NABC Chapter 47 Appealing to Both the Refined and the Popular
Chapter 47 Appealing to Both the Refined and the Popular
By the early 1990s, this trend had become even more intense.
And they began to differentiate and merge.
Hong Kong and Taiwan pop songs made a large-scale northward migration thanks to cassette tapes and the emerging karaoke industry.
The youthful whirlwind of the Little Tigers, the rock spirit of Beyond, the poignant love songs of Wang Jie, and the urban women's voices of Chen Shuhua and Sandy Lam... dominated the portable music players of countless young people.
The mainland music scene is also searching for its own form of expression.
The "Lingnan School" of pop music emerged, and Li Chunbo's "Xiao Fang" became an overnight sensation across the country with its simple folk narrative.
Ai Jing's "My 1997" carries a personal history and a deep sense of national sentiment, making it both refreshing and profound.
Lao Lang's song "My Deskmate," with its simple guitar and the melancholic feeling of white clothes fluttering in the wind, brings the sorrow of parting and nostalgia of university life to its peak.
"Who read the letter I wrote to you, who threw it into the wind..."
Lin Hanjiang can picture these lyrics right now; they're so vivid, a scene that almost anyone who's ever been to school can instantly relate to.
Campus folk songs will be the next strong and refreshing trend.
Lin Yilun's rendition of "Love Bird" is a dynamic, passionate dance track with a touch of exotic flair.
This indicates that the trend towards entertainment and fashion in the pop music scene will accelerate.
People need depth, but they also need simple joy.
Yin Xiangjie and Yu Wenhua's collaboration, "The Love of the Boatman," combines folk work songs with love duets, resulting in a rustic yet lively and charming piece.
It was the most popular and catchy song of the 1990s, without exception.
Xie Jin's "Singing Peking Opera Masks" directly incorporates Peking Opera elements into a popular song, making it powerful and resonant.
"The Love of the Swimmer" and "Singing Peking Opera Masks" represent another kind of fusion exploration.
It means drawing inspiration from folk art and traditional opera to create a new style of "folklore" and "opera song".
There's also that song, "The Wanderer's Song," which played in video arcades frequented by migrant workers, at long-distance bus stations, and beside the pillows of countless strangers in other places.
"The wanderer misses you, dear mother..."
Chen Xing's hoarse voice, accompanied by a melody tinged with sobs, perfectly captured the hardships and homesickness of migrant workers at the bottom of society.
It may not be elegant enough, and may even be a bit rustic, but its raw emotional impact is something that no amount of exquisite craftsmanship can replace.
This also reminded Lin Hanjiang that popular music, besides being highbrow, also has a popular, down-to-earth side.
Beyond youthful love, there are broader social realities and life experiences.
The narratives of the grassroots and primal emotions are also a dimension that cannot be ignored and can evoke tremendous resonance.
This brings us to Man Wenjun's song "Understanding You".
A heartfelt expression, praising maternal love.
It points to an eternal emotional theme in popular music—family affection.
A keen eye for detail and nuanced emotional expression is always the most effective weapon for touching people's hearts.
Combining classical poetry, national charm, and popular melodies has become an elegant and popular direction for exploration.
Lin Hanjiang's pen slid across the paper, writing down a string of song titles and names.
"Chinese Folk Song" sung by Sun Hao.
"Picking flowers at dawn and drinking wine at dusk, a lonely person after the storm..."
Using the framework of folk songs, but incorporating the imagery and reflections on life from classical poetry, the melodies are catchy, yet the atmosphere is profound and desolate, instantly setting it apart from those straightforward love songs.
It proves that "popular appeal" is feasible in the pop music scene.
"The Sound of Waves Remains the Same" uses the style of modern pop music to express the classical sorrow of parting in a tender and poignant way.
Mao Ning's clear yet slightly melancholic voice perfectly interprets this new interpretation of classical singing.
The song's popularity directly laid the foundation for Mao Ning's superstar status and also proved the market's acceptance of this type of work.
An Wen's song "Moonlight Over the West Tower" is a direct adaptation of Li Qingzhao's "A Spray of Plum Blossoms." The rhythmic beauty of classical poetry is seamlessly combined with modern music, creating a poignant and moving piece that has become a favorite among countless young people with artistic tastes.
Learning directly from classical poetry is a proven shortcut; the key lies in composing music that is both classically elegant and aesthetically pleasing to contemporary audiences.
These songs vary in style: some are majestic, some are gentle, some are simple, and some are refreshing.
But they all have the same thing in common.
The melody is catchy, the emotions are sincere, and it bears a distinct mark of the times or personal characteristics.
As Lin Hanjiang recalled and recorded these classic songs, his thoughts drifted to the distant future.
Thinking of those "divine songs" that spread like viruses in the internet age but quickly faded away, he subconsciously frowned, feeling almost a physiological aversion.
"So what if I wet the bed? So what if I wet the bed?"
"Let's learn to meow together, meow meow meow meow meow."
"Beibei who paints, Beibei who paints."
"You say 'pout, pout pout.'"
Lin Hanjiang wanted to slap these people so hard they'd be shoved against the wall.
He shook his head violently, dispelling the mental pollution, and muttered a curse under his breath:
"What kind of crap are you singing?"
Lin Hanjiang's pursuit of music is that it can be popular, but it cannot be vulgar.
It can be popular, but it cannot be vulgar.
He comes from the rigorous system of folk vocal music and is deeply influenced by Teacher Jin's teachings on art as a vehicle for conveying moral principles and prioritizing emotion.
The standards of aesthetics and moral boundaries are still there.
Even if he were to enter a more commercialized realm of popular culture, he would never want to become merely a consumer product of fast-food culture.
Lin Hanjiang put down his pen, leaned back in his chair, and let out a long sigh.
I'm getting a little tired of writing.
The music map in my mind gradually became clearer.
The music scene in the early 1990s was like a pot of water just beginning to boil, with all sorts of ingredients churning inside. Some were already emitting an enticing aroma, while others were still waiting to be cooked.
The exquisite production and mature model of Hong Kong and Taiwan.
There are many opportunities in the emerging folk narratives, personalized expressions, campus sentiments, folk customs integration, and emotional cultivation in mainland China, and the signs are also faintly visible.
The key question is, how can Lin Hanjiang, with his profound background in folk vocal music and the positive reputation he has built up with two mainstream works, enter this booming market?
Should we follow the elegant, literary route of "Chinese Folk Songs" or the simple, story-driven route of "Xiao Fang"?
Regardless of what kind of actor they are—TV actor, movie actor, singer—they all need to maintain their public persona.
Lin Hanjiang naturally had to find a path that suited him.
However, with so many hit songs in hand.
There are many paths to take; there's no need to limit yourself too much.
As long as he can sing a song with genuine emotion, it can become his work.
The night was deeper.
Lin Hanjiang closed his laptop and turned off the dormitory lights.
A guy in some dorm who was still awake was playing and singing "Sailor" on his beat-up guitar.
The intermittent guitar sound, halting and strained, pressed down on a few basic chords in the key of G.
G, C, D, occasionally awkwardly transitioning to Em.
Although the chords are simple, and there are even a few obvious mistakes and hesitations, the unique G major key still supports the framework of the melody.
The boy, with a hoarse voice, tried his best to imitate Zheng Zhihua's voice:
He said, "What's a little pain in the face of wind and rain?"
Wipe away your tears, don't be afraid.
At least we still have dreams.
……
When I grow up, I will strive for my ideals.
[I gradually stopped paying attention to news from my father, mother, and hometown.]
These days, my life feels like I'm acting.
Saying things they don't mean.
[Wearing a mask of hypocrisy.]
……