Chapter 16 [Chapter Five] Homesickness

(Taiwanese new folk songs in the 1990s) I am more pessimistic.Folk singers are too factional, they pay too much attention to their own style and line and refuse to make some changes.But after all, if you want to go into business, and eventually into record stores or publishers, the mainstream is the first route after all.Because of the dilemma, so pessimistic.We can't scold the audience for not understanding music and not paying attention to the profound connotation of music; we also can't scold those "heads": Will people die if they change for business and put on makeup or something? ! --Musician Chen Sheng

Writer Tan Shi (Wang Haowei) once regarded Taiwan’s new Taiwanese folk song style since the 1990s as the second folk song movement, and analyzed the following similarities between the two: albums are dominated by singer-songwriters; consumers are mostly intellectuals and college students; then they were all absorbed by mainstream music; both folk song movements were derived from nationalist trends of thought. This chapter is named "Homesickness", which comes from "Homesickness" written by Puyuma singer Chen Jiannian. He sang: "Doesn't homesickness arise after parting? But I still step on the land of my hometown, my heart , why the turmoil for no reason? Just because my father once told me that this land originally belonged to us." At the beginning, the Han people came to this land with the words "loyalty, filial piety, righteousness, etiquette, integrity and shame", but they never realized it. Their promise (in the words of Hu Defu) is that only through their own efforts can the aborigines get out of their grief and stop being depressed.

Perhaps we should also think of what Li Shuangze said: There is no nostalgia in ancient China, and nostalgia is for those who have no home, and the young China also does not want nostalgia, and nostalgia is for those who do not go home. From the 1930s to the 1990s, it can be seen from the creation of Taiwanese ballads that the nostalgia of Taiwanese people has never stopped for a moment. Putting Taiwanese and aboriginal music together is relative to Mandarin pop music.From the "Imperial Civilization Movement" during the Japanese occupation era to the suppression of Taiwanese folk songs, to the "Mandarin Promotion Movement" in the 1950s that caused Japanese and Taiwanese pop music to withdraw from various mainstream media, to the "Purification Song Movement" in the 1970s that caused the decline of Mandarin pop music. Interruptions are clearly tinged with political interference.As for Hakka or aboriginal songs, they are always in a weak position.

The gradual decline of Taiwanese songs after the 1950s is related to the Taiwanese government's vigorous promotion of the use of Mandarin. In 1976, Taiwan passed the "Broadcasting and Television Law": TV stations broadcast voices on the island, mainly in Mandarin, and dialects should be reduced year by year, and the "dialect" programs in all TV programs and radio broadcasts should not exceed 20%.At this time, only Taiwanese TV theme songs and Taiwanese puppet shows can be played publicly in the media, so most Taiwanese songs have little chance to be recommended in official media.

In addition to political interference, the lack of talent is also one of the reasons for the decline of Taiwanese pop songs. It was not until the rise of local nationalism and the discovery of traditional folk songs (such as Chen Da's "Thinking Up") that in the late 1970s, some early Hokkien popular songs gradually received attention with the nostalgic image of "local folk songs". "Sing a piece of thinking, sing a piece of Tangshan ballad, walk the endless bumpy road, just like the steps of the ancestors. Holding an old Yueqin, the sound is out of tune, the old singer's piano sound is still there, and the legend of Hengchun is not seen"-- The song "Yueqin", written by Lai Xi'an who became famous during the folk song movement period, composed by Su Lai and sung by Zheng Yi, is a tribute to Chen Da, a legendary singer in the Taiwanese music scene.Chen Da was born in Hengchun in 1905, and he has a quarter of aboriginal blood. He had no education since he was a child, but he learned the Hengchun tunes circulated in the village. At the age of 16, Chen Da began to sing in Hengchun with Yueqin on his back.

Chen Da, who has always been committed to the discovery of traditional Taiwanese songs, has searched everywhere for folk music in various places in Taiwan, and summarized these folk music works.Since then, he has also started his own music creation, the most prominent of which is "Thinking". "Thinking Up" uses the form of "songs of recitation" to describe the history of Tangshan's pioneering in Taiwan three hundred years ago, and became the source of creation of "New Taiwan Folk Songs" in the late 1980s.However, during the folk song movement period, Chen Da's music was presented as a kind of folk amateur music or Chinese folk music, which did not attract more attention.

Chen Da went to Taipei twice in the 1970s, the first time he established his status as a cultural specimen, but the second time he was regarded as a ronin and imprisoned in a homeless shelter (Chen Mingzhang's "A Play in the Afternoon" record copy). On April 11, 1981, Chen Da died in a car accident.A "Chen Da Era" to save cultural loss has come to an end. Taiwanese folk song scholar and folk singer Jian Shangren once said: Chen Da was born to be a pessimistic figure, and even passed away because he was hit by a car. The fate of Taiwanese singers in the 1970s can be described as miserable. On June 12, 1977, the 29-year-old Taiwanese singer Ye Qitian was extorted by the underworld for his private performance in Tainan. Under the conflict between the two sides, Ye Qitian and several teenagers beat the two brothers Xie Songzhu and Xie Qingda who had blackmailed him to death. hurt.Afterwards, he fled for a long time, occasionally performed for his livelihood, and was arrested in Taiwan.This incident also fully reflected the life of Taiwanese singers at that time.

