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The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Wen | Ling Fox Bo Guang

Now everyone is talking about the Chinese music scene has long been gone, especially the Hong Kong and Taiwan bands that miss their peak days very much. Especially Jay Chou's generation of musicians, it can almost be said that they have been enshrined in the Internet, and the post-80s and post-90s listeners have entered the era of comprehensive nostalgia before they are old.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Therefore, we often see various new media criticisms of the current Chinese music, such as plagiarism and imitation, Divine Comedy and so on (not to say that it should not be criticized). Then there is the praise for the past Hong Kong and Taiwan music scenes, especially Jay Chou's generation of musicians (not impossible to praise).

The problem is that the various media are always "one by one", for example, they say how strong the Hong Kong and Taiwan music scenes are, and how strong Jay Chou's generation of musicians is. They often criticize how bad the mainland music scene is, even if it is the mainland music scene and musicians of the same era. For example, I recently saw an article that said, "The Queen of Heaven in the Hong Kong and Taiwan music scenes can easily come up with 10 masterpieces, but there are very few in the mainland music scene." ”

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Bo Guangjun just has some observations on the development of the Chinese music industry, the music industry in the two sides of the strait and the three places is an objective historical development process, and many things are not difficult to explain clearly in two words. For example, there are not many musicians in the mainland music scene who have come up with ten masterpieces? Is the answer really so?

<h1 class="pgc-h-center-line" data-track="9" > the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are very few successful musicians in the market</h1>

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Before 2010, the Hong Kong and Taiwan music scene was indeed stronger than the mainland music scene, but the mainland music scene could still play, and before 2000, the Hong Kong and Taiwan music scene, at least from the perspective of influence, was indistinguishable, and the mainland pop music was just starting out.

This has historical reasons, mainly economic development and historical environment, the Hong Kong and Taiwan music scene to undertake the Republic of China Shanghai and other Western culture and elite talents, experienced the 50s, 60s political environment of the music desert, when the people of Hong Kong and Taiwan listened to the republic of China music, Traditional Chinese music and directly listen to Western music.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Later, it was the four Asian tigers period, the completion of economic development, urbanization and industrialization in the 1970s, which gave birth to cultural changes, musically Hong Kong Hui Guanjie brought Cantonese songs into the mainstream, and the singers in the middle were Luo Wen, Jenny, Lin Zixiang, Tan Zhang Zhengba, beyond, the four kings and so on.

Taiwanese pop music is also the "folk song movement" set off in the 70s, Hu Defu and Luo Dayou, who is now the most familiar, the strongest singer in the middle is Teresa Teng (her song collection of the Characteristics of the Republic of China And the New Folk Song), Followed by Qi Yu, followed by Qi Qin, Li Zongsheng, Wu Bai, the Four Heavenly Kings of Taiwan and so on.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

At the peak of Hong Kong and Taiwan pop music, Singapore at that time, including Malaysian Chinese, was absorbed by Hong Kong and Taiwan as a talent reserve area, and many of the Hong Kong and Taiwan singers we are familiar with are actually Singaporeans, Malaysians, such as Wu Qixian, Lin Junjie, Sun Yanzi, Liang Jingru and so on.

The above roughly lists the development of music in Hong Kong and Taiwan, and returns to the development of popular music in the mainland.

The development of mainland pop is nearly 20 years later than that of Hong Kong and Taiwan, because we only opened up in 1978, before we did not have pop music, commercial music this set of things, Cui Jian's "Nothing" a voice roared out of the Chinese rock has been 86 years, and then the peak of Chinese rock in the 90s. At the same time, the mainland campus folk songs that have been derived from the study of Taiwanese folk songs are dwarfs, big tights, old wolves, and Mizuki Nianhua.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

At that time, mainland pop music was Chinese rock and school folk songs, which coupled with the party music extended from the previous state-run era, these music was relatively less market-oriented, and later after 2001, it was successfully marketized, more popular, better-sounding Hong Kong and Taiwan pop, Jay Chou's generation was defeated.

We started from the late 80s, throughout the 90s and 00s. If you analyze from these three different development directions, everyone knows that there are too many mainland musicians with more than 10 masterpieces.

