On this night in the Greater Bay Area, "internal entertainment" actually did not lose, but the twisted melon was not sweet
Text | Ling Hu Boguang
Recently, the Greater Bay Area Gala was on fire, and the performance of a group of domestic entertainment musicians was not good, so they were ridiculed by netizens. There are enough other angles to analyze, and here is an angle that many people may not pay attention to.
According to my observations, the new generation of people in the mainland entertainment circles seem to have neither recognition nor respect for Hong Kong and Taiwan cultural and entertainment circles, plus it is an official task, so the performance is very perfunctory. (Taiwanese entertainment is better, Hong Kong entertainment is only about films—directors and industry have advantages, including actors.) ）
Of course, the strength in everyone's mouth is indeed one of the problems, but this kind of problem comes from the heart. If you don't look at things, don't learn technology, don't want to understand, and don't have the slightest respect in your heart, you won't have the slightest intention, and it's very normal to end up performing poorly.
Some people may say that your "internal entertainment is so bad", do you dare not look at Hong Kong cultural entertainment? However, it is true.
The performance of domestic entertainment singers in the "Greater Bay Area Gala" is too poor? Blame the internal entertainment stars, and blame Hong Kong Entertainment for declining for too long
Hong Kong movies are better to support now, and Hong Kong music is just like Hong Kong movies after 2000.
A group of post-80s, post-90s, and even post-00s new-generation celebrities in the mainland. There was definitely contact when I was a child, but I didn't learn Hong Kong entertainment when I was a teenager. Like Hua Chenyu's musicology in Europe and the United States, marketing packaging in Korea; Wang Yibo, Xiao Zhanxue's Korean idol, Tan Weiwei's mainland rock route.
How much do they know and respect Hong Kong music? I have the impression that they didn't sing Hong Kong songs well (Taiwanese songs are better),
You only see that the internal entertainment is rotten, and this is indeed part of the reason. But I need to watch a lot of domestic pop culture programs because of my career, and my feeling is that the new generation of people in the domestic industry do not have much learning about Hong Kong and Taiwan entertainment, and their hearts are becoming more and more disdainful.
Don't look at the rotten mainstream music scene in the mainland, but if you have watched enough mainland programs, you will find that a new generation of domestic entertainment musicians are better at Taiwanese music (there is also a relationship between Taiwanese and Mandarin), but only some feelings for Hong Kong music. No specialization, no understanding, no respect, all mechanical completion of tasks, combined with traffic and lip-synching can not be bad.
What kind of respected mainland stars are like?
For example, Wang Xiaomin, Liu Xijun, Wang Ou, Tan Jianci, etc., of course, they are two stars influenced by Hong Kong music.
For example, Zhou Shen, he has a professional attitude and correct attitude towards two-dimensional, Hong Kong and Taiwan music. There is also Yin Zheng, who is from Inner Mongolia, Shan Yichun, Huang Ling, Yu Kewei, Ayunga, Liu Yuning and so on.
Internal entertainment is perfunctory, Hong Kong and Taiwan look down on it in their hearts? Cross-strait and three-place pop culture "looks like a god"
The problem is, most Hong Kong and Taiwan stars also have this attitude towards the mainland market, and the younger the Hong Kong and Taiwan creators, the more so, only the older generation of Hong Kong and Taiwan creators have strong business ability and good attitude, and it makes sense that they can be liked by the audience in the Chinese speaking circle.
Maybe someone doesn't believe it?
How many Hong Kong and Taiwan actors have come to the mainland for more than ten years, and they still speak pepper and salt Mandarin for twenty years, and their acting skills have also been beaten.
You say that the older generation of Hong Kong actors is difficult to change when they are dozens of years old, and how to explain the Mandarin of the new generation of actors after the 80s and 90s like Chen Weiting, a group of Taiwanese actors who have been in the mainland market for more than ten years? The acting skills are just like that (Wen Yongshan, who has good Mandarin and box office strength, is getting more and more popular)
There are not many young musicians, and they mainly come to the mainland market to perform well in their own style songs. Excellent music in the mainland, I made up my brain, it seems that there are not many famous scenes.
As a result, for the sake of the macro narrative, the above forcibly squeezed the two groups of people that they were increasingly unable to look at each other to perform together.