In the early 1980s, Hong Ronghong's "A Little Umbrella", Jiang Hui's "Farewell to the Coast", "You Have to Be Patience", Shen Wencheng's "Who Knows What's in Your Heart", Chen Xiaoyun's "Dancing Girl", Ye Qitian's "Love to fight will win" , Guo Jinfa's "The Boatman" once set off a wave of enthusiasm and became an emerging force outside of Mandarin pop music.But this does not mean that Taiwanese songs have become the mainstream. Before the lifting of the law in 1986, the mainstream media still restricted the spread of Taiwanese songs, which also created a new way of spreading Taiwanese songs in the 1980s-night market walking singing Show with restaurant show.With the popularity of video recorders, restaurant shows began to be released on video tapes, allowing Taiwanese pop music to open up another distribution channel.

After the government lifted the law in the 1980s, many new creators and singers appeared in large numbers, and a few intellectuals joined the ranks of lyrics, making up for the weakness of the talent gap.Since the lifting of the ban, Hokkien-language political protest and opposition movement songs have continued to appear, but they have not achieved their previous glory.It was not until the release of "Crazy Song" in 1989, which directly criticized Taiwan's political phenomena in the style of Taiwanese rock music, that Taiwanese songs began to receive widespread attention again.

Blacklist Studio was established in early 1989. It is composed of Wang Minghui, Chen Zhuhui and Situ Song, the producers of Sihai Records. They are determined to "open up a new and macro road for Taiwanese songs" and start experiments with new Taiwanese songs.The first album "Crazy Song" published by the studio created a new whirlwind for Taiwanese songs in the 1990s. The phenomenon is presented nakedly. In the copywriting of the "Crazy Song" album, there is such a paragraph: The creative space of Taiwanese songs has been severely damaged, and it can no longer be separated from the pattern of ladies and debauchery. There are few works that describe modern society. The load reflects the times and records the work of people's hearts.

Blacklist Studio invited the underground Taiwanese singers Chen Mingzhang, Lin Zhe and Ye Shuyin to sing together in the album. The album "Crazy Song" breaks the stereotyped theme of the prodigal son and abandoned woman in previous Taiwanese songs. It uses the lives of many small people to examine the social changes in Taiwan for more than forty years, reflecting Taiwan's politics, society, culture, education, transportation, etc. at that time. problems and phenomena. The music also breaks through the old forms of Taiwanese songs, and incorporates European and American RAP and REGGIE styles, presenting a brand-new form, thus reversing many people's established impressions of Taiwanese songs, and many people who do not listen to Taiwanese songs at all. Young people suddenly discovered from the album "Crazy Songs" that Taiwanese songs can also be sung in this way, and it turns out that it also has such sharp performances.Lin Zhe, one of the album's lead singers, once said: "We are not trying to preserve or imitate antiques. What we want to do is Taiwanese songs from the 90s." When the album was released, it was Taiwan's general election.The critical tone of works such as "Taipei Empire" and "Democracy Ah Cao" in the album caused a headache for the KMT authorities.At that time, Situ Song, a foreign member of the blacklist studio, worried that the satire on the sore spots of the rulers in the song might cause harsh punishment by the procuratorate and even coerce him to leave the country.The media controlled by the Kuomintang completely banned the album, so the work can only be promoted without publicity, and the campus concert is the only way to promote it. This piece of "Crazy Song", which is classified as "underground music", is quite powerful for the shocking power of Taiwanese songs. Their innovation has undoubtedly opened a new milestone in the new Taiwanese culture.Their prophecies about Taiwanese songs became more clearly imprinted on Lin Qiang, Chen Mingzhang, Jinmen Wang and Li Binghui, Zhu Yuexin and others.After releasing only two albums, Blacklist Studio announced its disintegration.But this "Crazy Song" alone is enough to become a milestone work in the Taiwanese music scene.Li Zongsheng once left this work with such emotion: "This is an amazing breakthrough in Taiwanese people, songs, and culture." "Crazy Song" and similar songs that appeared later mean the advent of a new Taiwanese folk style.This Taiwanese folk song style in the late 1980s and early 1990s, just as modern folk songs found a new direction in Mandarin pop music in the late 1970s, also opened up a new outlet in Taiwanese pop music.In the style of Taiwanese new folk songs, the music style tends to be Western rock