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Under the bright stage lights, the judges of the talent show were sitting on the front of the show, judging the contestants on the stage. However, a superstar in the Hong Kong music scene, Jacky Cheung, made a startling point: "I have a deep admiration for singers who rate singers, and frankly, they may not really understand music.
This sentence is like a thunderclap, which has caused huge repercussions in the entertainment industry. Why did this accomplished and internationally acclaimed singer make such an emotion? His words seem to implicit a question about the current talent show jury system.
With the increasing popularity of talent shows, we often see some young "top-notch" artists sitting on the judges' seats. They're glamorous and popular, but do they really have the professionalism to judge other singers? This question is like a fog, hanging over the minds of the audience and industry insiders.
Let's unveil this puzzle together and explore what kind of qualifications the judges of music talent shows should have in this era where traffic is king.
Are those "top performers" who have no masterpieces but are high above really qualified to dictate to contestants with dreams? Jacky Cheung's words may be the key to unlocking this puzzle.
The controversial performance of the "top-notch" judges: judges who are not worthy of the name
In today's hot talent stage, a group of young "top-notch" artists frequently appear on the judges' bench, but their words and deeds often cause controversy, making people question their professionalism.
Zhu Zhengting, who was admitted to the Shanghai Theater Academy with the highest score in the Chinese dance major, failed to deliver a satisfactory report card after his debut through the talent show.
In his many years of acting career, he does not seem to have left an impressive work. When he sat in the mentor's seat, doubts arose. What's even more surprising is that Cheng Xiao, who is also a mentor, can't help but say bluntly: "At that time, you were not much better than them now."
These words undoubtedly hit the hearts of many viewers, and also exposed the embarrassing status quo of the selection of the judges of the talent show.
Meng Meiqi's performance is even more puzzling. As a powerful player born in the draft, people originally expected her to bring more high-quality works to the mainland entertainment industry.
However, her indifferent attitude towards Zhou Chuanxiong's masterful performance in the show surprised the audience. While the other audience was immersed in the time flu brought by Zhou Chuanxiong, Meng Meiqi was expressionless and showed no respect at all.
What's even more surprising is that she also tried to act as a mentor in terms of "acting", although she was not from a professional background, and the only film and television work she participated in also won the "Golden Broom Award".
This behavior raises questions about whether she has enough professionalism to serve as a judge.
Wang Yuan's performance can be described as a typical case among young judges. Being a mentor for a music talent show at the age of 21 should be something to be proud of. However, his performance in the face of Jiang Meiqi, a veteran in the music industry, made people laugh and cry.
"Who is this? Never heard of this song. These words not only exposed his lack of knowledge in the field of music, but also showed his disrespect for his predecessors and the program team.
Although he later tried to explain his young age, this justification was not accepted by the audience, and instead saddled him with the label of "arrogant and rude".
The performance of these "top-rated" judges can't help but remind people of Jacky Cheung's cautionary proverb. They may be talented in some ways, but in the professional field of music judging, they are not enough.
This phenomenon that is not worthy of the name is a major challenge for today's talent shows. The audience can't help but ask, what kind of standard makes these young artists who lack masterpieces qualified to sit on the judges? Are they professional enough to take on this task? These questions may require deep reflection on the entire industry.
The sharpness and bias of music critics: open-mouthed vs. double standards
On the judges' bench of the talent show, there is also a category of controversial figures - music critics. Their remarks often caused an uproar, the most representative of which was Ding Taisheng and Jin Wulin.
The performance of these two music critics not only exposed their personal problems, but also reflected the shortcomings of the entire draft judging system.
The rise of Ding Taisheng is legendary. From an advertising planning director to a senior music critic, he quickly became popular with his poisonous and sharp commentary.
However, as time passed, his comments gradually went beyond the scope of professionalism and turned into gratuitous abuse of the artist.
