Wen | Ling Fox Bo Guang
The topic of decline in the Chinese music scene has a long history, basically every time any divine comedy is popular, Jay Chou will appear once. At the end of 2021, the top ten hot songs, Jay Chou was pushed on fire again.
In fact, in addition to Jay Chou, every time it comes to the Chinese music scene, there are people who often appear in the Chinese music scene, although not as frequent as Jay Chou, but we often see the audience's remarks and appeals on the Internet that miss Daolang, which is enough to prove the status of Daolang in the hearts of Chinese audiences.
As long as it comes to Daolang, na Ying, Wang Feng and Yang Kun in the mainland music scene at that time had to mention the matter of publicly criticizing Daolang, it seems that it has been bound to Daolang, and na Ying's remarks of satirizing Daolang are the most harsh, such as "she will not go if she has Daolang to present the award" and so on.
Wang Feng and Yang Kun are relatively gentle, but "Dao Lang's music is low, and their songs are high" is also their expression. At this time, the question came, why did Ying, Wang Feng and Yang Kun openly criticize Daolang?
That Ying sarcastic, Wang Feng and Yang Kun look down on? Why does the mainland music scene want to "suppress" Daolang
This matter has become a legendary event in the Chinese music scene, and there is no "conspiracy theory" here. I personally believe that starting from the development of Chinese music, it may be that the rise of Daolang has squeezed out the living space of the mainland music scene, especially the Beijing-dominated pop music scene.
This music, especially popular music, is a cultural commodity, and consumers bear the brunt of it.
In the 1980s and 1990s, the mainland had just opened up its economy and had not developed, let alone established a sound music industry chain. In addition to the musicians in the system, market music is The Chinese rock that rose in the late 80s, Cui Jian, Moyan Sanjie, the Tang Dynasty Band is the first generation of rockers, and Wang Feng is counted as the second generation.
Na Ying began by following the path of a singer in the mainland system, singing folk songs such as "Ravine" and participating in official programs; but she could not put down the marketization, so she became famous for imitating Su Rui. At that time, the Hong Kong and Taiwan pop music scenes were more mature, especially for singers, the packaging was far more powerful than that in the mainland.
Faye Wong is almost a model of Hong Kong and Taiwan packaging mainland musicians, and later Na Ying got the packaging of Taiwan's music scene, from singing the folk song "Ravine" and imitating Su Rui, and finally becoming a mainland pop love song diva.
Behind Na Ying's "Conquest" and "Heartache Romance" albums are all created by Hong Kong and Taiwan elites.
At that time, there were probably three kinds of mainstream musicians in the mainland music scene: one was a musician within the system of Han Hong and Tengger, the other was a Chinese rock musician created by Cui Jian (Gao Xiaosong, Lao Wolf, etc. who pioneered mainland campus folk songs), Wang Feng was hung up, and the third was a mainland musician who had been packaged by the Hong Kong and Taiwan music scenes, Faye Wong, and Na Ying all belonged to this kind.
Around 2000, the economic development of the mainland was limited, and the development of the music industry chain in the mainland was not good, coupled with the rampant piracy. As a result, the market capacity of the mainland music scene was limited (at that time, mainland music could not counterattack Hong Kong and Taiwan, let alone Southeast Asia, Japan and South Korea).
What about Daolang? Dao Lang does not belong to any of the above mainstream factions (go to the record labels and music companies behind them).
Dao Lang, Phoenix Legend, Xu Song, Wang Sutaki, Xu Liang (Xu Song became famous and signed to the mainstream record company HaiDi), love song Prince Zheng Yuan, Huanzi, Liu Zhe, Pang Long of "Two Butterflies" and others, they are popular musicians who were born after signing the WTO in 2001, that is, marketization.
In fact, Xu Song and Zheng Yuan are also very popular, but the class of influence is relatively limited. Dao Lang and Phoenix Legend are pop musicians who are listened to by children down to three years old and up to eighty or ninety years old.