style, and absorbs nutrients from old Taiwanese songs, giving old songs new ideas. After the 1990s, through the recommendation of Lin Qiang, Zhu Toupi, Wu Bai and others, they broke into the mainstream music market and formed the so-called "alternative" pop music. The train is gradually starting to leave/Goodbye to my hometown and relatives/Goodbye, dear parents/Farewell to the friends who arrived/Ruan wants to come and work hard in Taipei/Listen to people saying what is so empty and gather there/Friends laugh at me as love The idiot who is dreaming/No matter what the road is, I will walk by myself/OH! Goodbye/OH! Don’t be surprised by everything/OH! Goodbye/OH! Go forward/Station station by station/Scenery scene by scene kiss Like a movie/Pretending to be the leading man/Wandering around the world is comparable to Peter Pan/No matter if it is childish or optimistic/I will bear the consequences myself/Forgive the unfilial son/Come and work hard while I am still young /OH! Goodbye/OH! Don’t be surprised by everything/OH! Goodbye/OH! Go forward/Taipei Taipei Main Station is here/Passengers who want to get off please get off quickly/Touqian City’s current Taipei bus head/ My ideals and hopes are gathered here/One after another high-rise buildings/I don’t know how many idiots like me live here/Kazao heard people sing that Taipei is not my home/But I don’t feel it at all--"Xiang Xiang Go Forward Lyrics: Lin Qiang's "Go Forward" sung by Lin Qiang in 1990 opened a new situation.This song is included in Lin Qiang's first solo album "Go Forward". It describes the Taiwanese boy who grew up in the farm. He left his hometown in order to make a living and went to the city to pursue his hopes and ideals.This youthful young man has opened up another new era of Taiwanese songs with a rock attitude.Lin Qiang was born in the countryside of Taichung. He was obsessed with Pink Floyd (Pink Floyd) and Sting (Sting). He made up his mind to devote himself to music since his sophomore year in high school. Although "Go Forward" was originally a record company's work aimed at experimental songs, it aroused unprecedented repercussions as soon as it was released. The overwhelming applause made Lin Qiang an object of worship for young people, and at the same time was regarded as a new Taiwan out of sadness. person symbol. The Golden Melody Awards, which began in 1990, added awards for Taiwanese songs in the third edition in 1991, marking the first official recognition of Taiwanese pop music.Lin Qiang's "Go Forward" won the "Best Song of the Year Award" at the 3rd Golden Melody Awards. In fact, this has broken the boundaries between dialects and Mandarin.The producers of this record, Chen Sheng, Li Zongsheng, Zhou Shihui, and "Friendly Dog" won the "Best Producer Award" at the Golden Melody Awards at the same time. In 1991, Lin Qiang released his second album "Spring Breeze Young Brother" from the Rolling Stones, which showed his creative ability more wildly and weirdly. In 1992, Lin Qiang sang two songs in the soundtrack of the movie "Youth, Ann", and sang another song with the film director Hou Hsiao-hsien.It was also because of this opportunity that Hou Hsiao-hsien took a fancy to Lin Qiang, who "has a Taiwanese face and a sense of energy on his face", and invited him to star in the movie "Dream of Life". Some people say that you cannot find another Lin Qiang in Taiwan.The fusion of seemingly contradictory elements such as rebellion and leisure, country and city in him lead to his idol-like personal charm. Li Zongsheng once said: "Even in an economic downturn and a limited budget, you have to listen to Lin Qiang." Cold wind / blowing Ruan Honghong's eyeband / clearing the stream / taking care of Ruan Baibai's hair / heavy A wrestling step / Facing the vernal equinox and a winter tail / Hannong Bu Lai / Bu Lai holding Ruan's hand / Ruan Lai an hour / Walking in vain Shapu / Ruan Lai Shi / Walking with parents A wrestling step / Yes Is it the mind of a ignorant young man with no worries / I think of Ruan / Ruan comes to my mind / What is the day / It is the taste of your life / It is the bitterness of lotus heart and the sweetness of sugar cane / What is it? Nong Yuruan thinks of Ruan Come to my hometown--"Red Eyed Dazi" Lyricist and singer: Chen Mingzhang In January 1990, Chen Mingzhang released his first album "Live Works" under Crystal's banner, which included a small performance held at Taiwan Cultural University on May 18, 1989 live.In the same year, Chen Mingzhang released his first studio album "A Play in the Afternoon".Chen Mingzhang uses the traditional pentatonic scale to express modern Taiwanese ballads in his works. Traditional musical instruments such as Xiao, flute, pipa, and Nanhu are widely used in his works. The themes of the songs start from folk life and faithfully and vividly reflect the social conditions at the time.After