When evaluating Sa Dingding, Ding Taisheng not only sharply criticized his singing skills, but also made inappropriate comments on his appearance. He used words such as "pretentious" and "pretending to be a ghost" to describe Sa Dingding's performance, and even compared it to "a big stone on his chest".
This kind of words and deeds not only undermines the dignity of the artist, but also makes people question his professionalism as a music critic.
Not only that, but well-known musicians such as Gao Jin, Sun Nan, and Han Hong have also become the targets of Ding Taisheng's attacks. His comments are often emotionally intense, even at the risk of exploding foul language.
Although this behavior has brought attention to the show, it has also raised questions about its professionalism and ethics.
In contrast, Jin Wulin's performance is more double-standard. He takes a very different attitude towards different artists, and this bias is especially evident in his evaluation of Zhang Shaohan and Sun Nan.
Facing Zhang Shaohan, who was at a low point in his career, Jin Wulin gave a harsh evaluation of "lack of opera elements". When Zhang Shaohan questioned this evaluation, Jin Wulin put on a lofty posture, put on sunglasses, and spread his hands, looking extremely arrogant.
However, when treating his friend Sun Nan, Jin Wulin's attitude was like that of two people. He not only gave a very high evaluation, but even publicly stated that the original intention of serving as a mentor was to help Sun Nan win the championship.
This obvious partiality not only aroused the audience's dissatisfaction, but also attracted a lot of criticism for Sun Nan.
Although the behavior of these two music critics has added a lot of highlights to the show, it has also exposed serious problems in the judging mechanism of the talent show. Their words and deeds are exactly the same as what Jacky Cheung said, "You may not really understand music".
This lack of professionalism and impartiality not only fails to help contestants improve, but may also have a negative impact on the entire music industry.
The audience can't help but ask: Is such a music critic really qualified to judge music? Do their evaluations really help players improve? While pursuing ratings and topicality, should program producers pay more attention to the professionalism and fairness of the judges? These questions are worthy of deep consideration by the entire industry.
On the judges' bench of the talent show, there are two special types of existence - "vase" judges and "crossover" judges. Their appearance further blurred the boundaries of professional judgment and raised questions from the audience about the credibility of the show.
Ju Jingyi is a typical representative of the "vase" judges. Since her debut, she has been controversial because "the burden of idols is too heavy". Although her singing voice is not inferior to that of professional singers, her musical works are few, and she seems to have become popular all by her exquisite appearance and "personality".
In a variety show that showcases traditional Chinese culture, Ju Jingyi's performance contrasted sharply with the performance of the other two judges. While the other judges were discussing traditional culture enthusiastically, she seemed at a loss and spent most of her time in a daze.
What's even more surprising is that her evaluation of the contestants is limited to simple words such as "yes, okay, no". This kind of performance can't help but make people doubt her professionalism as a judge.
Interestingly, Ju Jingyi's "perfect" image in the show has attracted more questions. Even when she just woke up, she was able to maintain a flawless makeup.
This over-emphasis on external image makes the audience feel that she is more like an "ornament" than a professional judge.
On the other hand, Zhang Ziyi is a typical representative of the "cross-border" judges. As an internationally renowned actor, she does have outstanding achievements in the field of acting.
However, when she decided to cross over to become a mentor for a music talent show, she was strongly questioned by the public.
As expected, Zhang Ziyi's performance in music criticism was quite embarrassing, which attracted crazy complaints from the public. Even Na Ying, who is also a judge of the show, bluntly pointed out: "Interlaced lines are like mountains, she can't lead the contestants to win the championship."
This straightforward evaluation undoubtedly cast a shadow on Zhang Ziyi's cross-border journey.
These two cases once again confirmed Jacky Cheung's famous saying. Whether it is based on appearance or achievements in other fields, it is difficult to be qualified for the role of music judge without a deep understanding and professionalism of music.
In this era where traffic is king, talent shows seem to be caught in a dilemma: should they insist on professionalism or pursue topicality? How to find a balance between the two has become a question that program producers need to ponder.
