole river and lake. So many years later, as long as you see martial arts movies, you can't help but ring the BGM of "a laugh in the sea" in your mind.
Cantonese's more diverse tones and rhymes make the singing voice particularly varied.
The ruggedness of the rivers and lakes is carefully outlined in Cantonese.
There are both the crispness of large beads and small beads falling on the jade plate, and there is also the complexity of noisy cutting and miscellaneous bullets.
The rivers and lakes in Cantonese songs, singing with wine, pride, and golden iron horses, often make people wonder, how a lion mountain can carry thousands of horses and thousands of armies of martial arts rivers and lakes, righteous and loyal liver.
The love in Cantonese songs, anger and anger, thousands of turns, liver and intestines, always make people wonder why Victoria Harbour is immersed in the sympathy and obsession of Hong Kong children.
The height of the temple and the distance of the rivers and lakes are all kneaded into the melody in the Hong Kong music, and the singing is full of vigor.
Mortal worldly, idiot men and women, also have names that are not forgotten in this tune.
Li Wei speaks Cantonese songs like someone speaking in your ear, often singing them out and speaking in a tone similar to that of the ones spoken, kind and warm. Perhaps it is precisely because of this that those soft intestines that turn thousands of times are depicted more subtly in Cantonese.
"Xi Ti Street", "Yong", "Pompous"... The Cantonese songs of the Mesozoic Era hide the youth of our generation.
Eason Chan and Miriam Yeung are of course the stars in the golden afterglow of Cantonese songs.
In the program, Miriam Yeung sang Eason Chan's song, saying that they were singers who came out together, and would communicate singing skills very frankly, and even a certain high and low singing method would give each other advice.
This is what she calls the "inheritance" and "help" of the Hong Kong music scene, and the teacher-disciple friendship between the same generation of musicians makes Hong Kong music not only about the youth of the listener, but also conveys the friendship of the singer, and the two echoes, which is more moving.
Many songs have both vernacular and Cantonese versions, such as Eason Chan's "Ten Years" and "Next Year Today", "Brothers and Sisters" and "Years Like Songs", the same melody, different filler words, Mandarin and Cantonese also have a completely different mood and charm.
"Next Year Today" writes:
"I can meet you in the moment of my life
It took all your luck
I didn't find out until this day
Ever breathed air."
Correspondingly, in the Mandarin version of "Ten Years", this lyric is:
"Until I was friends with you for years
Only to understand my tears
Not for you
Flow for others"
The lyrics are different, the mood is similar, and the wonderful thing is that in the Cantonese song "Next Year Today", which was released first, imagine a scene after a couple of lovers separated sixty years later. In the Mandarin version of "Ten Years", which then spread across the mainland, it was the lovers who broke up at this moment who imagined ten years ago and ten years later.
Language is the shell of the mind. Sometimes I really have to sigh at the agility and transparency of the thinking of those fillers.
In the elongated time, the love song has the depth of time and space, and as soon as it is opened, it has a sense of lamentation that things are not human.
Whether it's next year today
"Leave you for sixty years
I hope I can recognize your children
Parting can also hear you say goodbye."
Or in "Ten Years"
"Just that kind of gentleness
There is no longer a reason to hug
Lovers inevitably end up becoming friends."
In the course of time, we have touched the affection and vulnerability of our lovers.
Jin Yong's "Book of Swords and Enmity" wrote that "love is deep and not long-lived", which coincided with the essence of Hong Kong music love songs. Regret, sigh, affection, tightness, the novel has a full range of words and endless rhythm.
There are still such moving works in the afterglow, and the real golden age is not to mention much more.
In the golden age of Hong Kong Music, fairy fights were almost reserved for every award ceremony.
Tan Yonglin and Zhang Guorong's "Tan Zhang Battle", the "Thousand Sunsets" dispute between "Thousand thousand Que Songs" and "Sunset Songs", the peak duel of the "Four Heavenly Kings"...
In the era when entertainment mainly relied on television newspapers, every fairy fight was like a sword on Huashan, which could dominate the list for months.
Of course, those who win are happy, but they never look down on their opponents. Those who lose will also be depressed, but they will not be devastated.
Winning and losing is nothing more than the spice of the golden age of music, with gimmicks and no superiority.
In 1989, Chen Huixian's "Song of a Thousand And One Ques" and Mei Yanfang's "Song of the Sunset" competed for the 7th Hong Kong Top Ten Songs, and two songs with different words in the same song competed on the same stage.
One is a farewell to sorrow, and the other is a sigh of life. Even if "A Thousand And One Songs" failed, it did not affect its vitality.
On the stage of "Endless Sound", this "Thousand and One Songs" has also become a chorus of songs.
"In an instant, there's so much to talk about
It's a pity that it's going to be on each side
I had to stare deeply at this moment."
The chorus was my personal favorite part of the show. Every time I listen to it, I always feel excited, and every time I look at it, I can't help but feel hot in my eyes.
Every melody, every lightness, seems to be the call of an era, mixed with individual memories, wrapped in the power of youth.
The show has the heart to let girls sing male songs and boys sing female songs. The first chorus of Beyond "Sea and Sky", the second chorus of Chen Huixian's "Thousand and Thousand Que Songs".
What a shame!
Chinese's band enlightenment, some people may love The Beatles, some people love the Rolling Stones, or Queen, Nirvana, Lincoln Park, Zeppelin...
Among the thousands of bands, Beyond is the one that can't pass in the Chinese music scene.
"The Earth", "The Great Wall", "Really Love You", "The Sea and the Sky"...
Beyond's lyrics hide a deep sense of locality and a spontaneous sense of root-seeking. The tunes and bands play give this homely feeling a very modern musical attribute.
The vitality of music is enduring in the interpretation of songwriting.
On the compact circular stage, the singers and the audience are layered, and the atmosphere suddenly returns to the "bright top" of "you and me singing together" in the 80s and 90s.
Everyone was intoxicated by the song, and let their thoughts drift along the music into the distance.
"Still free of self, still singing my songs, traveling thousands of miles"
Suddenly, the sound of the foal broke into the ears.
Caught off guard, generations of musicians in different regions sang this song "Sea wide sky" in the same time and space across the screen and life and death.
The tears were as low as mine, and like many friends, my eyes were red in an instant.
The charm of the chorus lies in this, as sung in "A Thousand And One Songs",
"The coming day is even if it is a thousand evening stars."
Brighten the moon tonight
None of them are as beautiful as this night
Nor can it make me appreciate it more
Ah because you sang with me tonight."
The lively scene, the noisy singing, even if the reunion is always short, does not prevent everyone from singing to the fullest. That's what it means to be together!
Look for lively beats in ordinary life, and chew the taste of life in ordinary daily life.
I've sung, loved, and been passionate. I've cried, I've laughed, I've had my heart.
Hong Kong music, just like the Hong Kong movies of the Golden Age. "All are overheated, all are crazy", at first I thought that the essence was "overheated" and "crazy", and as I grew older, I understood that the meaning was all in the word "all".
Sing with joy and sing loudly; all the past is the prologue.
Like the movie, Hong Kong music does not die, and it does its best to write a new movement.