that, Chen Mingzhang released the album "Don't Ask Ruan's Name", which was planned for two years, in which "Happy March" was composed in conjunction with the "February 28" commemorative film "Tianma Tea House". Tamsui was originally an important transportation port in Taiwan, and it is also a place of extraordinary significance to many people in the folk song movement. In 1997, Moyan Records released "Wandering to Freshwater" produced by Chen Mingzhang for blind walk singers Jinmen Wang and Li Binghui, and the sales volume reached 300,000 copies in 40 days.The Taiwanese song of the same name created by Chen Mingzhang quickly became popular in Taiwan. As early as the folk song period, Chen Mingzhang joined the acoustic guitar choir, a famous folk song group at that time, but was soon expelled because his singing was too "bad".During this period, he was very fond of Chen Da-style Taiwanese songs in the 1970s. When he was in high school, he heard Chen Da playing "Thinking" in Taipei. Classics on Earth!" Like many young people, Chen Mingzhang started to play Western music, learned guitar, formed a group, and later learned classical guitar, blues, and jazz.It wasn't until the age of 26 that he began to seriously think about what is real Taiwanese music, and thus began to create Taiwanese songs.But at that time, Mandarin songs were popular in the Taiwanese music scene, so no one paid attention to this very creative Taiwanese singer.The equipment he used was two pianos and a four-track tape recorder given to him by his mother.In order to make a living, Chen Mingzhang has done a lot of work, so he has the opportunity to travel around Taiwan. While feeling the beauty of Taiwan, he also gradually realized what is the culture of his own land during the travel process. Chen Mingzhang, who regards Taiwanese as his mother tongue, only feels the most when he writes Taiwanese songs, but what he listens to is Western music, so he desperately tries to modernize and rock Taiwanese music. In 1986, by chance, Chen Mingzhang was invited to compose the soundtrack for Hou Hsiao-hsien's movie "Love in the Wind and Dust".The music written for a guitar purchased for NT$600 finally won the "Best Soundtrack Award" at the French Film Festival. Chen Mingzhang's relatively unfamiliar name undoubtedly surprised many people. In 1989, Chen Mingzhang was invited by Blacklist Studio to sing three works in "Crazy Song", the nostalgic, simple, and humanistic music performance, which made the music scene refreshing. The albums released by Chen Mingzhang focus on live singing, and he continues to write many unforgettable works for the Taiwanese music scene, such as "Red Eyed Dazi", which tells the story of Hengchun folk singer Chen Da, Nanguan Master Jin Zhishi "Bamboo Branch Ci", "Tangshan Crossing Taiwan" by the ancestors who reclaimed Taiwan, "Wandering to Tamsui", "Is Our Baby", "The Last Bus from Suao", etc., use storytelling as the appeal method, so they are closer to the people Taiwanese songs of life. I am very lucky, I was born in 1956, which is the time when Taiwan's local music dramas began to flourish.When I was young, in the market near Beitou, out of the 365 days of the year, there were about 360 days of performing arts.I watched Beiguan, Nanguan, Gezai Opera, and Puppet Show every day since I was a child. Therefore, my understanding of local culture comes from life, and I don’t need to learn it at all.In particular, my mother often hums some old Taiwanese songs to us. The accents and characters in these old songs are learned only through dictation, and the scores are not accurate at all. My voice is neither beautiful nor accurate.I sing because I can't find anyone else to sing my song.I have written so many Taiwanese songs, but I can't sell them, so I have to keep writing.I don't know why, maybe that's my only expressive tool. Creation is a life process. Unless I die, I will definitely face the question of "why I live".I'm very glad that I didn't jump into the commercial circle, and I can always do what I want... My songs now are very different from before.In the past, my works were all slightly sad, but now I am very happy.I forced myself to change, from a lot of aboriginal music, from a lot of concepts of Taiwan's new culture.Because the environment has changed, the whole society and the country have to get out of the tragedy. This is the time when Taiwan's mainstream culture can come out on its own.I was the one who took the lead in this area at the beginning, but now I don't need it anymore.And the future must be the era of concerts, Wu Bai is an example, but I am relatively shy, so I need to practice.Many people have no way to accept it, and hope that I will continue to write with a humanistic feeling like that of "A Play in the Afternoon", but I don't care, people can say whatever they want. On the road of music, the