"Little Mushroom" Chang Baokun was regarded by his peers and audiences as a young and famous cross-talk genius, and he and Zhao Peiruzhu, the "Master of the Tongtian Sect", became the hottest red horn in the Beijing-Tianjin cross-talk industry that year. As one of the "five grades of cross-talk", Chang Zhao file, the two are indeed young talents who start early, learn art early, and become famous early. Little Mushroom officially worshiped Zhang Shouchen as a teacher at the age of nine, began to become popular at the age of thirteen, and cooperated with Zhao Peiru at the age of fifteen. In the cross-talk gate, there is also a small old artist who became famous earlier than the little mushroom, and his stage name is also "small", which is Wei Wenliang, who is known as the "little monster".
There is no need to introduce Wei Wenliang's family background, and the old audience is already familiar with it. At the age of four, he followed his parents out of Tianjin to Jinzhou to sell art for a living. When he was seven years old, he stood on the bench for the first time to perform on stage, and the one who gave him a hug was Called Zhang Wenbin, but he did not expect that the child's first appearance on the stage was not only not afraid of the stage, but also the baggage of the sound was all loud. Because Wei Wenliang was thin and small at that time, with a thin neck and a large head, after that performance, he also got the nickname of "Little Monster" in the Jinzhou audience. In the same year, he worshiped Zhang Wenbin as a teacher in Jinzhou, although he did not know or introduce the Red Tape of Baodai at that time, but at this time Wei Wenliang had already begun to learn art from this master. Perhaps because of family influence, the talented and intelligent Wei Wenliang soon mastered traditional activities such as "Menu Zi", "Five Red Charts", "Family Order", "Six People", and the perennial performance also made Wei Wenliang, who was only eight years old, start to become popular outside the Guanwai. At the cross-talk conference, he has been able to get the same "whole" remuneration as the experienced old cross-talk artists, and it is absolutely unprecedented for an eight-year-old child to take the whole part in the cross-talk industry.
In 1950, Wei Wenliang, who had just turned ten, returned to Tianjin with his parents. Since Zhang Wenbin, the master who worshiped in the northeast, did not have a master's inheritance portal in the cross-talk industry, Wei Wenliang wanted to take this as a profession and could only apply for another famous teacher. Two years later, Wu Kuihai, who claimed not to accept apprentices in this life, took a look at Wei Wenliang, who was astute and clever, and decided to self-destruct and vow to open the mountain gate to accept Wei Wenliang as an apprentice. On the day of the official presentation, Zhang Shouchen, Li Shouzeng, Yin Shoushan, Zhao Peiru and other seniors who were highly respected in the industry also attended the ceremony. During the period of learning art with Wu Kuihai, although the master was alone, he loved Wei Wenliang like a son, and Wei Wenliang also lived up to expectations and greatly improved his performance skills. In order to let the apprentice grow up as soon as possible, not only did Wu Kuihai personally come to the stage to measure his work, but also often invited all the uncles and masters to measure the apprentices, including Feng Ziyu, the father of the "Feng Double Heroes", Yin Shoushan, the "Yin Fool", and Li Shouzeng and other seniors.
Once, when performing in Bird City, Hebei Province, Master invited an old gentleman who was too old to give him a praise. Wei Wenliang didn't ask Master who this was, and he directly called out to Grandpa. As soon as he thought of this, Master scolded sharply, "Bastard! He's my grandpa, and you dare to call him grandpa! Wei Wenliang was also confused, not knowing what to call this old gentleman. Or the old man gave the siege: "Don't scare the child, you have to call me Lao Zu'er." Wei Wenliang didn't understand what kind of generation "Lao Zu'er" was at that time, so he quickly knelt on the ground and prostrated his head and changed his name to Lao Zu'er. On the same day, Lao Zu'er gave him a traditional live "Menu Zi", and after a period of time, Lao Zu'er grinned and praised the child's intelligence while laughing. This old ancestor was Ma Sanye's benefactor, "Zhou Toad" Old Mr. Zhou Deshan.
Among the cross-talk artists, there are only a few who have the honor to let Zhou Deshan "stand one" for himself. Of course, this is the supreme glory for the writers, and it is not difficult to see from here that Wu Kuihai has poured his heart and soul into his beloved disciples. In the early stage of Wei Wenliang's stage career, there were too many top big men in the cross-talk industry who gave him guidance and promotion, which also laid a solid foundation for him to become popular all over the country in the future.
Nowadays, when the audience mentions Wei Wenliang, the first thing that comes to mind is new programs such as "Requirements", "Whose Ear Sounds Are Good", and "Duet", but they ignore that the far-reaching of his traditional skills exceeds the level of performance and cross-talk. Like the leg live "Fenhe Bay", Liu Huo's "Xue Ping Opera", "Shandong Erquan", "Noisy Gongtang" and "Jiewa", these traditional cross-talk, it is no exaggeration to say that no one among the surviving cross-talk masters today can match him!