Chapter 11 [Chapter 2] Bloom-1

(Taiwan's modern folk song movement in the 1970s) The sense of isolation of the border itself gradually became transparent during this shuttle process; and some flowers and flowers grew in the wild land between the borders, which may be inconspicuous, but that It is where life starts. --Zhang Zhaowei, author of "Who Sings His Song Over There" by documentary video director The 1970s was the most turbulent era in Taiwanese society, and it was also an era of development and reflection on Taiwan's literary and artistic trends. Taiwan's economy has just begun to take off. Although it has achieved impressive results economically, it is facing a predicament of losing itself and suffering a lot in terms of political status.From the withdrawal from the United Nations in 1971 to the severance of diplomatic relations between Taiwan and the United States in 1978, and the severance of diplomatic relations with more than 30 countries including Japan, Taiwan society has presented too many uncertain factors, including the death of Chiang Kai-shek.

Opposition forces in Taiwan's civil society gradually emerged and began to challenge the power groups.In the turmoil, most of those holding foreign passports chose to leave their hometowns, while more people stayed and took another path, that is, the path of spontaneous awakening of national consciousness.College students organized service groups to go to mountains, seas, and factories. Intellectuals set off a nationalist storm against foreign worship and self-improvement. In 1972, Taiwan teachers and students represented by Chen Guying and Wang Xiaobo publicly held a "nationalism symposium" and Taiwan student Guo Yufu's blood book "Peace, Reunification, and Save China" was cut at the school gate, making the Taiwan nationalist movement unprecedentedly fierce.

The "Diaoyu Movement" in 1971, triggered by the ownership of Diaoyutai, can be regarded as the first collective speech made by Taiwanese young students and intellectuals on Taiwan's political situation.With the enthusiastic participation of overseas students and intellectuals on the island, the "Diaoyu Movement" became a kind of nationalist collective catharsis externally, and internally it triggered a great ideological debate in Taiwan spanning the 1970s. The trend of thought in literature and art always closely follows the trend of thought in society. If the Taiwanese society in the 1960s was in the midst of frantic Westernization, then the Taiwanese society in the 1970s belonged to the awakening period of national consciousness and local consciousness.A strong sense of loss manifests itself culturally, driving people to strive to create a "something of their own."In terms of literature, the "Controversy on Modern Poetry" (1972), the "Tang Wenbiao Incident" (1973) and the "Controversy on Local Literature" (1977) took place, making many literary youths who were originally devout towards modernism rebel and become in the camp of local literature. backbone.Under the influence of this trend of thought, miner painter Hong Ruilin's paintings depicting miners, Schmouder who studied Western painting painted folk customs paintings, Professor Xu Changhui's folk music, Lin Huaimin's "Cloud Gate Dance Collection", Guo Xiaozhuang's Peking Opera reform, etc. All areas of Taiwanese culture open channels of new life. In 1976, the media reported extensively on amateur painter Hong Tong and folk sculptor Zhu Ming. In 1978, "Cloud Gate Dance Theater" invited Chen Da from Hengchun to Taipei to sing the old Taiwanese folk song "Thinking" for the new dance drama "Payment of Salary". All these have made Taiwan's local culture gradually be valued and excavated.

Regarding the interpretation of the "Controversy of Local Literature", Yang Zhao's point of view is: the real opponent of the rural school is actually the huge official ideology, not modernism. Faced with political suppression and ban, the "local literature debate" finally came to an end in depression. After Hong Tong, a local painter, was hyped up by the US News Office, art magazines, supplements, etc., someone asked him what his greatest wish was. Hong Tong said--"to hold an exhibition in the United States"--the localization movement did not go as the pioneers imagined As Peng Ruijin said, there is no winner in this debate. The modernists are in decline, and the rural faction is also like Peng Ruijin: "It is a bit contradictory to say that the enemy retreated while desperately defending the position." The greatest achievement of this ideological debate is to awaken the national consciousness of intellectuals and college students.The awakening of national consciousness is manifested in popular music, which is the famous Taiwanese modern folk song movement.Although some folk singers have stated that their singing and creation of Chinese songs is not directly related to the wave of nationalism after Baodiao, under the general environment, the development of folk songs cannot exist independently of Taiwan's historical environment.

