Chapter 13 [Chapter Two] Bloom-3

In 1974, at the age of 24, Hu Defu held the "Beautiful Rice Ears" folk song concert for the first time in Taipei. In 2006, the 56-year-old Hu Defu sang publicly for the first time in the Mainland and won the 6th Mainland Chinese Music Media Award.The scene of singing "Beautiful Island" together on stage and off stage made him tear up and he couldn't help himself. The album cover of "Hurrying" reads "sounding soul, journey home", adhering to the original vow, Hu Defu is still singing, he will sing like Guo Yingnan until he is 84 years old. Next: Campus Songs 1. To meet the olive tree in the dream In the season of folk songs, try to use music creation to write down your own emotional stories. Picking up the guitar to play and sing is a happy thing. Writing and writing songs Sharing one's feelings is a kind of pleasant enjoyment.

--Musician Su Lai In the second half of 1977, after prior market research and planning, Xinge Records Co., Ltd. began to hold a series of activities for the Golden Rhythm Award, in order to advertise the release of albums "composed by the voices of young people of this generation" and corresponding campus tour.The following year, Haishan Records, which started out producing Mandarin pop songs, also launched the folk song style. Xinge directly used the term "campus songs". On the one hand, it avoided the possible controversy caused by folk songs. On the other hand, it also directly addressed the target of appeals to students in colleges and universities, and did not emphasize the connection with intellectuals.It can be seen that campus songs are very different from "Modern Chinese Folk Songs" or "Danjiang-"Summer Tide"": Campus songs are a substitute for Mandarin pop music, and they are aimed at college students; the latter two are The replacement of Western pop music has a strong sense of intellectual mission, trying to expand the scope to the entire society and nation.

Critics often look at campus songs with terms and viewpoints such as "intervention" or "commercialization" by commercial forces, and even think that this is one of the main reasons for the "decline" of folk songs. The most serious criticism even believes that it "polluted" folk songs.The commercial turn of folk songs makes folk songs lose their original reflection on national consciousness, and also removes the characteristics of the younger generation expressing opinions of the times through songs, making it only a music form mainly for young people.But on the other hand, when folk songs are transformed into campus songs, the excessive national and political overtones of early folk songs are removed, and the creative force is more prosperous.The further expanded audience became the main consumer of Mandarin pop music in the 1980s.

Regarding the rights and wrongs of commercial intervention, Tao Xiaoqing once said in a program hosted by the host that because of the standardized operation of commercial activities, folk singers can obtain funds for living security and can better continue to promote the development of folk songs.Not only campus songs, but in the field of popular music, commercial and non-commercial have always been one of the focuses of discussion, and the merits and demerits of them cannot be judged. Li Shouquan said in a symposium: Commercial intervention is not bad, but record companies inevitably shoddy production in order to seek quantity, resulting in not good enough quality. ("United Daily News", 1981) The Xinge Records Company, which founded the Golden Rhyme Awards, was newly established at that time, and this plan was vigorously promoted by the musician Yao Housheng.As a related enterprise under Xinli Electric Company and Xinge Electric Company newly established by Xinli's Taiwanese shareholders, and at the same time it hangs the signboard of Xinge, the production policy of Xinge Records will inevitably incorporate the consideration of shaping the overall corporate image --A fresh, young and lively image, especially the shaping of the brand "Xinge".

Before the Golden Rhyme Award, the first record released by Xinge was "Homeland? Folk Songs" composed and directed by Li Taixiang, which re-expressed some traditional Chinese and Taiwanese folk songs with orchestral music. At the same time, Ding Xiaohui, Li Lihua , Liu Lanxi, etc. are positioned as albums of general pop stars.Later, under the guidance of competitive pressure and corporate philosophy - "Don't follow others" -, they started to develop the college student market which was ignored by the general Mandarin record companies at that time. The strategy they adopted was basically in the In addition to the routines of Mandarin pop songs that have been criticized by public opinion, a complete mechanism has been established for college students, from singers to song selection, record production to publicity and marketing.