<h1 class="pgc-h-center-line" data-track="34" > red songs, ethnic and folk songs are not music? These mainland singers were once very popular and are now even more gods</h1>

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

The first is that there are not so market-oriented musicians, if the conditions are relaxed, there will be many master-level figures, and their songs are not more than ten as simple.

For example, the composer of the state-run hot film and television drama is a dimensionality reduction blow, such as Xu Jingqing, the composer and soundtrack of the 86 version of "Journey to the West", in addition to Zhao Jiping, Lin Hai and so on. These scorers and composers correspond to Hong Kong's Gu Jiahui, Huang Xia, Hu Weili and so on. Including musicians Li Guyi, Gu Jianfen, etc., take them out and fight with pop singers.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

If you talk about the official kind of musicians alone, there are many singers. For example, female singers Dong Wenhua, Zu Hai, Zhang Ye, Chang Sisi and so on.

In the case of Dong Wenhua, the songs "Fifteen Moons", "Blood-Stained Style", "Today is Your Birthday, China", and "The Story of Spring" are not yet called "rotten streets", and some songs are almost popular, and they also belong to the kind of songs that you don't know the name, but you have definitely heard it.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Other singers' songs may have a distance from young people, so can't Tan Jing get her hands on it? In recent years, she has been very popular among young Netizens in China, and there are more than ten songs at a glance. "On the Top of Nadong Mountain", "Long Wen", "The Love of Kangmei", "Long Live the Motherland", and later "Jiu'er" and "ChiLing", we must take out the songs, operas, folk songs and nationalities of classic film and television that are called bullying.

Tan Jing is still relatively cold among singers, and some people in the mainland have official background identities, singing a large number of film and television songs, and at the same time quite market-oriented, and the public's recognition of their songs is also very high, that is, very popular.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Female singers: Mao Amin, Tian Zhen, Cai Qin, Han Hong, Sa Dingding, etc.

Male singers: Liu Huan, Yan Weiwen, Dai Yuqiang, Jiang Dawei, Cai Guoqing, Tengger, Han Lei, etc.

These singers Yan Weiwen, Dai Yuqiang, Jiang Dawei are relatively serious, and Cai Guoqing has the feeling of eating a lifetime of several big hit songs. But several female singers and Liu Huan, Tengger and Han Lei's "Rotten Street" songs are definitely more than ten.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Mao Amin, Tian Zhen, and Cai Qin stopped talking. Han Hong has "Heavenly Road", "Dawn", "Beautiful Myth", "That Sea", "Hometown", "Velvet Flower", "Beauty in the Wind and Rain" and so on. The top hit song is a little bit worse, but the whole is not weak.

Male singers believe that Liu Huan does not mention, tengger and Han Lei can not be on the list?

Remember that the above is almost all the singers who sing in the open, are these singers still inferior to some pop singers in Hong Kong and Taiwan? I think it is a dimensionality reduction blow to take them out, there are no such huge singers in Hong Kong and Taiwan, and only a few of the top pop can reach this level.

<h1 class="pgc-h-center-line" data-track="59" > is the mainland pop music scene really weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose Jay Chou's generation</h1>

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

The above compared singers, to be honest, is a bit of a bully. Then we are more popular music scene, in fact, the mainstream of the mainland can only come up with Chinese rock + campus folk songs, basically singer-songwriters who can write their own lyrics and songs.

If the most successful simple singer is not like Tan Jing, Han Hong, or run to Hong Kong and Taiwan to develop, the singers who have been packaged by the powerful market music of Hong Kong and Taiwan, of which Faye Wong, Na Ying is the representative, Na Ying sang "Ravine" in the mainland before, and the Taiwan music scene has a love song of "Black During the Day" as soon as it is packaged, and they will not be written here.

1. Rock + folk is basically the façade of mainland musicians. The level of music is not low, the popularity of songs is high, the status in the circle is high, and the popularity of audience recognition is also very high.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Cui Jian wrote here, Dou Wei, Tang Dynasty band, etc. are also more like legends, there is some gap in public popularity and song popularity, the most mentioned is a five elements that were later sealed on the Internet.

Jinmu Water, Fire and Earth: Zheng Jun (Jin, Sharp), Pu Shu (Wood, Fragile), Li Jian (Water, Gentle), Wang Feng (Fire, Hot), Xu Wei (Earth, Heavy).