On the other hand, before 1959, Taiwan's population increased too rapidly due to political and economic reasons, and it began to slow down after 1959. The baby boomers born before began to enter junior high schools, high schools, and universities in 1971. In Taiwan in the 1970s, the purpose of students’ study was only to “come and come to National Taiwan University; to go and go to the United States”, and the admission rate of joint university admissions was only in the 30s at that time, that is to say, 100% More than 60 students have no choice but to choose a life that is almost helpless.The news media or literary and artistic works are full of strong anti-Communist but nostalgic sentiments. "Except for repeating the inexplicable fear of the older generation of provincials, it is difficult for young people to find any outlet in the desire and vitality of life" (Yang Zujun language).The TV stops after 10 o'clock every night, and what young people can watch on TV, except for the "decadent music" repeatedly criticized by those in power, is Qiong Yao's life-and-death love tragedy, or wearing sequined evening gowns and being prohibited from swaying Body and butt singing stars.Lucky young people may also read "Wenxing" magazine, local literature, and photocopied novels in the 1930s, but the spiritual life of most young people is poor and suffocated.There are also some lucky young people who can buy American chart vinyl records stolen by US military radio staff, and most families do not allow their children to listen to music or read novels while studying, so they can have a record player at home. Young people are in the minority.Most of the students could only secretly listen to the latest American pop song ranking program hosted by Yu Guang and Tao Xiaoqing from the radio station. The humanitarianism, humanistic care and ideological emancipation in those songs were impossible to come into contact with in the education system at that time. of.

The modern folk song movement has rewritten the lives of these students to some extent. At the same time, economically, due to the success of the export industry, Taiwanese people’s spending power has increased. Most students can afford a guitar of three to five hundred yuan. "The slogan gradually became popular. The rise of folk song cafes, or folk song restaurants, has become an important prerequisite for the development of modern folk songs when the US military stationed in Taiwan has been withdrawn year by year and popular bands have gradually lost their main performance venues.From the earliest savages, Columbia, Loseland to Wooden Door, Scarecrow, Clover, Aditya, etc., it provides a space for a group of full-time or part-time folk singers to show their skills.Taking Aditya, which opened in 1973, as an example, its development has surpassed the pattern of catering services, and has formed as director Lai Shengchuan said, "Everyone knows that to go to Aditya is to listen to music, and to listen to music is to listen to music." When you come to Adia, there are often many professional musicians from foreign countries who come to Adia to play music."Through these folk song restaurants, folk singers who played and sang by themselves gathered together, and the idea and action of composing songs gradually emerged on these occasions.

In the coffee shop of the Colombian embassy in 1973, Hu Defu sang here, "Hong Xiaoqiao is sorting out the music score, Zhang Aijia is sitting there playing truant, and Hu Yinmeng is wondering if there is a chance to come on stage" (Wu Yinning "A Place with Sounds"), Li Shuangze While drinking, they waited for Hu Defu to finish his work, and went to Luoshi subway to play the music they wanted to play the most.Perhaps one day in 1974, when Lai Shengchuan was singing on the stage of Aditya, Ding Naizhu, who was still studying in the Philosophy Department of National Taiwan University, was serving dishes off the stage. Tuning the strings, preparing for the upcoming stage -- this is an era where there is also wine, music and friends, but it is not the same kind of wine, the same kind of music, and the same kind of friends.

The folk song restaurant is the origin of many singers.Most pop music singers have the experience of singing in folk songs restaurants, and there are not a few of them who were discovered by record companies when they sang in folk songs restaurants.Now, the folk song restaurant has declined, and the last folk song restaurant in the wooden boat has also come to an end. As Chiang Ching-kuo said before the "lifting of martial law" in the 1980s: times are changing. Part 1: Modern Chinese Folk Songs 1. Give me a clanging guitar when "singing my own song" In the eyes of many people, it is just the behavior of young people playing guitar and singing, but few people are willing to face it squarely. After the mid-1970s, young people in Taiwan were willing to give up some of their only interests in exchange for a social activity they had longed for in Taiwan.