From May to June 1977, the first "Golden Rhyme Award Youth Ballad Singing Contest" was divided into singing groups and creative groups to conduct island-wide selection and competitions; there were 1,200 applicants, 70% of whom were college graduates. student.After screening in the preliminary round, a total of 21 singers in the singing group advanced to the final. Their self-selected repertoires belonged to Mandarin pop songs, foreign movie theme songs, foreign folk songs, and Taiwanese folk songs. The top five winners were selected in order of: Foreign folk songs, art songs, Taiwanese folk songs, foreign folk songs, and popular songs in Mandarin, which show the dominant influence of Western modern folk songs among ordinary college students, and Taiwanese folk songs also have a certain weight in it.In addition, the so-called "college students reject pop songs in Mandarin" is not accurate enough. For some pop songs in Mandarin, such as "Seagull" created by Liu Jiachang, who is generally familiar, college students will use their own way - using guitar as a The accompaniment of the main arrangement and the singing and image without too much modification are interpreted.

In addition, the composition group also selected the top five, including a Hokkien song (Jian Shangren's "Jinyue Tune"), an English song (Fu Youwen's DANCING), and others are Mandarin songs (Liu Cangtai's "Smoke Passing", Tai Zhaomei and Shi Biwu's "If", Bao Meisheng's "Enlightenment in Nineteen"). Basically, most of the selected candidates are not outstanding in appearance, and they did not win by dressing, which is quite different from ordinary singers. Therefore, the subsequent recording of the album "Golden Rhyme Award Commemorative Album" caused obstacles to distribution and dissemination, because "the radio stations are not interested in it." , the TV is dismissive, and the record store owner is unwilling to sell."Faced with such a situation, Xinge adopts a strategy of direct face-to-face contact with students, that is, campus tour concerts. Until now, this is still one of the usual publicity methods of popular music.

The first campus tour concert was held at Cultural University on December 15, 1977, and it was an unexpected success. Within a few days after the concert, the records for the Golden Rhythm Award were sold out at record stores in Shilin area. .After the first wave of five concerts in the Taipei area, the sales volume increased significantly, breaking through 100,000 copies in just a few months, which not only exceeded the break-even point of 50,000 copies, but even Sales records for some big-name singers. In the next four years, Xinge will conduct a round of selection of songs by singers across the island every year-record recording, release and tour.Among them, in addition to recording two compilation albums after each competition, Xinge will also find out the favorite singers from the audience feedback of these compilation albums, and then record the solo albums of these singers, such as Bao Meisheng, The albums of singers such as Chen Mingshao, Wang Menglin, and Li Jianfu were basically born under such circumstances.The songs used are not only from selection, but also from submissions or solicitations. These songs are usually bought out by record companies.

Since the "Golden Rhyme Award" sparked a wave of folk songs in the record industry, the title of folk singer has become one of the important ways for new singers and albums to sell well.At the same time, the campus songs absorbed the "modern Chinese folk songs" that were in a dilemma at that time, and under this circumstance, Yang Xian was "hailed as the father of modern folk songs by the music circle... leaving an awakening record in the history of Chinese pop music".In this way, "Campus Songs" found a positioning statement for historical inheritance, while "Danjiang-"Summer Tide"" was excluded.

The involvement of the recording industry made the development of early campus songs more standardized, and at the same time encouraged more ordinary students who could write and sing to join the ranks of folk songs.Xinge Records is the first record company to package, distribute and promote folk songs through commercial means.With the strong advocacy of producers Yao Housheng and Huang Cloning, Xinge releases newcomers and new works that emerge in each Golden Rhyme Award competition under the name of "Golden Rhyme Award", and has released ten commemorative compilations in total. The champion singers of the previous Golden Rhyme Awards are Chen Mingshao, Qi Yu, Wang Hailing, Zheng Renwen and Pan Zhiqin.Winning singers include Bao Meisheng, Yang Yaodong, Huang Dacheng, Wang Menglin, Li Jianfu, Li Zongsheng's acoustic guitar choir, Zheng Yi, Shi Xiaorong, etc., including a quartet composed of Yin Zhengyang and others, and Tong Ange, Yuan Zhongping, Qiu Yue The Traveler Trio, and members of the four small choirs include Xu Jingchun and Huang Yunling.Because the Golden Rhyme Award is divided into the creative group and the singing group at the same time, it has a long history, and the list of winners is incomplete and not accurate enough.