establishment of the "Tamshui Walking Singing Troupe" is an exciting thing for Chen Mingzhang.The members of the choir are all part-timers, the guitarist A Chang is working as a land agent, the bassist Steve is an American lawyer, the drummer Xiao Huang is the manager of a pharmaceutical factory, and Chen Mingzhang himself is planting orchids, only the assistant A Liang is full-time , so these members call him head. "At the beginning, I made up my mind never to look for a job, even myself, so that I can really play music. The members of the group met by chance, and now we practice every Saturday in Luodong Presbyterian Church, Lukang Theanhou Temple, Taichongshi Elementary School, and Chiayi are walking and singing everywhere." In 1993, the soundtrack of the film "Lian Lian Feng Dust" was released.After seven years, listening to the music at that time, Chen Mingzhang said: I was really young and honest at that time.Chen Yang, who was in charge of the post-production, asked, what was the motivation for producing "Lian Lian Feng Dust"?The reporter who introduced Chen Mingzhang to Hou Xiaoxian said: Don't you think it is very beautiful to commemorate the youth you once had?You are only young once. Big-footed Sister/Big-footed Sister/Ruan’s sister is called Ruan/Big-footed Sister/Big-footed Sister/Big-footed Sister’s Big Belly/What is the wind blowing socks/Ruan’s parents are called Ruan / Big-footed sister / Big-footed sister / Brother and sister push to Ruan / Shopping and doing things are really stable / Big-footed sister / Big-footed sister / It’s the shore where sisters cuddle / Big-footed sister / Big-footed sister ／It is a bed that parents can rest assured／Sister Dazuo／Sister Dazuo／On September 18th of that year／Eighteen girls／There is a flower in my heart／Ruan’s crush is called Ruan／Bigfoot Sister/Sister Bigfoot/Ruan’s heart hurts every time I hear it/Ruan’s loneliness is called Sister Ruan/Sister Bigfoot/Such a big loneliness/Dare to wear such big shoes--"Bigfoot" Sister" Lyrics: Xu Changde Music: Chen Xiaoxia Singing: Chen Xiaoxia In 1991, Chen Xiaoxia released her first Taiwanese album "Big Foot Sister". When talking about "Taiwanese New Folk Songs", Chen Xiaoxia is often ignored, and she herself did not intend to stand in this group when she released this record.Since I was a child, I have been speaking Mandarin with my father and Taiwanese with my mother. "This situation is very common between my generation and the new generation, so a new Mandarin and Taiwanese language have emerged, which is the result of cultural marriage." Chen Xiaoxia, a very brave and lonely creator.There is no need to highlight women, as if saying that someone is a female writer, it will naturally lower the requirements for her to think about it, and it will be reduced to a small turning point. Chen Xiaoxia is a creator, so there is no need to add the word "female" in front of it. At the age of 27, he published his first music composition "Spring, Summer, Autumn and Winter". From the time of Liu Wenzheng, he wrote Southern Duet, Lin Liangle, Meng Tingwei, Wan Fang, Yang Naiwen, Liu Ruoying, Faye Wong, Karen Mok, and Eason Chan.She started learning production very early, just to answer many question marks in the process from "songwriting" as a creator to "singing" as a singer. In the era when there were no female producers in the record industry, her thoughts on record production were unprecedented. . Sometimes I think that Chen Xiaoxia who wrote "Look at the Moon's Face" and "Promise" is not the one who sang "Big Foot Sister" and "Mom Has a Song in Her Heart" in Taiwanese people?The same touch, but not the same fragile nerve.How many people can listen to Chen Xiaoxia playing the guitar and singing "Look at the Moon's Face", Wan Fang said: "That is the best "Look at the Moon's Face" I have ever heard Floating in my memory, her music doesn’t need to be shared with others, it belongs to the listener alone.” Chen Xiaoxia’s attitude towards music is still--I will never know what the next sound will be. Where, maybe I won't be able to write a song that can find the answer to life in this life, but I have learned to find more of myself and self-affirmation in every creation. The lyricist Yao Ruolong once said: "An artist is often able to create various works because of the complexity and unpredictability of his soul. Therefore, in the face of Miss Xiaoxia, a musician who hides her secrets and has infinite possibilities, I I can only admire, look up, and say with envy and curiosity, I don't know Chen Xiaoxia." A person who would rather give up a lucrative record production job and return to a lonely creative state, believes that it is great to do one thing well in one's life, I firmly believe that I will never starve to death, and then I started to go home to live quietly, write songs seriously, and personally send the most expensive guitar