Taiwanese music scene, what the hell are you noble

Text | Ling Hu Boguang

During this time, a certain station's music variety show "Sound Endless. Treasure Island Season" was broadcast, and two episodes have been broadcast so far, but to be precise, it has not become a hit. The audience either complained that there were too few important treasure island musicians to suppress the scene. Either complain that the show itself is mediocre and doesn't have much to watch.

If you want to ask my evaluation, my personal view has always been that this kind of nostalgic show is not meaningless, it has its meaning when it is watched by the audience. But for the development of the Chinese music scene, it really doesn't make sense. Even if you really invite Luo Dayou, Jay Chou and Li Zongsheng, crazy nostalgia wave then?

Can these music also create excellent music and lead the Chinese music scene to a wave?

It must be useless, at this time, many people must have commented that there are such musicians in the mainland? How rubbish is the mainland music scene now? I personally don't understand it, this kind of speculation situation and Jay Chou has been rotten many times last year, and then Wang Xinling became popular and so on.

Mainland audiences seem to be particularly tolerant of stars outside the mainland, even if these stars' new works are very crotch-pulling and their attitude is very perfunctory, it is clear that they make money through their feelings, and capital and platforms clearly use their feelings to make money, but the audience not only buys it, but also maintains it in every way.

This is not only Chinese music, TV series, movies, etc., is it useful? Useless.

What is the problem with Chinese music? We can know it when we look at the Hong Kong and Taiwan music scenes

From the industrial point of view, the mainland has developed rapidly, but it has not established a sound music industry chain, and the mainland people have low aesthetics because of the development of music and art education. These came after the collapse of the music record era and the rise of digital music and short videos. Capital, musicians and audiences combined to end up being what they are now.

The Hong Kong and Taiwan music scene was strong in the 5060 economic development, and in the 70s, it caught up with the record industry, which is the peak of the world's modern pop music industry.

Although Hong Kong and Taiwan pop music is the most prosperous in Chinese music, it is actually far from being comparable to the West and Japan. An important question has to be raised, what exactly is prosperity in pop music? You may have to list the names of well-known musicians, and there are good songs?

I think the symbol of the prosperity of modern pop music is the economic development, the audience has a higher music aesthetic education, and the music industry chain is perfect, etc., which support musicians to explore, laid, and then lead the world industry in music style.

Chinese pop music is basically the Hong Kong and Taiwan music scene, but the Hong Kong and Taiwan music scene at the peak of the record industry, art music + diversity music style is quite backward, the hottest in the market is similar to commercial blockbuster pop music: POP.

The source of modern pop music in the West, music styles include hippop, rap, new age (Newage), Basanova (Bossanova), reggae (Reggae), rhythm and blues (R&B), rock (Rock), country music (Country Music), Electronic Music (Electronic Music), funk, jazz, folk, disco and so on.

We all know that each style can be subdivided into more granular pieces, and even blended with each other, and Western music is strong here. Japanese music is still among the top three in the world, and even some fields can compete for one, mainly to learn the Western music system, integrate localization, and finally establish a unique Japanese modern and modern music system.

Even if it is purely in terms of pop POP, Japanese music is the first in Asia and the top three in the world.

Here is a often controversial example, that is, Koji Tamagi, Miyuki Nakajima, Mahiko Kondo and so on. These musicians are strictly Japanese pop singers, but their influence on the Hong Kong and Taiwan music scene is very far-reaching, and it can be said that it is the degree of nurturing.

Prosperous, highly commercialized, whether the Hong Kong and Taiwan music scene is overrated

After I understand the development of Chinese music, I think that the Hong Kong and Taiwan music scene is overestimated, and the reason for the overestimation is that the mainland's economic development was too poor during the opening up period, and the mainland audience, who had never seen the world at that time, unconditionally accepted the mature Hong Kong and Taiwan commercial pop culture, and formed a deep memory of the special year, so it is now infinitely nostalgic.

This is not deliberately derogatory, the simplest truth is that the influence of Chinese music on world popular music is very low.

For example, the diversity of music styles mentioned above, of course, the Taiwanese music scene is better than the Hong Kong music scene.