This group of talented student singers almost took over the singing of campus folk songs at that time, and became the mainstay of campus folk songs in this period. Going Home with the Sunset, Catch the Loach by Bao Meisheng, Scenery in the Rain by Wang Menglin, End Movie by Acoustic Guitar, Descendants of the Dragon by Li Jianfu, Return to Sand City by Shi Xiaorong, etc. It can be seen from the list that there was a four-year gap between the fourth and fifth awards. The fact is that the fifth Golden Rhyme Award in 1984 was already the end of the school song list, and champion singers were rarely even remembered. The words on the cover of the "Golden Rhyme Award Commemorative Album" are "composed of the voices of this generation" (first and second series), "a symbol of the voices of this generation of youth" (third and fourth series) Series), the "this generation of youth" here is quite different from the "this generation of youth" in modern Chinese folk songs or Tamkang--"Xia Chao". It avoids this generation of youth and reflects social reality and nationalism. and so on, moving in a more personal direction.The many "singer bios" and "singer recent reports" related to this are not only a kind of publicity strategy, but also become one of the elements for campus song singers to become stars. At that time, the folk song rankings were counted by postcards sent by the audience, and some audiences really called on the students around them to write more postcards and vote for their favorite singers.Unable to buy or afford records, students followed the radio programs and dubbed rolls of tapes by themselves, and the business of "recording for customers" also appeared accordingly. The success of the "Golden Rhythm Award" immediately led to the follow-up of other record industry counterparts, such as Haishan, Sihai, Lige, Songlin, Universal and other record companies that mainly released Mandarin pop songs, as well as newly established folk publishing companies. She, Guangmei, Xiangcheng, etc. However, the only one that can be compared with the Xinge Golden Rhythm Award is the "Folk Song Style" produced by Haishan Company for four consecutive years since 1978. The hard work of its producer Mr. Lin Boyi must. In addition to the production and marketing of the record industry, campus songs were also widely disseminated through television media. competition item.Some singers who originally sang popular Mandarin songs also began to release such records, or invited well-known creators of campus songs to write songs for them.Later in July 1980, "Minsheng Daily", "Zhongguang", "Jingguang" and "China Television" jointly organized a voting activity called "Creating Ballad Rankings", and voted through "Jingguang" every week. "Christmas Eve", "China Radio", "Voice of Asia", "Variety 100" by "China Television" and "Minsheng Daily" announced the ranking results. All the famous songs in the initial list were campus songs. In the first week The top ten in order are "Descendants of the Dragon", "Just Like Your Tenderness", "Autumn Cicada", "Returning to Shacheng", "The Voice of Young People", "Returning", "The Ancient Road to the Mountain", " The Wind of Hometown and Little Grass.The overall publicity and dissemination effect of this activity is obviously far greater than the folk song rankings co-organized by Tao Xiaozhiyi's radio program and "Rolling Stone" magazine, and even greater than the record company's own publicity. In addition, it should be noted that the "Creative Ballad Ranking" originally called for folk songs. For this reason, Tu Minheng, a reporter from "Minsheng Daily", wrote a short history of the development of modern folk songs, mentioning Huang Xiaoning, Hong Xiaoqiao, Hu Defu, Yang Xian, and Li Shuangze. and the "Tamkang Incident", and especially emphasized the "national emotion" in it. However, according to the definition of "folk songs" in musicology, in order to avoid confusion, the organizer named this voting activity "Creating Ballad Ranking". The purpose is to "encourage creation in order to improve the standard of songs". The momentum of campus songs reached its climax around 1980.In addition to the publication of records and a large number of media promotions, the government also showed its attitude of affirming campus songs this year. For example, the "Freedom Youth" magazine under the Kuomintang Youth Trade Union held a symposium in early 1980, affirming "" "Campus songs and folk songs" status, and James Soong, who was the "information director" at the time, also used "Descendants of the Dragon" which attracted the most attention at that time and was "deeply moved" by himself in the summer training speech of Chenggong Ling college students. For the main topic, I