to my daughter's school when the record is released, just because her daughter participated in guitar classes-such a woman is just like herself . The album "Big Foot Sister" ranked 16th in the selection of "Taiwan Pop Music's 100 Best Albums". Throughout the 1990s, singers such as Chen Xiaoxia, Qi Qin, and Su Rui released Taiwanese albums one after another, and many emerging bands were also willing to try to create in Taiwanese.In addition to underground bands, there are two representative bands, Luantan, which won the Golden Melody Award for Best Singing Group, and Mayday, which is quite popular recently.The average members of Luantan are only in their early thirties, while the average member of Mayday is only in their twenties. The Taiwanese songs sung by Luantan are a fusion of the flavors of the North and South Guan, and the lyrics are quite good.Since Mayday is younger, its experience is not as proficient as Luantan, so its creation is more inclined to the love world of a group of young people. Wu Bai, known as a Taiwanese kid, is a native Taiwanese.Wu Bai, whose real name is Wu Junlin, is the soul and lead singer of ChinaBlue, and also works in the creation and production of many pop singers.Wu Bai, who speaks Taiwanese as his mother tongue, once said that Mandarin is thinking and Taiwanese is life.Wu Bai is an alternative singer in the fuzzy area between Mandarin pop singers and Taiwanese singers. This is somewhat similar to Chen Sheng, Luantan, and Mayday, although the musical demands of these singers and orchestras are different.Wu Bai also contributed a rare effort to this Taiwanese new folk song style. In order to record local folk songs, Chen Sheng established "Xinbaodao Kang Band".Chen Sheng said: "Taiwan has almost 500,000 aborigines and 9 ethnic minorities. Some ethnic groups have less than 5,000 people, and their languages ​​are almost wiped out. This is really a crisis. We think that when these ethnic groups are Sinicized, Try to keep their voices before globalization." At the same time, Chen Sheng believes that "I can't interpret the music of the aborigines rashly from the perspective of a Han Chinese, and we can't help them with our own values." Ah Von, the "last prince of the Paiwan tribe" in the book, is responsible for collecting folk songs. In fact, this kind of rescue is not only the efforts of local musicians. The world-famous Ingmar album included a song called Return to Innocence (Return to Basics), which was used as the promotional song for the 1996 Atlanta Olympics. It was based on Taiwan. The "Old People's Drinking Song" jointly sung by Guo Yingnan, the singer of the Amis nationality, and the Malan singing team made aboriginal music the focus of the world's attention.In addition, Dan Lacksman, one of the members of DeepForest, also collaborated with Guo Yingnan to produce two albums, "Circle of Life" and "Across the Yellow Earth".Guo Yingnan said "We want the world to hear the voice of the Ami people", and the words are still in my ears. This national treasure singer died of sepsis in 2002 at the age of 82.The 13th Taiwan Golden Melody Awards presented a special commemorative award to Guo Yingnan and his wife, both of whom have passed away, to commemorate their contributions to aboriginal music. In addition to Taiwanese, that is, Hokkien music, there is room for appeal. Singers and musicians such as Hu Defu, Chen Jiannian, Ji Xiaojun, etc. have been committed to saving the music of aboriginals and other minority groups, and have achieved good results in these years. Affirmation in every way.However, the aboriginal culture and the living environment of the aboriginal people still need to be improved. In the Haishan coal mine explosion in 1984, most of the casualties were aborigine miners, which prompted Hu Defu to formally participate in the advocacy movement for the rights of aborigines.First of all, shortly after the incident, Hu Defu sang a song "Why" composed by him at a fundraising event for the families of the miners who died in Taipei New Park. Survival issues, did not fulfill the duty of proper care.In the same year, Hu Defu and others co-founded the "Taiwan Aboriginal Rights Promotion Association", and he served as the first chairman.In subsequent occasions where he spoke out for the aborigines, Hu Defu also incorporated their appeals into the songs he composed, hoping that the general public would start to face up to the aboriginal issues. In addition to composing and singing aboriginal songs, Hu Defu also spared no effort on the road of preserving aboriginal music.He mainly collects the songs of the Ami, Paiwan and Puyuma tribes; as a Puyuma himself, he finds it difficult to collect and organize the songs of the Ami and Paiwan tribes whose languages ​​are completely unfamiliar to him. "I always use the most stupid way, which is to go to those tribes to stay for a long