Around 2005, it was the time of the digital transformation of music in the world, when Daolang accepted the overwhelming publicity effect brought by digital communication and China's mobile CRBT business, and achieved a popular cultural phenomenon like the Phoenix Legend, but as the leader, he had to face the attack and target of the entire industry, to put it bluntly, it was a benefit.
Because before musicians are all about album sales, mainly CDs and tapes, whether it is a publisher or distributor or related practitioners, it is a complete industrial chain, and any industry challenge tradition cannot be easy and easy, let alone the entertainment industry that chases fame and profit.
I think the rise of Daolang may squeeze the living space of mainland pop musicians, when mainland musicians were crowded out by Hong Kong and Taiwan musicians, and they could not beat jay Chou and the Four Heavenly Kings, two generations of Hong Kong and Taiwan musicians, which is why Da Zhang Wei said that Chinese rock died of Jay Chou.
It is not that Jay Chou killed Chinese rock or anything, in fact, Jay Chou's generation of Hong Kong and Taiwan music is mature and good,000, and comprehensively seized the mainland music market, and the living space of this market is limited, and the living environment at that time became more and more difficult.
I think they think that even if they lose to Hong Kong and Taiwan musicians (all walks of life in the mainland still worship Hong Kong and Taiwan tightly, especially the entertainment industry), you are such a popular musician (tu lao hat), what is so remarkable.
It is difficult to say whether Na Ying, Wang Feng and Yang Kun and others have used resources to suppress it, because it is difficult to find any evidence for this. But they have publicly expressed their attitude, we all know that the domestic entertainment industry is relying on network resources and the atmosphere of not offending people, this kind of naming and criticizing is really quite rare.
Dao Lang also did quit the mainland music scene because of this matter, and eventually became a thing of the Past that the Chinese music scene relishes.
ps: Since Dao Lang and Phoenix Legend are both rising in the market, then Ying, Wang Feng, why don't they target Phoenix Legend. Probably because Daolang is very grassroots from beginning to end, phoenix legends began to debut behind the CCTV "Avenue of Stars" runner-up, as well as the background of national pop groups.
That Ying, Wang Feng and Yang Kun's song "Advanced"? Dao Lang's song is "earthy"
So where is the confidence of Na Ying, Wang Feng and Yang Kun that they feel that Daolang's songs are not good?
This is still related to the development of the Chinese music industry, if you really talk about what social breadth and reflect the depth of realistic topics, etc., some rock songs in the middle of Wang Feng do have some depth and breadth, and are more concerned about the so-called social issues.
The reason is that Cui Jian created the tone of Chinese rock with realism and reflection of the times, and it is recognized that the starting point of Chinese rock is very high, especially many of the songs of Cui Jian and Magic Rock Sanjie are simply the sound of the times. There are very few musicians in the Hong Kong music scene, and there are musicians such as Luo Dayou and Chen Sheng in the Taiwanese music scene.
Wang Feng does have many such songs, "Good Night Beijing", "Beijing Beijing", "Existence", "Fireworks", "Faith Fluttering in the Air", and the album "Baojia Street No. 43" during the band 43 Baojia Street and so on.
However, Wang Feng's other songs are also pop rock, and "Fly Higher" and "Blooming Life" are not inspirational pop songs? "Love is a Bullet of Happiness" and "When I Miss You" are not pop rock lyrics?
I have always felt that Wang Feng belongs to the second generation of Chinese rock musicians who can most reflect the early "North Drift", and there are probably two styles of songs; one is to grasp the tail of the golden age of Chinese rock, the spirit of faith is not as good as Cui Jian, and the magic rock Sanjie is profound but also has an attitude. The second is the living conditions of the early "North Drift".
I'm poor, I must work hard, I'm poor, life in a big city is too difficult, I'm poor, I can't find the love I want—
Na Ying is a mainland pop diva who is deeply packaged by the Hong Kong and Taiwan pop music scenes, her "Day Does Not Understand the Darkness of night", "Conquest" and so on, let's think about it carefully, these are not the urban love songs that Hong Kong and Taiwan are good at? That is, some people later did not like to say "Hong Kong and Taiwan Ballet".