even rewrote a few lines of lyrics. The mechanism and operation process of campus songs under the leadership of record companies and mass media is basically the same as the production and dissemination of general Mandarin pop songs, the main differences lie in the form of expression, appeal and the non-professional status of singers --Especially for Xinge, the collection of folk singers is more like a continuation of the student band. They seldom call themselves singers, but are as friendly and interesting as classmates participating in extracurricular activities. Campus songs are also very different from popular Mandarin songs at that time: the proportion of love in campus songs is not too much compared with popular Mandarin songs, and the expressions of love in the two are also quite different. It rarely appears in the title of the song, and the lyrics mostly use natural scenery to imply love. This pure and fresh style is often regarded by critics as "new wind, flowers, snow and moon". From the perspective of appearance, pop singers are mostly dressed in gorgeous clothes. Female singers mainly wear heavy makeup. When taking photos, they focus on the camera, pay attention to lighting, and often pose in special poses. The singers of campus songs continue the style of modern folk songs , which is similar to the daily attire of ordinary college students at that time. In the photos, the singer's gaze is rarely directed at the camera, and the background is mostly outdoor woods and lawns. In terms of performance, campus songs are mostly sung in a relaxed and casual way, with simple orchestration and guitar-based, while popular songs are much more complicated.In addition, many singers of campus songs played and sang by themselves, and knew how to compose or write lyrics, which was also very different from the pop singers at that time. 2. Songs of this generation This upsurge of "singing one's own songs" has received widespread attention and attention so far.Although many people still wonder, and even the foundation itself has been reviewing from time to time, is the enthusiasm for encouraging young people to create songs appropriate?And writing music with people from such informal music majors, will it lower the level of music?I have been brooding and can't let go!However, the fact that "we need to have our own songs, and the desire of young people to create" cannot be ignored. --Hong Jianjinghui, Chairman of the Hong Jianquan Foundation When campus songs became a new force in Mandarin pop songs, modern folk songs could not be connected with it. Folk songs are no different. At the level of singers, singers of campus songs and modern Chinese folk songs are called "folk singers". Such an ambiguity effectively gives campus songs a legitimacy close to modern folk songs, so the symposium of "Free Youth" juxtaposes campus songs and folk songs and treats them equally. In 1979, there was a popular song concert advertised as "challenging folk songs". In January 1980, Taiwan TV even held a "blue and white contest" of campus songs Vs. pop songs, which clearly showed that campus songs and pop songs were equal Relationship.But this relationship is not completely opposite. Some folk singers also perform on the stage of nightclubs with pop singers, and some pop singers start again as folk singers under the planning of record companies, such as Liu Wenzheng, Liu Lanxi, Pan Anbang , Yinxia and so on. The naming of "Creative Ballad Ranking" means that a vague area between campus songs and Mandarin pop songs is gradually emerging. For the emerging record industry, this effect is the result of being able to get out of the framework of campus songs later. Officially entered the market of Mandarin pop songs.Promoters of modern folk songs are quite dissatisfied with this ambiguous situation, and believe that this is the main reason why "folk songs have declined" because they are in line with popular songs.Tao Xiaoqing, Zhong Shaolan and others commented on the second series of "Golden Rhyme Award": the song itself has no characteristics, the imagery is unclear, and the personality is not strong enough. The production process seems to be carried out in the contradiction between "art" and "pop".The lyrics still focus on the unrealistic wind, flowers, snow, and moon. The popularity of the Golden Rhyme Award is enough. In the future, we should seek deeper connotations in the lyrics and music! …………………… In terms of name, the orthodox title of "Modern Chinese Folk Songs" is no longer used, but only the title of "Sing Your Own Songs" which is indistinguishable from "Campus Songs" , including editor-in-chief Tao Xiaoqing, the special issue issued by Crown Publishing did not use "modern Chinese folk songs" but "songs of this generation". In addition, Tao Xiaoqing's own radio program "Modern Chinese Folk Songs" was also renamed "Chinese and Western Folk Songs" at the insistence of the then general manager of "Zhongguang". The songs on the list are almost all "campus songs". "Rolling Stone" magazine has been transformed into the Rolling Stone records that led the popularity of Mandarin pop songs in the 1980s. Modern Chinese folk songs themselves can no longer become a signboard that can gather strength. For the leading Tao Xiaoqing, it is a fact that modern folk songs have become popular songs at this moment. "Whether ancient poems or new poems are composed to music, created songs or campus songs, they are all in the category of popular songs" (Xiong Chuanhui). The idea of ​​constructing a non-profit modern folk song promotion organization has not stopped. In 1980, the "Lyric Writers Society Folk Song Committee" was established. It can be said to be the first promotion group formed with modern folk songs as the main body.Through the strategy of supporting activities with activities, Minfeng Yuefu has held large-scale concerts and small personal thematic concerts, as well as selection contests and presentations of new works, hoping to make modern folk songs "continuously develop forward, not just thinking about Make it a hit and then it's over." "The name Folk Style Yuefu was taken by Tao Xiaoqing's good friend Fang Yu who was teaching at National Taiwan University at the time. In 1980, Fang Yu said in the article "My Expectations for Folk Style Yuefu": "... Tao Xiaoqing, a friend who doesn't meet often but is very close , called and asked me to think of a good name for a party of modern folk songs.Listening to her hearty and clear voice, it is natural to think of the four words Folk Style Yuefu. "Tao Xiaoqing recalled in 2004: From July 1981 to August 1982, Folk Style Yuefu held a series of small presentations at the Sambo Audiovisual Library. The small venue is crowded with young audiences every time. Almost all creators have attended the presentation of their works in this small space. Liang Hongzhi and Deng Yuping are just two of them who have left us and traveled far away. friend. The name Folk Music House has always been loved by friends in the folk song circle, but later we wanted to become independent, so we went to the Taipei City Government to register as an amateur performing group.At that time, we were forced to add a tail to the name in "song and dance troupe" or "variety show troupe", so we chose variety show troupe.However, we have always felt very unhappy in our hearts.After the "Twenty Years of Folk Songs" concert was held in 1995, "Folk Style Yuefu" officially transformed into "Chinese Musicians Exchange Association".In the blink of an eye, nearly ten years have passed. On weekdays, the Folk Music House does not exist, and only "temporarily forms an army" during activities. In 1983, Tao Xiaoqing got acquainted with Fang Wu, the director-general of the "Shuangxi Qizhi Cultural and Educational Foundation", and jointly organized the "Holding Him--For the Shuangxi Qizhi Cultural and Educational Foundation" concert.The name comes from a line in the song "Children of the Earth" written by Lai Xian for this performance, "Take his hand, hold him and walk slowly".The charity performances for Shuangxi were held three times, and these names were printed on the program list: Huang Yunling, Yu Taiyan, Qu Youliang, Lin Liangle, Fan Yiwen, Yin Zhengyang, Yu Chengqing, Cao Songzhang. Li Zongsheng once served as the director of the "Folk Style Music Bureau Orchestra", which lasted only a short period of time, because the funds could not afford it, and because it was too impractical, it was declared over.While holding concerts, Folk Music House also tried to perform musicals. In the case of insufficient manpower and financial resources, in 1983, they tried their best to make a "Walk with Me" concert. Trained everyone to dance, Jin Shijie and Zhuo Ming taught the stage body movements, the main actors were Zheng Yi, Tai Zhaomei, Li Zongsheng, Su Lai, and Tao Xiaoqing, Wu Chuchu, Yang Fangyi, Xu Jingchun, Li Yunling all participated in the performance. After the "Twenty Years of Folk Songs" concert was held in 1995, Folk Music Bureau officially transformed into "Chinese Musicians Exchange Association".In the name of the "Chinese Musicians Exchange Association", Folk Music House conducts various folk song commemorative activities, which arouse great repercussions in Taiwan. Another noteworthy experimental group at the same time as Minfeng Yuefu was "Tianshui Yueji".Tianshui Leji Studio was established by Li Shouquan, Su Lai, Jin Tiezhang, Xu Naisheng, Cai Qin, and Li Jianfu, six