--Folk singer Yang Zujun On June 6, 1975, the "Modern Folk Song Creation Concert" initiated by Yang Xian, a master of biology at Taiwan University, was held in Zhongshan Hall, Taipei.This concert, regarded as "the first shot of the Revolution of 1911", opened the prelude to the modern folk song movement and triggered a music revolution that lasted for ten years. The term "modern Chinese folk song" has therefore attracted the attention of the cultural circles . In this concert, although Western modern folk songs are also arranged, the most eye-catching are the eight creative ballads written by Yang Xian from the poems of the poet Yu Guangzhong's "Bai Yu Bitter Gourd".Yang Xian wrote "Four Rhymes of Nostalgia", "Folk Songs", "On the Rivers and Lakes", "Nostalgia", "Folk Singer", "Bai Feifei", "Shaking Ballads", and "Little Sky Questions".Although Yang Xian is not the first person to create Taiwanese modern folk songs, but because of this far-reaching concert, his works have been spread and he has been given the reputation of "the father of modern Taiwanese folk songs".

According to people who have met Yang Xian, he is gentle and elegant, always looking calm and indifferent to the world.Yang Xian once said, "I was originally a lonely person".His father died young and he had no brothers or sisters. His busy working mother couldn't take him with him, so he was sent to Huaxing Nursery, where he stayed for nine years.He spent his childhood and adolescence in the nursery, and he was lonely only for music, and he began to create since he was a teenager. After college, he combined his love of music with his national pride and began to consciously write songs.Before the "Modern Folk Song Creation Concert", Yang Xian once wrote an article "Looking for a Clear Stream to Bath the Soul", in which he said: "Western modern folk songs have been introduced for many years, and most of the younger generation also I used to love this kind of music with clear rhythm and light melody. But due to the differences in culture and environment, when a Chinese youth listens, learns to sing, and chews foreign words to find resonance, he always feels a layer of barriers. Conversely, looking back at the ballads of our country, the style and singing form of art songs have not been easy to popularize among the public, and most of the popular songs nowadays are criticized by people with lofty ideals... "The popularization of a kind of music with clear rhythm and light melody can be compared with Western modern music. Local folk songs comparable to folk songs, and music that is different from art songs and popular songs at the same time, is the clear stream that Yang Xian is trying to find that can bathe the soul.

Give me a clanging guitar/long hair fluttering in the wind/give me a home I can’t go back/a distant memory called the past/I’m a folk singer/give my dog, give my dog /Give him a piece of meat/bones/He who came from the rivers and lakes should go back to the rivers and lakes/Go back to the frogs and grass and soil/Go back to the land where I was born/My father/My mother/I am a folk singer/How long the years have been /The song is as long as the song is held/Where the wind goes/Where the song blows/How long is the road/How long is the song/How long is the road/As long as the straw sandals/Downstream to upstream/There is more water in the river Cool / how many boots are on the road / how many foreheads are in the wind and rain / how many eyes are hurt by looking out / my cool song is a medicine / I am a folk singer / my song my song / put it on How many wounds / Open the door and push open the door of the small inn / A newly brewed dawn I walk in / A dawn as fragrant as the Book of Songs / The vast fog / Crystal dew / I am a folk singer / Walking while singing / A new I Come into the World--"Folk Singer" Lyrics: Yu Guang Middle Music: Yang Xian Sings: Yang Xian, Xu Xin "Modern Folk Song Creation Concert" is not the first time Yang Xian has published works.As early as 1974, Yang Xian participated in the famous "Beautiful Ears of Rice" concert by Hu Defu at that time. For the first time, he sang a song composed from Yu Guangzhong's poem "Four Rhymes of Nostalgia" and invited Yu Guangzhong to sit in the audience appreciate.One way of saying is that Yang Xian's singing "was welcomed by the audience", while another way of saying is that "Yang Xian dares to sing the poem that cannot be sung, and he can ignore the people in the audience who are scolding: fuck your mother , the Yangtze River is round or flat, you know a bird!" (Li Shuangze's "Where does the song come from") Yang Xian and Hu Defu therefore germinated the idea