time, to live with the tribesmen there, and to learn their language slowly." For music, Hu Defu has his persistence-- It is to fully understand the cultural background of the song itself and the meaning it contains, so that it can be faithfully recorded.He believes that Taiwan's aboriginal music is rarely a cultural asset in the world that has diverse and rich musical elements and can show exuberant vitality, and its most precious feature is the expression and language of joy, anger, sorrow and joy in daily life. Sing out through music.He said: "Aria itself is the expression of life, and the ballads of aboriginal people have surpassed the realm of music." Hu Defu also put forward his own views on the promotion and development of aboriginal music in Taiwan: it is not just to use some melodies of aboriginal music The embellishment of tunes and tunes in the music is only superficially catering to the current trend of the record market. When this aboriginal music craze subsides, people will soon forget the touch that these music brought to them. "So we have to start with education," he said. The "Ministry of Education" can include many foreign folk songs in the music textbooks of elementary and middle schools, so why can't they include more songs of Taiwanese aborigines?In order for Taiwanese to know the music and culture of their own local spirit earlier, it must be cultivated through education from an early age, in order to recognize and love it, and to inspire more people to want to keep it, The idea of ​​passing on.He hopes that the government can take on the heavy responsibility of inheriting aboriginal culture, instead of passively letting non-governmental organizations and people behind the scenes urge them. "It's not a question of population size, but a factor of geographical environment and historical and cultural value." He said in a proud tone, aboriginal music should be the indicator that best represents Taiwan's local culture and humanistic spirit, not only to let Taiwan People understand it, and they must spread it to every country in the world. In terms of Taiwanese, Crystal Records has to be mentioned as a working team engaged in the discovery of new Taiwanese folk songs.Crystal Records started from publishing "Rocker" magazine, acting as an agent for music brands such as RoughTrade and Factory, to producing its first record, and then discovered local artists such as Chen Mingzhang, Jinmen Wang and Li Binghui, Wu Bai, Zhu Yuexin, etc., and established Crystal Records" Homegrown Alternative Rock" image. In 1986, Ren Jiangda, who later became the person in charge of Crystal Records, was the foreign manager of Golden Sound Records, the predecessor of Polygram Records. He Yingyi, who worked as a reporter for "United Daily News", co-edited a magazine about alternative rock, which later became "Rocker".Ren Jiangda left Jinsheng to form Crystal Records in 1988. His first album was "Idiot's Lies" by the underground band DOUBLEX.Crystal Records has produced albums of many artists, such as Zhu Yuexin, Zhao Yihao and others.From 1988 to 1991, Crystal Records held the "Taipei New Music Festival" for four consecutive times. The main participants were all college students at that time. It was also the first time for local artists such as Chen Mingzhang, Ye Shuyin, Lin Qiang, Shi Chenlan, Wu Bai and Zhao Yihao place, these singers will join Crystal in the future. In 1990, in addition to Chen Mingzhang's "Live Works" mentioned above, Crystal Records also produced and completed the solo album "Take Me Out of Myself" by Zhao Yihao, the lead singer of the former DOUBLEX band.The creation of most of the album's works was done by Zhao Yihao. The strong decadence and pure rock expression in the works represented the highest level of Taiwanese rock works at that time.The three works of "Shock", "Take Me Out", and "Death" in the album also caused a lot of trouble for Zhao Yihao. Due to the unhealthy content of the songs and the obvious suicidal tendencies, they were rejected during the review process. blamed, and was declared a banned song.In the same year, Crystal Records released the 1989 Taipei "New Music Festival" newcomer compilation "Completely Out of Tune".The album brings together underground musicians such as Wu Junlin (Wu Bai), Mao Yuanhao, Ye Shuyin, Bronze Age, Zhou Zhihua, Shi Chenlan, Phantom Nongying, and Lan Luoli Studio.Although the strong alternative color in the album makes the work feel rather gloomy and repulsive, but works such as "Lilliputian", "Unemployed Man", and "The Only Earth" are full of a clear youthful breath.As described in the album copy: "Here, you have plenty of space to fantasize. Youth and dreams are no longer just a slogan." , Zhu Yuexin, Pan Lili and many other Taiwanese underground singers.When the album was released, Crystal's slogan was "Taiwanese songs can no longer be sad, we