outstanding folk song trends. The planners and executive producers, Su Lai, Xu Naisheng, and Jin Tiezhang are responsible for the creation of lyrics and music, while Cai Qin and Li Jianfu use their respective singing voices to fully express the works created by the studio. The original intention of Tianshui Leji was to establish a royalty system in the name of an independent studio to win due benefits for singers and musicians.This behavior, which was regarded as "ungrateful", caused an uproar in the recording industry at that time.Tianshui Leji Studio has released two albums, one is "Chai La Khan" by Li Jianfu, and the other is "A Thousand Springs" by Li Jianfu and Cai Qin.These two records cost a total of 2.4 million yuan in production costs, which was an astronomical figure at the time, and the investor Four Seas Records did not return the cost.Li Shouquan said: "The albums didn't sell well enough, causing the world to fail to make any money, so we were embarrassed to do the third one." These two albums can be called the classics that turned the tide at the end of the folk song era. It lasted for more than twenty years.Among them, Li Jianfu's "Chai La Khan" is the most prominent. The unified musical style of this work has fully taken the prototype of a "conceptual album". In 1982, as Li Jianfu and Jin Tiezhang went to serve in the army, and Xu Naisheng went abroad due to Qu's high profile, Tianshui Leji Studio announced its dissolution. The significance of Tianshui Leji Studio is not that it released these two classic albums that turned the tide, but that it was the first music studio to independently produce records in Taiwan's music scene. The professional production of music has opened up a new way. In addition to Tianshui Leji, other well-known studios in the same period include "Fruit" by Luo Dayou, Qiu Fusheng, Zhang Aijia, "Li Yue" by Li Shouquan, "He Li" by Niu Dake, "Juyi" by Tan Jianchang, Chen Jan's "bit" and more. At the end of the 1970s and the beginning of the 1980s, Taiwan's record industry showed the phenomenon of the emergence of many heroes and the old and new. Companies such as Sihai, Kolin, Haishan, Universal, etc., soon evolved into the two major record companies of Rolling Stone and UFO leading the trend of Mandarin pop songs in the 1980s.Rolling Stone Records was transformed from Rolling Stone magazine, the main print media in the folk song movement. The founders were brothers Duan Zhongtan and Duan Zhongyi; while the founder of UFO Records was Wu Chuchu, one of the most important folk singers in the folk song movement. Folk singers have the ability to sing and write lyrics at the same time, so that creative singers appear in the music world. At the same time, because of the lyrics that reflect current events and criticize society, they also develop the title of humanistic singers, which makes popular music after the folk song movement have more styles. .After Luo Dayou was hailed as a critical singer, Huang Shujun, Zheng Zhihua, and Chen Sheng in the Mandarin music scene, Chen Mingzhang, Zhu Yuexin, Xiao Fu, Wu Bai, and Lin Qiang in the Taiwanese music scene all appeared in a style of caring for society and emphasizing humanities.In addition, folk singers such as Li Zongsheng, Wu Chuchu, Qiu Chen, Ye Jiaxiu, Luo Dayou, etc. have changed from singer-lyric producer-operator, resulting in changes in the production of the popular industry in the 1980s, and at the same time accelerating the transformation of school songs into pop songs. . After entering the 1990s, a large number of cover albums of folk songs began to appear in Taiwan. Today, many years later, those cover albums are often another window for us to understand Taiwanese folk songs.Among them, Zhang Qingfang's album "Song of Outing the Fortress" is more well-known, and the five albums of "Tropical Line" by the Southern Duet. Cai Qin, a folk song figure of the older generation, has also published cover albums such as "Folk Song Cai Qin" and "Encounter". Today, various folk song commemorative activities are in full swing.Most people are nostalgic, nostalgic for that era, and the various voices from that era.Nostalgia is not only a betrayal of the lack of the present stage, but also a return to the most distant and most difficult place in the heart. In 2005, Wu Chuchu, the current chairman of the "Chinese Musicians Exchange Association", expressed his views on the end of the folk song movement in an interview: folk songs have never fallen, "If you pay attention to the original spirit behind it, you will not only never fall , On the contrary, it has become stronger and stronger, encouraging more people to embark on the road of music creation, even if the expression method is different."