of ​​holding a "modern folk song creation concert", which was promoted in 1975.The first half of the concert was composed in English (Lai Shengchuan, who graduated from the Department of Foreign Languages ​​of Fu Jen Catholic University, and Hu Defu, who graduated from the Department of Foreign Languages ​​of National Taiwan University, were both singers participating in the performance), and the second half was Yang Xian’s personal creation presentation. completed within the year. Regarding the intention of the two concerts in 1974 and 1975, Yang Xian once said: "From trying to write a song to the completion of "Four Rhymes of Nostalgia" to the publication of the song, I just feel that I am in a Western world. During the song concert, it is very new for me to suddenly give the audience a new melody in Chinese characters. It may have a new shock for the audience. Doing this... In the 1975 Chinese Modern Folk Song Concert, I was in a more serious mood. I hoped that through the form of ballads, modern poems reflecting modern people's thoughts could be conveyed and expressed in melodies. "(Lin Chunling, 1980) The key point of publicity for this concert before was to publish "creative folk songs in Mandarin", and most of the people who gave away tickets were people from the literary and art circles. The biggest reason for the movement force.Through Yang Xian's pursuit of national music, he not only endows his works with more national colors, but also makes folk songs combined with the enthusiasm of nationalism to become a cultural root-seeking movement, and at the same time satisfies the desire of young people to create and sing by themselves.Using Yu Guangzhong's poems as lyrics presents a kind of nostalgia for the history and culture of China. Singing "Folk Song" often makes him feel "a kind of power that has been suppressed for a long time and longs to struggle and break through. After singing, he is excited. I can hardly sing anymore" (Huang Zongbai, 1977). In addition to singing the poet's poems, the "Modern Folk Song Creation Concert" also invited dancer Liu Fengxue to choreograph a dance for "Little Sky Questions".This is not a concert that expresses modern poetry in the form of songs, although the poet Yu Guangzhong rushed back to Taipei from Hong Kong to participate in this grand event, and when the singers sang "Four Rhymes of Nostalgia", he went on stage to recite poems with instruments.For Yu Guangzhong, this is more like a "poetry and song wedding"; for Yang Xian, "This is another outlet for ballads besides Western music, domestic art songs and popular songs. A meaningful challenge for poets and musicians"; for the audience, the feeling was, "We finally have a song to sing." (Huang Zongbai, 1977) Yu Guangzhong's poems and Yang Xian's score, with the concerted efforts of various singers and musicians, this folk song concert won warm applause from 2,000 audiences.I am afraid that the first "Four Rhymes of Homesickness" that most people heard was Luo Dayou's version. Yang Xian's version of "Four Rhymes of Homesickness" was before Luo Dayou, and Luo Dayou had never heard of Yang Xian's version when he composed this song .From another perspective, it can be seen that the concert that marked the beginning of the folk song movement and Yang Xian's later release of his solo album did not attract the attention of Luo Dayou, who was still studying. In fact, Luo Dayou was relatively skeptical of the folk song movement, especially campus songs. attitude, which will be mentioned later."Four Rhymes of Nostalgia" composed by Yang Xian adopts the form of chorus. Although it is different from Luo Dayou's way of downplaying the melody and highlighting the singer's voice, each has a soul-stirring charm. During the folk song commemoration event in 2002, Cai Qin said that when she was still a student, she also went to Zhongshan Hall to listen to Yang Xian's singing.Another folk singer Zhao Shuhai said that when he was in the army, he heard Yang Xian's singing on TV, which inspired his creative talent. He said with a smile: "Yang Xian has a great influence on me. I wrote because of him Songs have changed my life ever since.” Yang Xian likes to wear Tang suits when he sings, “That style—” recalled Lai Shengchuan, the director who was also a singing youth at the time, “No one can compare, so every time I see Yang Xian When Xian appeared, everyone automatically shut up and gave the place to Yang Xian." In 2006, when Lai Shengchuan and Yang Xian were both present, I verified the authenticity of this sentence. Director Lai said with a smile: "Back then Yang Xian was We are all alone, we are all playing music, but