look forward to using the mood of the desk, and uniting the hearts of Taiwan with joy".In the same year, in order to commemorate Yang Kui, the pioneer of Taiwanese literature, Crystal specially published the compilation "Yang Kui Memorial Album-Mother Goose Married", and held a series of campus performances.The album includes the works of a group of creative Taiwanese singers such as Lin Liangzhe, Li Kuncheng, Zhu Yuexin, Shawford, and Chen Mingzhang.The whole work is full of cultural connotations, presenting a full atmosphere of "literary concert".In addition, in 1991, Crystal Records also released a compilation album "Voices Collected from the Bottom of Taiwan" aimed at excavating and sorting out the disappearing alternative music in Taiwan. underground music works.Kinmen King and Li Binghui, who became very popular later, had already received the attention of Crystal Records at that time, and included their Taiwanese Nakashi-style music works in "Voice from the Bottom of Taiwan II". For Crystal Records, the local nature is an important element.The albums released by Crystal often have a local color, and most of its orchestras are Taiwanese students and local music lovers. The music direction is young and bold; in terms of style, each different orchestra Retained the unique characteristics of its own orchestra.Not only that, Crystal also includes many local opera music, traditional music for weddings and funerals, whether it is Taiwan's alternative rock bands, or traditional opera music, Crystal Records has done its best for the music of this land. 水晶唱片策划宣传部陈品方说，在这个自由意识抬头的年代，水晶唱片没有给予乐团任何限制，乐团想要做什么，尽管照着自己的想法走。大部分的乐团、音乐人除了为自己的创作留下一个纪念之外，最终的目的就是让所有人能听到自己创作的音乐，这也是所有音乐人的共同梦想。 对于宣传部分，陈品方表示，由于水晶唱片目前所制作发行的专辑，多为小成本的制作，因此并没有庞大的宣传费用掺杂在里面，所以水晶唱片的宣传，并不像市场上主流唱片公司的宣传手法，对于地下乐团，台湾有一定的固定爱好者，电台方面也有固定的DJ对于地下乐团有浓厚的兴趣，因此靠着电台DJ的宣传以及口耳相传的方式，水晶让更多人听到不一样的音乐。 这些举措在为水晶唱片赢得了"台湾新音乐摇篮"的赞誉的同时，无疑也使得它在流行的大环境下经历着惨淡的经营。不擅经营的水晶唱片多次面临窘境，也曾经因拖欠艺人版税与陈明章大打版税官司。1996年，水晶唱片结束营业。何颖怡这样描述感受：一个留下与岁月奋斗的痕迹，却没有留下成长的地方。就在大家叹息的时候，水晶唱片卷土重来，闭门思过的任将达带着对市场的重新理解再次出发，把公司搬到偏远的房租比较便宜的地方。 这一次，不知道水晶唱片可以走多远。正如曾慧佳所说："新台语民歌面对的不再是政治上的打压，而是庞大音乐工业体系的吞噬所造成的威胁。"选择在晴空万里的这一天/我背着钓竿/独自走到了东海岸/徜徉在海边/享受大自然的气息/忘却所有的烦忧/心情放得好轻松/云儿在天上飘/鸟儿在空中飞/鱼儿在水里游/依偎在碧海蓝天/悠游自在的我/好满足此刻的拥有/ya-uho-hi-yan/ya-uho-hi-yanhi-yan--《海洋》词曲唱：陈建年在水晶唱片停摆的日子，1998年秋天，另一打着独立音乐旗号的角头音乐诞生了。"我的故乡在云林，一向以生产流氓著称，加上独立唱片就是要做有棱有角、具有个性的音乐，才能在潮流前端领头，所以就取名为角头。"本名张议平的角头创始人张四十三如此说。 张四十三曾经在主流唱片公司当策划，之后经营过地下电台，最后还是决定回到唱片业，并以独特的眼光发掘着台湾本土最具草根意味的音乐人。创业之初，张四十三借了四百万启动资金，其中二百万花在角头自己的录音室上。对于非主流音乐人，有一间属于自己的录音室是必不可少的。"（他们）多半具有自由、随性的风格，常需要比主流艺人更长的录音时间，才能酝酿出好音乐。外面录音室以小时计费，录音时又急又赶，对非主流厂牌来说，不但花费大，录出来的东西也不自然。"1999年，为了追求自然，尊重创作，角头制作人郑捷任特地从台北南下台东为当时还名不见经传的台东原住民警察录音，只因为"那是他觉得最自在，最能忠实表现自己的地方"。这位歌手就是陈建年，这张名为《海洋》的首张个人专辑一举囊括第十一届金曲奖最佳男演唱人、最佳作曲人奖，为角头音乐赢取扬眉吐气激动人心的一刻。 在至今发行的三十多张唱片中，角头音乐推出过陈建年、董事长乐团、波宾乐团、恒春兮、夹子电动大乐队、好客乐队、廖士贤等多张唱片，歌手包括福佬、客家、原住民、琉球人等，音乐风格上则以民谣与摇滚（包括地下乐团）为主。成立近十年，角头音乐多次获得入围台湾金曲奖及年度十大专辑的专业肯定，从另一角度显现出台湾主流之外的另类文化的发展空间。 回忆刚成立的那个冬天，角头举办了一场名为"华山论BAND"独立乐团演唱会。张四十三说："我们搭了两个舞台，分为北角头与南角头，让两个乐团同时演出，感觉有点像是早期庙会前的戏班在拼戏。也许是上了瘾，我们开始寻找台湾纵贯线那梦中的音乐角头。从卑南山野的初春到北大武山的深秋，从都会边缘的熙攘矮巷到被繁华遗忘的部落，从犹如铁工厂般的录音室到天地无界的大地。这些乐手，大都身处各地角落以角头自居，我的意思是，他们都有很强烈的创作风格及视野。他们的音乐更如百花齐放，森罗万象。""1999年，我们陆陆续续把这些成果作一系列的出版，角头唱片独有的25cm×25cm包装，把音乐专辑的创作动机，结合人物、风土和音乐，作多面向的延伸。专辑内文像一本人物特写，记录一个音乐人的音乐历程、思想背景，佐以人文摄影，完整呈现一个创作者乃至整个创作团队的故事。不仅是一张专辑唱片，它也是一本多角度的人文报道杂志。可以在唱片行买到它，当然也可以像收集杂志般地订阅它，我们2-3个月会出版一张，直到我们做不下去。"角头音乐一直以本土文化为使命，完全放弃主流音乐的宣传渠道，而是以铺货、收账、盘点的方式在台湾四十个角头专柜行销。当前角头每年以出版六张专辑为目标，在这样的年产量里，部分是角头从策划、录音、混音、后制全部一手包办的"自制片"，例如陈建年、纪晓君的专辑；另一种合作模式，则是与乐手分工，直接采用他们录好的母带，角头只负责后续的设计、美编、发行、宣传事宜，例如好客乐队与浊水溪公社的新专辑，都属这种合作模式。 角头另一特殊处，是不签长期经纪约，而只针对每次作品发行时和歌手签单张合约。"订长期合约，最后常变相地钳制歌手的发展，再说我们也没有能力长期照顾他们。"张四十三说，"合约内容与歌手版税，一定白纸黑字清楚载明，不能因为是非主流，就让人家吃亏。"角头与乐手基本是伙伴关系，即使主流唱片来挖，张四十三也觉得无妨，诚心祝愿他们能有更好的发展。"很多人喜欢角头替歌手巴奈出的专辑，却不知道主流唱片公司曾签了她六年，却连一张专辑都不愿意出。人的一生，能浪费几个六年？"事实证明，不少曾被主流唱片挖角的独立音乐人，最后还是选择回到角头，继续他们的音乐路。 由角头唱片主办的一年一度的"海洋音乐祭"更得到了台北县政府的投资，成为最有影响力的一年一度的民间音乐活动。这项标榜独立乐团与创作艺人参与的大型国际音乐祭，从首届参与者不过千余人，一路演变成三十多万人朝圣的盛会。"因应潮流，当前角头的业务量上，音乐祭等活动大致占了七成，唱片本业只占三成。就未来趋势而言，唱片市场只会继续萎缩，因此经营副业来支撑本业是必要的。"1999年，张四十三在角头音乐的创业作里写着："我们远离了虚妄与浮华，远离支配的形式，开始寻找台湾纵贯线上那梦中的音乐角头。"五年后，张四十三可以骄傲地这样说："角头五年了，一样贫穷。然，志气高傲，依然有种。""无论如何，独立音乐的势已经出现了，随着厂牌越来越多，在这条独立音乐的大路上，角头将不会孤单。"这场由台湾本土出发的音乐盛宴，还将持续引发改变着台湾的音乐形式。"我想证明，唱片，也可以是一种时代的记录。"与此同时，台湾地下乐团风起云涌。四三一乐团、浊水溪公社、观子音乐坑、骨肉皮、原音社、四分卫、交工乐队、闪灵……你会发现，竟然有不少乐团的成员毕业于台大、淡大、辅仁等著名高校，尤其四三一乐团，名字直接来源于台大男一社4楼31室。这些乐团的成员大多不固定，乐手经常相互穿插着维持乐团的状态，也有的乐团得以签约唱片公司，如脱拉库、五月天、董事长、乱弹。 第十一届的金曲奖颁奖典礼，乱弹拿到最佳演唱团体奖。主唱阿翔在获奖台上大喊："乐团的时代终于来临！"很长一段时间，这句话成为一个被传播的激动人心的口号。 或许罗弘武说过的一段话可以成为一种解释：在世纪末的台湾，正开始有了更清楚的本土意义，而台湾的音乐创作人也仍然欢喜愿意地汲取全世界的摇滚经验及态度、精神，同时比过去有着更自然、自信的学习过程。欢迎未来摇滚在台湾正是直接来自于灵魂的力量，不只是批判的角色，有更真实的自由，直接摇滚着！回顾这些年来台湾的音乐发展，至此，我已无话可说。我想以四三一乐团的主唱、毕业于台大哲学系的沈怀一说过的一段话作为本章的结尾，尽管有些偏激--我们是音乐人，谈音乐要轻松：台湾人没有水准，因为台湾人没有立场。 台湾的创作者没有水平，因为台湾创作者没有立场。 人要有立场、人要表态、人要清楚，简单或复杂都没关系。东南西北中发白都没关系，谈政治，罗大佑故作神秘、陈明章日益模糊、伍佰高深莫测、陈升则环岛旅行、李宗盛早已办好移民。谈品味、谈格局，大家都是争相表态。 在开放多元的社会，每个人都要准备好立场，当清晨来临时，命运注定我们将要迎接一个光辉灿烂的时代。