Hong Kong has early commercialization, small locality, and small population, so it is highly market-oriented and industrialized. Hong Kong music style is only for Cantonese opera songs that integrate national music, and Huang Mei Tuo has also written, which is similar to the martial arts songs that Jin Yong set off a combination of martial arts culture, and Taiwanese martial arts songs.

Therefore, the Hong Kong music style is only martial arts Chinese style, Cantonese Chinese style, etc.

Others like Hong Kong folk, Hong Kong rock, Hong Kong R&B, Hong Kong rap, Hong Kong electronica, Hong Kong jazz, Hong Kong punk and so on. I guess most people are famous for other musical styles besides knowing that rock has a Huang Jiaju, Beyond and sporadic bands? What about influence?

Cantonese folk songs, Cantonese regional songs, I think seem inferior to Cantonese musicians after 2000. For example, bands like Gojo and Kujo Majin. Cantonese R&B, Cantonese rap, Cantonese electronics, etc. are the same.

The Hong Kong music scene is too commercial, and diverse musical styles are often filled in pop pops as a musical element. Therefore, there is a great lack of exploration, laying and leading in musical style, resulting in only POP accumulation is too shallow.

This is also the reason why the Hong Kong music scene is declining faster than the Taiwanese music scene, you will feel that after 2000 it will not work in an instant, popular pop is really like a non-nutritious entertainment blockbuster, the audience listens to a fun, soon outdated.

There are more musical styles in Taiwan's music scene, in addition to the same martial arts style, local Hokkien folk songs, local music and so on.

In the 6070s, Taiwan experienced the "folk song movement" and there was musical innovation, so there were Taiwanese new folk songs and new folk songs represented by Teng Lijun, Qi Yu and so on. Taiwanese pop folk songs and pop rock (including Wu Bai) represented by Liu Wenzheng and Luo Dayou, lyrical rock by Qi Qin, and popular pop such as Li Zongsheng, Zhang Yusheng, Jiang Yuheng, Wang Jie, Tong Ange and so on.

At the end of the 90s, Tao Zhe innovated to establish Chinese R&B, and Jay Chou, Wang Leehom and others innovated and established Chinese rap, Chinese R&B, new Chinese style, etc. Lin Junjie, Adu, etc. are popular POPs, but they have also taken this music style to a new high and have been leading the Chinese music scene for 20 years.

After 2020, another new decade began, and we found that the musical style of the Jay Chou era is really going to pass.

Then let's think about it, after 2010, with the economic decline, the record industry collapsed. Don't mention Hong Kong, is it that the Taiwanese music scene has not innovated the Chinese music style, that is, there is no musician like Zhou Wang Zhe.

Singing and dancing idols, short video divine comedy, and now there is an Internet celebrity band? Chinese music scene "no rescue"

Because of its cities, multi-ethnicity, population and economic development, the mainland is actually the same as other cultural industries in the field of music, although there are many problems, but it is also much stronger than Hong Kong and Taiwan, and mainland music and Hong Kong and Taiwan have never been the same way.

In the 30 years of 50, 60 and 70, everyone knows that the mainstream of music is revolutionary songs, traditional opera after the "three changes of literature and art", national songs, local folk songs, and then elegant opera, bel canto and so on.

Opened in 78, red songs and folk songs in the first 30s of the 80s and 90s ushered in an outbreak, but they began to decline under marketization, and after 2000 they further declined after the WTO, and after 2010 they declined to the point that they did not look like this, and now there are very few popular red songs of the same kind, folk songs, right?

There are only two real pop music in the mainland market, Cui Jian's rock music, and then campus folk songs (more on that below)

The mainland pop musicians we are familiar with, if not the people from the above two expenditures, such as Faye Wong in the early days, later Supergirl Fast Man, and then the Hua Chenyu generation after 2010, are all supported by music production in the era of Hong Kong and Taiwan records, and later the Hong Kong and Taiwan music scene is no longer good, and the mainland mainstream music scene is naturally not very good.

This, in turn, combined with the collapse of the record era, the proliferation of digital music and short video divine comedy, has led to the fact that pop music around the world is now rotten.