he gives us a different feeling, so when he comes, let him have the place." Shortly after the concert in June, Hong Jian's full text The Jiao Foundation came forward to support Yang Xian's record production and distribution. At the end of September 1975, the album was published under the name of "Chinese Modern Folk Songs Collection". In addition to the eight songs included in the concert, "Rondo" was also added by Yang Xian from Yu Guangzhong's "Legend of Lotus". ".The 10,000 copies of the first edition of this album were sold out within three months, and the three editions had been reached in just four months in January of the following year, which shows its popularity and the attention it has attracted in the society.In the selection of the 100 Best Taiwan Pop Music Albums in 1995, the album "Chinese Modern Folk Song Collection" was also used as the starting point for the selection, and this album ranked 15th among them. The Hong Jian Full Text Education Foundation was established in November 1971. The founder, Mr. Hong Jianquan, founded the foundation based on the concept of caring for the society. It was planned by Hong Minlong's wife, Ms. Hong Jianjinghui.At the beginning of their establishment, they hoped to engage in long-term and difficult-to-implement cultural rooting work through education, publishing, public welfare and other activities, in order to "improve the quality of the people, promote social well-being, and establish a humanistic society." Facing the society of Taiwan for more than 30 years Changes, the foundation continues to adhere to the original spirit, actively respond to the trend of the times and social trends, contribute money and efforts, and experience the sense of mission of "taking from the society and using it from the society" from the participation, and carry out forward-looking education and cultural promotion work . The Hong Jian Full Text Education Foundation played a great role in promoting the folk song movement in the early stage, and it also carried out some activities in the later stage, and it is one of the promoting organizations of the folk song movement.According to Hong Jianjinghui's recollection, the foundation had no experience in publishing records at that time, and just because she listened to it and thought it was very meaningful, she proposed to the founder of the foundation, Hong Jianquan, to help Yang Xian produce records.Hong Jianquan didn't know what folk songs were, and he had never heard of folk songs. Just because he trusted her completely and believed that it was good for the society, he quickly agreed to the matter. For the key role played in the folk song movement, Hong Jianjinghui is as humble as Tao Xiaoqing. "The foundation only made a small effort, but it allowed talented people to create the era of folk songs." She believes that although Yang Xian appeared briefly in the history of folk songs, his follow-up influence was very surging, because Yang Xian brought Taiwan Young people hope and may. The sound of the zither is sparse/In the cold afternoon/I am a dying swimmer in the rain/Swimming towards you with my long hair/When the music stops/Sadness continues/Like lotus roots/Standing you in the rain/Standing you on the waves/ The reflection becomes a white lotus / in the middle of the water / in the middle of the water / I am a wounded swimmer / just to pick a lotus / a lotus shadow / swim all summer / still rippling / still rippling / still wandering among the algae / Still dreaming of picking lotus / The most beautiful one / The farthest one / Unexpectedly, you are that lotus / Still standing in the rain / Still standing in the fog / Still so close and so far away / Fantastic lotus / Still Showing the white beauty of last midsummer / I have drowned / I have drowned / I have forgotten that I am a water ghost / Forgot that you are a water god / This is only autumn / The lotus has withered -- "Rondo" Lyrics: Yu Guang Middle song: Yang String singing: Yang Xian……………………………………………… 2. Our song "Our Song" concert was packed with people, and most of them were under 30 years old.This is good news, which shows that Chinese youth have emerged from the gap between the two extremes - "foreign worship" and "vulgarity" - and are trying to walk out of their own way and sing their own songs.Only in these songs can we feel our blood surging in us and the fullness of our lives. --Writer Bai Yang Yuguangzhong once commented: "Some people call Yang Xian the father of folk songs, but I think Tao Xiaoqing, who has always encouraged the folk song movement, can be called the mother of folk songs." Tao Xiaoqing entered the radio industry as a