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

These five people absolutely meet the conditions of mainland musicians (facades), of which the big hit songs Xu Wei and Wang Feng are the most, definitely more than 10 songs; Zheng Jun and Park Shu are slightly inferior, but it is not difficult to find 10 big hit songs, and Li Jian's big hit songs plus 10 hot songs are no problem.

In addition to these five, if the mainstream music scene in the mainland has to find the sixth place, Yuquan I also feel that it is eligible. "Cold to the End", "The Most Beautiful", "Deep Breathing", "Running", "Painting the Hell for Prison" and so on are also very bad streets, plus more popular songs, must meet the conditions.

There are already six of them above, so does the old wolf of the campus folk song count?

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

"You at the same table", "Brother sleeping on my top bunk", "Love wind and dust", "Tiger mouth escape", "Youth without regrets", "Sunny" and other popular songs, plus some more popular songs, the conditions for ten songs are definitely satisfied.

Remember, the above are basically mainstream musicians recognized by the mainland music scene, and they have not played Hong Kong and Taiwan pop in that year. But despised the more popular, more market-oriented folk musicians, here is to sacrifice a few popular king fried.

2, these mainland popular music in terms of popularity, that year really did not lose Jay Chou's generation

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Like "Rats Love Rice", "That Night", "Two Butterflies", which is very popular, the key is that the output of musicians is relatively low, several songs are popular all over the world, and finally it is not possible to get ten songs, not to mention, of which three directions can take out a lot of musicians.

The first is the popular popularity of the older audience, Daolang and Phoenix Legend are the kings.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

I believe that there is no need to list their music, that is more than ten popular songs, can not say that the capital is a "rotten street" song, that is really every capital is a fire all over the country.

The second is to learn the popular music style of Hong Kong and Taiwan at that time, and finally make their own musical style of musicians, Hu Yanbin, Xu Song is the representative, the weaknesses like Xu Liang, Wang Sutaki, Houxin and Xu Liang.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Hu Yanbin, Xu Song's big hit songs are definitely more than ten. Hu Yanbin also wrote a big hit song such as "Take All you want" in the past two years, Xu Song's new album circulation is worse, Wang Sutaki, Xu Liang and houxin's songs are also popular in the streets and alleys, but the relative audience is relatively more campus.

The third is the popularity of urban love songs, although because they are too popular, the historical status has now passed.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

But do you dare to say that Zheng Yuan, Liu Zhe, and Huanzi did not have more than ten songs of fire that year? It was a fire song, and it was all sung badly!

<h1 class="pgc-h-center-line" data-track="83" > epilogue</h1>

I believe that everyone has seen it, because of the development of the music industry and the relationship between the environment, you can also add the relationship between the different audiences, the positioning of musicians is very complicated, some musicians are too popular songs, and now they are indeed not hot, it has been, but it cannot be denied that people have had a lot of hot songs, right.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

This situation also exists in Hong Kong and Taiwan, and many old singers also talk about the once hot songs, and now most listeners really don't listen. Similarly, we can't say that the high-level side of Hong Kong and Taiwan is the façade, and the mainland side is not? It doesn't make sense.

Moreover, most of the singer-songwriters listed above are singer-songwriters who can compose their own songs, truly pure singers. The music industry in the mainland music industry has indeed been immature, but the number is also very large, I am curious about Zhuo Yiting, Yang Yuying and Ardor and other predecessors, and later drafted Li Yuchun, Zhang Liangying, Tan Weiwei, Zhang Jie, Chen Chusheng and so on.

The "face" of the mainland music scene: there are more musicians with 10 masterpieces than you think, and the mainland music scene is indeed not as mature as the Hong Kong and Taiwan music scenes, and there are few successful musicians in the market, and few red songs, ethnic and folk songs are not music? These mainland singers were once very popular and now they are even more popular in the mainland pop music scene is indeed weaker than Hong Kong and Taiwan? Don't take Cui Jian, these people don't lose jay Chou's generation to the end

Are these singers and musicians a façade? Are there more than ten hit songs?

Finally, some music is really not defined by the "rotten street" fire, especially now that music is becoming more and more differentiated. If you really talk about this standard, now every time you talk about the often mentioned "Learn to Cat Call" and "The Wind Blows", aren't these singers representatives of the music scene in this decade?

My lord, times have changed a long time ago!

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