I have always felt that the above policy is problematic, you don't have to deliberately suppress it, just do it. On the contrary, it is necessary to relax policies and restrictions, and support the cultural industry in the mainland to a certain extent, and wait until the popular culture industry in the mainland develops, and then intentionally or unintentionally promote it to the cultural and entertainment market in Hong Kong and Taiwan.
First, Hong Kong and Taiwan cultural and entertainment were originally in serious decline, and almost all feelings were at the top. Mainland audiences will forget after a long period of time without seeing it, and now the official deliberately praises it in three days, repeatedly arousing the feelings of Hong Kong and Taiwan entertainment among mainland audiences, but instead turning their heads to scold mainland entertainment after comparison.
(The stars and culture that are still popular now must be the most classic).
The second is that their own popular culture has developed well, and they will be influenced in reverse, from celebrities to folk. What is worse in the mainland is still the mainstream music scene and variety entertainment, such as film and television dramas, games, animations, short videos and online novels, etc., without deliberately pushing, and a group of Taiwanese politicians are also watching with disgust and integrity.
What now? The official deliberately went to hold it, and as a result, a bunch of two-faced Hong Kong and Taiwan stars and people made a lot of money, the key is that they look down on you in their hearts (because the once prosperous people of entertainment have pride in their hearts, and feel that it is their ability to make money in the mainland, what does it have to do with you).
In the end, he also raised a bunch of stars with red appearance, yellow or green inside, and made a lot of money from the mainland to go to Hong Kong and Taiwan to poke and poke trouble.
It is useless to stir up feelings, hold smelly feet, and mainland entertainment has long surpassed "Hong Kong and Taiwan"
At this time, many people will definitely say that you "internal entertainment is so bad and push", dogs don't look at it. That is to say, at that time, the news broke that Taiwanese politicians who secretly watched iQiyi, including a certain Cai Gou, were inferior (I agree). In recent years, the most mature short video platform in mainland pop culture, online novels have become world-class pop culture.
Movies, TV series, games, animation, etc. are on the rise rapidly.
Games and animation, Hong Kong and Taiwan did not not mention, film and television dramas may be controversial, I have the opportunity to write another separate manuscript.
Even at the level of music, some people may say that you "how is the mainland music scene", now the mainstream pop music circle in the world is very bad (mainly the problem of media platform changes), Europe, the United States and Japan have accumulated a lot better, and South Korea's KP is obviously going downhill because of the indifference of chicken blood.
Specific to the Chinese music scene, the mainstream pop music scene in the two sides of the strait and three places is not good, that is, the mainstream singer-songwriters like King Taolin and Sun Yanzi that we are familiar with, as well as mainstream singers.
The new generation of singer-songwriters and singers in the mainland has also exploded in Hong Kong and Taiwan, and the new generation of singers include Zhou Shen, Zhang Bichen, Shan Yichun, Huang Xiaoyun and so on.
The Hong Kong music scene is completely bad, you can't always say that Jiang Tao is right, the Zengbit and Yan Mingxi held in the mainland have to see the follow-up.
Taiwan's mainstream singer Sun Shengxi, Guan Shimin's vote is a new generation of singers around 2012, and it can't catch fire in the mainland; Half a generation forward are musicians such as Xu Jiaying, Xiao Jingteng, Yang Zongwei and others around 2007, and half a generation forward are musicians around 2000 of King Taolin of Zhou.
Singer-songwriters from mainland Li Ronghao, Hua Chenyu, Huo Z, Liang Bo, Mao Buyi, Chen Grain, Zhao Lei, etc. are not as good as before.
The problem is that the generation of Hong Kong and Taiwan, except for Deng Ziqi, is more pulling than the previous generation of mainland singer-songwriters.
Now the only thing left in the Hong Kong and Taiwan music scene is the Taiwanese band that broke out after about 2015 - Taiwanese New Romance
Kusanagi, Five, Chair Ensemble, Combs, Atomic Bonnie, Eggplant Egg, Yasanya, Sweet John, and many more, even earlier sunset speeders.
I often see many mainland music fans belittle mainland music with Taiwanese orchestras, but you may not believe it, mainland bands cannot say that they beat Hong Kong and Taiwan bands, but in terms of musical style, music professionalism, music richness, and musical art pursuit are generally higher than Hong Kong and Taiwan bands.