Although Na Ying was packaged by the Hong Kong and Taiwan music scenes, this achievement was still handy. For example, the album won the Taiwan Golden Melody Award, in Hung Hom, Hong Kong, the mainland singer who had a concert at the Taiwan Little Dome, in addition to Faye Wong in the mainland at that time, she was her, but Faye Wong went to Hong Kong and Taiwan in the flesh to develop, and Na Ying stayed in the mainland to be packaged.
This also proves that the mainland music industry chain in the 80s and 90s, including the 00s, is far less mature than that of Hong Kong and Taiwan, and singers who do not understand creation have not been able to come up.
Yang Kun need not to mention, the most famous songs so far are "It Doesn't Matter", "Empty City", "Wrangler" and other songs. Isn't this also an urban love song, and the popular hit song is not as much as Daolang.
In fact, except that Wang Feng has some songs with a bit of depth and breadth (Chinese rock), then Ying and Yang Kun's love songs are like that, why do they think Daolang's songs are not good?
Chinese rock and Wang Feng are both European and American rock in the 70s and 80s that were directly studied after opening up in 1978; na Ying is the Hong Kong and Taiwan pop that has been transformed by the Hong Kong and Taiwan music scenes, especially in Japan. What is the status of European and American rock and Hong Kong and Taiwan pop in China around 2000, right?
Daolang is influenced by the "Northwest Song King" Wang Luobin Northwest Folk Song, Mr. Wang Luobin's Northwest Folk Song Reform can be traced back to the founding of the Country, Dao Lang's song is the Northwest Popular Folk Song, but more popular.
This causes them to feel that their things are more advanced, and Daolang's songs are more backward than the old hat (this mentality is still there, listening to European and American music or doing European and American music, will they feel that they are advanced, and in turn despise Chinese songs).
How high is the artistic level of Dao Lang's songs? The answer is that it is not the same as the Phoenix Legend. But they are all pop songs with different styles, Wang Feng is slightly different mainly the Chinese rock behind it, na Ying and Yang Kun are also a bunch of pop love songs, really no higher than DaoLang to go anywhere.
Na Ying, Wang Feng and Yang Kun won? More than a decade later, Dao Lang told us the answer
After Dao Lang retired from the mainland music scene, it seems that Wang Feng and Na Ying won, and after 2012, they earned a lot of money as mentors in music variety shows. However, just as the so-called "those who win the hearts of the people win the world", Daolang's songs still won the Chinese audience.
After Dao Lang retired from the song world, many fans hope to come back to look forward to the Spring Festival Gala, as long as there is a place to mention Dao Lang, as long as he comes back to the scene of countless remarks, the Chinese network every time they talk about this matter everyone stands Dao Lang, enough to prove that the fans support him huge amount, his song popularity is really extensive!
Daolang's works and influence are placed there, with actions to prove his talent, the birth of literary and artistic works ultimately depends on the appreciation of the people, his songs in the era of underdeveloped network from Xinjiang to sing popular throughout the country, silent for many years in concert is still the whole audience chorus. At that time, there were many pirated copies, and sales still dominated the Chinese music scene, and Dao Lang really proved his talent in the Chinese music scene with his strength and was liked by the masses.
In the end, if it is only an old dispute, it is nothing, because the truth is only known to the parties.
The most interesting thing is that in 2020, in 2021, Daolang released two new albums in a row, and Wang Feng also released a new album "2020", and as a result, the overall breakthrough of music and musical standards, Wang Feng was completely compared by Daolang. I have heard all these albums, and Daolang's breakthrough is really big, and everyone must listen to it.
And Na Ying and Yang Kun, let's see if they still have a new album? All lying on the merit book, judging from the current level of music, Dao Lang undoubtedly won.