After all, only truly professional judges can discover and cultivate outstanding musical talents, which is the original intention and mission of the talent show.
In the midst of the constant controversy of the talent show judges, the attitude of some true music professionals is particularly precious. Their words and deeds just reflect what true professionalism is.
Andy Lau, one of the four kings of the Hong Kong music scene, has outstanding performances in music, movies, variety shows and other fields. His achievements need not be repeated, and he is a well-deserved multi-faceted artist.
However, when asked why he didn't play the role of a talent show mentor, Andy Lau gave a surprising but admirable answer.
He said frankly: "There was an invitation, but I didn't dare to accept it, because I knew that my professional level was not enough. The humility and self-knowledge revealed in these words are moving.
As a veteran star who has been in the entertainment industry for decades, Andy Lau still maintains his awe of music. He is well aware of the vastness of music, and even with his achievements, he does not dare to judge the musical talents of others lightly.
This humble attitude stems from his deep understanding and respect for music. It teaches us that true professionalism requires not only talent and achievement, but also humility and awe.
And Jacky Cheung's famous sentence expresses the voice of professionals. "I have a lot of admiration for the singers who rate the singers, and frankly, they don't really know music.
This sentence may sound a little harsh at first glance, but when you taste it, it contains a profound truth.
It is precisely because of his deep love for his professional field and industry that music masters like Jacky Cheung are in awe and dare not judge easily. They understand that the charm of music lies in its diversity and innovation, and that each person's musical expression is unique in its own way.
As a result, they are more inclined to appreciate and understand rather than simply give scores or evaluations.
This professional attitude is in stark contrast to the "top-notch" judges who lack masterpieces but are high-minded. It tells us that true music professionals are often the most humble and discreet.
They don't jump to conclusions about the musical talent of others, because they know the fascinating and elusive nature of music.
The attitudes of Andy Lau and Jacky Cheung have set us a model of what true music professionalism is. It includes not only a deep understanding and virtuosity of music, but also a sense of reverence for music and a humble attitude to keep learning.
This kind of professionalism is what the music talent show really needs.
Jacky Cheung's deafening words are like a mirror, reflecting many problems in the selection of judges in the current talent show. It reminds us that while pursuing ratings and topicality, we should not lose sight of the original purpose of the show – to discover and develop real musical talent.
The future of talent shows seems to be facing an important crossroads. Will we continue on the current path and focus on traffic and topics, or will we return to the essence of music and regain professionalism? This choice is not only related to the development of the program itself, but also affects the ecology of the entire music industry.
On the one hand, we can't deny that those "top" artists and Internet celebrities do bring considerable attention to the show. Their participation has made the talent show no longer limited to niche topics in the music industry, but has become the focus of national discussion.
This expansion of influence has undoubtedly provided a broader stage for musical talents.
However, on the other hand, when the show pursues topicality and dramatic conflict excessively, the music itself is reduced to a foil. Those who are really talented contestants may be overlooked because they are not "topical" enough.
However, some judges who lack professionalism are favored because they can create topics. This tendency is undoubtedly contrary to the original intention of talent shows to discover musical talents.
Whether future talent shows can find a balance between entertainment and professionalism is worth pondering. Perhaps, the answer lies in the true masters of music.
Artists like Andy Lau and Jacky Cheung, their awe and humility towards music are exactly the professional attitudes we need.
Perhaps, future talent shows could consider inviting more real music professionals to serve as judges. They may not be the most topical, but their professional advice can undoubtedly give the contestants the most valuable guidance.
At the same time, the program can also be set up through a more professional competition system, so that musical talent can truly become the core criterion of judging.
The future of talent shows requires not only the careful consideration of the producers, but also the joint efforts of each and every one of our audiences. Only when we all begin to value real musical talent and respect professionalism can the talent show truly return to the right track of discovering and cultivating musical talents.
This may be the biggest inspiration given to us by Jacky Cheung's words.
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