host at the age of 18. Witness the entire history of Taiwan's folk song movement and even Mandarin pop music. In 2000, Tao Xiaoqing was affirmed by the 11th Taiwan Golden Melody Awards and won the "Special Contribution Award". Yang Xian once said: "The father of folk songs does not do much. It is more creators who really contribute. It is like in a family, most fathers do nothing, and those who really work hard to take care of children It's my mother." Tao Xiaoqing is also one of the invited audience of the "Modern Folk Song Creation Concert".At that time, the Duan Brothers from "Rolling Stone" magazine were also in the audience. After the concert, Duan Zhongtan told Tao Xiaoqing that he would hold a talk called "Conversations between Modern Poets and Folk Singers" at Professor Yu Guangzhong's home on Xiamen Street the next day. In addition to discussing the concert, and trying to find the possibility of further promotion, I hope she can also go. According to Tao Xiaoqing's recollection -- "In this way, I got to know Yang Xian, Yu Guangzhong and several important figures in "Rolling Stone" magazine at that time. After Yang Xian's album was published, I was also in the same unit - Hong Jianquan Education and Culture Foundation - - with the support of -, planned and published three albums - the first, second and third volumes of "Our Songs". There are only a few short days, because I found that besides my main business of hosting radio programs, making concerts is more fun than making records." The symposium was attended by Yu Guangzhong, Yang Xian, Tao Xiaoqing, Hu Defu , Duan Zhongtan, and Lin Wenlong, according to Zeng Huijia's "Looking at Taiwan Society from Popular Songs", when discussing the artistic conception of lyrics and how to promote folk songs to spread widely, there was the following dialogue: Duan Zhongtan: We just repeatedly emphasized the issue of popularity.I would like to ask Mr. Yang Xian, if these songs are really popular, will it affect its value?Yang Xian: When I first composed these pieces, I didn't fully consider making them popular... These works are a new beginning. If I wanted to be popular from the very beginning, maybe the subject matter would be limited. Tao Xiaoqing: Usually, not every song on an album can be popular... I think we need to see if some singers who sing Mandarin songs are willing to sing more of these songs. Yu Guangzhong: From an artistic point of view, these songs are of course very good, but if they are not popular, it is difficult to comment. This has a lot to do with poetry.I was writing poetry, not lyrics... these eight songs are still a little bit far from the current society.In the future, we will write some more popular ones, don’t be too different from Yao Surong’s ilk, and write something related to daily life in Taiwan, for example, about the entrance exam, about graduation, about returning from serving as a soldier... Tao Xiaoqing: My girlfriend has changed her mind!Yu Guangzhong: Write something that touches the hearts of all young people in their 15s to 20s. When I write these words, it is different from writing poems. I don’t have to consider the deep meaning of the words themselves... Huang Zongbai: ... Popularity is not mainly due to the song itself, but a question of technique. Tao Xiaoqing: ... Having said that, the current Mandarin songs are not completely understandable. Yu Guangzhong: Mandarin pop songs also have many problems. Apart from the bad music itself, the lyrics themselves have no social awareness... Tao Xiaoqing: I think "purification songs" should not be shouted at the general audience, but should be duet singers or composers Shout out, if the general program producers, singers, and composers purify themselves first, the program will naturally follow. Duan Zhongtan: I think if we can work hard to spread these songs widely, maybe we can take the lead in "purifying songs" and gradually purify Mandarin songs. ……………… After the debates at the turn of 1975 and 1976, activities related to "Modern Chinese Folk Songs" gradually fell silent, and the Hong Jianquan Foundation, which was behind the scenes, had no plan to continue promoting related activities.Modern Chinese folk songs represented by Yang Xian were brought up again in 1977, and a series of related activities such as discovering singers, concerts, symposiums, print columns, radio programs, and record production were held, almost all of which were led by Tao Xiaoqing. with push. At the end of 1976, Tao Xiaoqing was invited to produce a live music program for young people for Xinya Restaurant, so he had the opportunity to get in touch with the singers of Taipei's "Running Rivers and Lakes". Tao Xiaoqing sang in the process of walking, so Tao Xiaoqing came up with the idea of ​​making an experimental concert for these singers and songs.At the end of the year, in the "Zhongguang" "Hot Music" Spring Festival special program hosted by her, the concert was held in a private manner, and six singers including Yang Xian were invited.The program was broadcast on February 6, 1977, "As a result, many listeners reported that they liked these fresh works."Tao Xiaoqing held a similar public concert at Zhongshan Hall on March 10. "Many listeners wrote to request that modern Chinese folk songs be broadcast on China Radio, and that similar events be held frequently."Therefore, starting from May, Tao Xiaoqing has six hours of "Hot Music" program six times a week, and one hour every month is dedicated to introducing "Modern Chinese Folk Songs".By June, it's twice a month, in July it's thrice, in August it's once a week, in November it's twice a week, and Top Music itself has grown to seven times a week seven hours. Although this kind of prosperity is not the same as Tao Xiaoqing's original idea of ​​publishing albums, songbooks, developing radio programs, and setting up rankings, the response from the audience seems to have exceeded her imagination. In September, six songs were automatically voted by listeners and entered the provincial chart of "Hot Music", which was originally set for Western hit music. By October, twelve of the top twenty were Taiwanese modern folk songs, and Contains the top seven.In the second year, Tao Xiaoqing set up a special chart for modern folk songs. The interaction of modern folk songs with general audiences (mainly young students) through radio programs does not stop there. Under Tao Xiaoqing’s call, listeners began to record their works as cassettes and send them to radio stations for publication. In the best cases, they will also be invited to sing on the radio and record in person.A direct effect of this approach is to give every potential anonymous listener the opportunity to become a famous singer before the song review system of the "News Bureau" is implemented on radio programs. Regarding the selection criteria, Tao Xiaoqing once said: As long as the lyrics are plain, no serious mistakes are made, the melody is good, not plagiarized, and there is guitar accompaniment, it will be fine.Why are the evaluation criteria so broad?For any matter, if the standard is set too strictly at the beginning, it will often kill people's interest, making people daunting and afraid to participate easily. At present, we need a large number of songs to compare with each other to distinguish the good from the bad. At the same time, a large-scale concert in the name of "Modern Chinese Folk Songs" and corresponding symposia will also appear later, integrating singers under the banner of Chinese Modern Folk Songs and participants from the broadcasting and literary circles (including some music circles), especially The "Modern Chinese Folk Songs" in July and the subsequent symposium, as well as the "First Chinese Modern Folk Songs Night" in December, were basically planned and promoted by Tao Xiaoqing.The first and second albums of "Our Songs", which she was in charge of planning, were also published together in October with the support of the Hong Jianquan Foundation. The first edition of 3,000 copies was sold out in early December, and a reprint was immediately followed. The "Chinese Folk Song Creation Series - Our Songs" published by the Hong Jianquan Education and Culture Foundation has been released since October 1977, and there are three volumes before and after.Several generals in the early days of the campus folk song movement have left many excellent works here, including Yang Xian, Hu Defu, Wu Chuchu, Chen Ping, Yang Zujun, Zhu Jieying, Han Zhenghao, Pan Lili, Ren Xiang and so on. Especially Wu Chuchu, the musician who later founded the UFO record company and jointly dominated the Taiwanese pop music scene in the 1980s with Rolling Stone Records. The memorable "Good Song" and "Your Song" are from "Our Song".Wu Chuchu, who graduated from the Land Administration Department of Law and Business School of Chung Hsing University, is also a singer-songwriter who likes to use modern poems in his lyrics. Zhou Mengdie's poem, and "Good Song" directly adopts the poem of the same name by Cao Xueqin. Wu Chuchu's status in the pop music world can be called "a hero" (in Zhang Zhaowei's language). The "Special Contribution Award" of the 16th Golden Melody Awards in 2005 was awarded to Wu Chuchu. Whether the hard work has been rewarded is the only one who knows. ...