PS: And as far as I know, there is another interesting phenomenon, Fujian's Hokkien style bands cannot surpass Taiwan. But the new era of Cantonese bands have a stronger musical level and style than their Hong Kong bands (at least in the local Cantonese culture)
I believe many people know that the five are short videos, and Caodong is the benchmark of Taiwanese orchestras. But Basanyi is because of the Taiwan drama "Want to See You", "No Rain in the Godless Land" atomic Bonney; The eggplant egg of "When a Man is in Love" and so on (this is pop music, Lin Shengxiang of "Big Buddha Plas" is a master, and handover, etc.).
In recent years, with the rise of the new generation of directors of the post-80s and post-90s generations in the mainland. The use of mainland independent music and independent band songs as soundtracks has also skyrocketed, which can probably be divided into two situations.
First, the commercial trend uses mainland band songs, such as "Four Seas", "Lion Boy", and the TV series "I'm Very Good in Another Country"
Han Han used the universal youth hostel "", and others include Prism, yesterday's party, admiration band, and so on.
"Lion Boy" is a commercial song that follows the trend of "Lexia"; "I'm Good in Another Country" uses Fu Lushou's "Yuzhen", the Summer Invasion Project's "Life Waste Guide" and so on.
The second is that the director or soundtrack person himself understands, not to mention Xin, as well as "Love Myth" and "Space Exploration Editorial Department".
I have always said that the music style of the mainland independent music scene is much richer than that of the Hong Kong and Taiwan pop music scene in the past.
Let's put it this way, the spicy "Hidden Corner" and "Long Season" have 12 episodes per drama, two 24 episodes, each episode ending song is a different musician, you exclude the actors to sing, and the old song "Look Back Again", the two dramas have about 20 original music, followed by more than 20 excellent musicians, each musician releases several albums, you only look for them a few hit songs, so good songs easily more than 100.
"Love Myth" directed by the post-90s generation has about 8 independent musicians, and you can add dozens more.
Post-80s director Kong Dashan's "Space Exploration Editorial Department", ending song Su Yunying's "Reflection of Life" and classical music Many people know that this film uses Su Zixu's three songs as the soundtrack, all from his same album pure music album "Dust".
Su Zixu domestic independent music fans should be familiar with it, releasing his first album in 2015 and releasing 6 albums in 8 years by 2023, almost once a year, with music styles covering pop, rock, jazz, avant-garde rock, art rock, folk, pure music and so on.
Each album is a leader in the same musical style in Chinese, and there are even breakthrough and groundbreaking albums.
There are many such excellent mainland musicians, don't stare at the things, short videos and idols of Hong Kong and Taiwan decades ago.
After 2019, "internal entertainment" will bring a comprehensive rise of Chinese pop culture? Only the pop scene has gone off track
The musician albums listed above add up to hundreds, you just look for hundreds of favorite songs (at least dozens of them), I know hundreds of such mainland musicians, how can there be no good songs to listen to. At this time, some people will say that independent music has a threshold, what you can't understand and so on.
Believe me, many of the independent music listed above is also very popular, even rock, jazz, folk, psychedelic and so on are popular, there is no threshold at all, too many people are biased by short videos, singing and dancing idols and "Greater Bay Area this kind of party choice".
Finally, back to the topic, I think "strong twisted melons are really not sweet". If you can loosen restrictions and build your own mature industrial chain, for example, the works I listed above will appear after 2020, that is, these 3 years. You add the soundtrack of "The Wandering Earth 2" A Kun, Chen Zhiyi of "Genshin", Yang Bingyin of "Spirit Cage" and so on.
Even Chen Xueran, who is one file weaker in the drama version of "The Three-Body Problem", has also contributed a lot of excellent songs.
A new generation of outstanding young creators in various fields of cultural and entertainment in the mainland is rising in an all-round way, with aesthetics, technology, ability, ideas, and correct attitudes. As long as we further develop our own cultural industry chain and reverse influence the Hong Kong and Taiwan industry and audiences, why should we deliberately hold this kind of emotional smelly feet?
The creators on both sides can't see each other's dislike of each other, and repeatedly provoke the audience's feelings, which provokes the audience's disapproval. So why bother without going to the masses and not going out of their own path.