All aspects of Hong Kong music are no longer good, is it possible to rely on Jiang Tao and the boy band Mirror?

Taiwan's mainstream pop scene is also not good, but independent music has given birth to bands such as Caodong, Five, Chair Band, Combs, Deca Joins, Sunset Speed, I mean us, Eggplant Egg, Wendy stroll, Black Radio Party, Contutan's Changing Ball, Atomic Bonny, Hello Nico and other bands.

Because of the inertia of Taiwan's music scene, this wave of Taiwanese new romance is not only a few people such as Caodong, but also a pop band that combines various musical style elements. This is essentially fine, but you can see that the five people obviously lasted for a short time, and the three albums were pulled, and pop music was prone to this problem.

The mainland is much richer in independent music, especially the above-mentioned music style development, mainly the independent music scene.

The mainland independent music scene and bands are derived from the brilliance created by Cui Jian Pioneer Rock, Moyan Sanjie, Tang Dynasty Band, and Black Panther Band.

After the signing of the WTO in 20001, the mature commercial music of Hong Kong and Taiwan entered the mainland, coupled with environmental reasons, mainland rock entered the underground ten-year era, and rock and bands entered a stage of obscene development.

Like mainland new folk songs Zhou Yunpeng, Zhang Gayi, Wild Child, Song Fatzi, Li B, Chen Grain, Wan Xiaoli, Zhang Weiwei, Yao XIII, Ma Wei, Zhao Lei and so on.

Like rock and roll, there are Xie Tian Xiao, second-hand roses, new pants, pain, hedgehog, waist band, low absinthe, sound fragments, sound toys, island mood, etc. (this can list dozens more), there are many mainland bands exploring Chinese music styles in this period, and they have developed in the same vein.

For example, there are very few Chinese post-peng bands in Hong Kong and Taiwan, and in the mainland there are P.K.14, the right to reshape statues, covert operations, Mekadell, Lonely Lili, Faze, Mad Doctor, Berlin Nurse, White Paper, Wisdom Teeth and so on.

For example, the rear rocking band has Rumors, Valen, Late Summer, Swamp, Glow Curve, In it, Miss Woman, Vench, oNEwAY, Amber and so on.

There are also different regional cities, different ethnic groups play rock, folk songs and popular. Other musical styles such as death, metal, electronic, new wave, art rock, progressive rock, pop rock, reggae, blues, grunge, psychedelic, jazz, British rock and many more.

The most well-known to the public is only around 2010, the universal youth hostel represented by the Chinese independent band.

In fact, mainland independent bands, mainland independent musicians are more than ten times richer than in the previous Hong Kong and Taiwan music scene, if you know how to find songs, not only will you not feel that the Chinese music scene is not good, on the contrary, it is much more interesting than before. There are people playing in all musical styles, and the level of play is not bad.

Is there still salvation in the Chinese music scene? It's time for us to abandon the filter of Hong Kong and Taiwan feelings

In the first 10 years of 2020, in addition to Hua Chenyu, Mao Buyi and Zhou Shen's generation of pop musicians, as well as traffic idols and short video Divine Comedy singers, mainland music variety shows became popular. In fact, it was mainland independent music, not Hong Kong and Taiwan musicians, who supported the Chinese music style of that decade.

Mainland new folk songs such as Song Fatty, Ma Wei, Zhao Lei and Chen Grain, and then hip-hop rap; After "Lexia", it became popular with Chinese rock bands; Others such as ancient music, electronic music, and two-dimensional music are also popular. On the contrary, have Hong Kong and Taiwan contributed any musical styles in the past decade?

In those ten years, Hong Kong and Taiwan pop music except for sporadic singers such as Deng Ziqi, everyone carefully recalled, was it already stir-frying cold rice at that time, Hong Kong and Taiwan pop music has long become yesterday's yellow flowers. Why we feel that these music styles have no follow-up, the main reason is that mainland music capital and platforms are the same as singing and dancing idols, they are exhausted and fishing to make money, and they have not thought about building and improving the industrial chain, and finally make a mess.

In the Chinese music scene, no matter how much everyone misses the Hong Kong and Taiwan music scene, it is useless.