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周云蓬果然开始了歌以载道的路程。在上一张自述式专辑的内敛之后,周云蓬倏地伸开了他蜷曲的触角,给出了一个充满攻击性的续篇。首先我怀疑这种形式的有效性。《中国孩子》这张专辑所承载的思考,不是普适而指向人性和学术的,它的矛尖涂满了经时济世的感言。这种充满启蒙意味的言论的理想受众应该是“不怎么文艺/文艺的太微观”的沉睡的大多数。然而毋庸多言,中国的唱片工业的割裂是严重而畸形的。歌以载道,而歌吹若不胜膂力,道也弗行。中国显然不具有上世纪六十年代Bob Dylan和Phil Orcs大闹(?)国社会改写历史的那个环境(当然民族家价值观本身也有不同),包括市场环境和社会环境。悲观的看,这张专辑最后的有效受众只会是那些已经启蒙了,对社会有深切关注和思考且关心中国地下民谣的人群;而效果,只是让这些人在脑海中模拟一出“good old days”的民谣运动,找到一种类似“角色扮演”的自high之“场”。徒增内耗而已。
Zhou Yun Peng really started the song to carry the distance. After the introversion of a self-styled album, Zhou Yun Peng stretched his curled tentacles to give a full-fledged sequel. First I doubt the validity of this form. The thinking carried by the album “China’s Children” is not universal but points to humanity and scholarship. Its spear is covered with words that have been learned from time to time. The ideal audience for this kind of enlightening speech should be the sleeping majority of “not very micro-literary / literary” microcosms. Needless to say, however, the fragmentation of the Chinese record industry is serious and deforming. The song carries, and the song blows in vain, and the word evangelizes. Obviously, China does not have the environment (of course, the ethnocentric values themselves are different), including the market environment and the social environment, in which Bob Dylan and Phil Orcs made troubles in the 1960s. Pessimistic, the final valid audience for this album will only be those who have been enlightened, have a deep concern for the community and think about and care about the underground folk in China crowd; and the effect is to make these people in my mind to simulate a “good old days ”folk songs, to find a “ role play ”from the high “ field ”. Only by internal friction only.