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王力宏 心中的日月:創作樂譜書(1)-Neo19

(2007-06-03 14:33:49)
王力宏 <wbr>心中的日月:創作樂譜書(1)-Neo19  LEEHOM Shangri-la: Piano and Vocal Score (1)


XIN YI JI HUA QU,Taipei’s hottest new development area, is a vibrant picture of hip, young Taiwanese social life.WarnerVillage, its central complex, is a trendy place to meet up with friends for a meal, movie, shopping, or clubbing. 

It was January 2005. I had just released my “Shangri-la” album, and was looking forward to enjoying an evening alone to internally celebrate having completed such an arduous album production.

What better place to feel alone than amidst the bustlingTaipeinightlife? Subconsciously, I might have related the peaceful loneliness of being on stage in front of thousands of people to that night’s dinner plans. I decided to make a beeline for Warner’s colorful “Neo19”building. 

Upon entering, my ears immediately latched onto the catchy harp introduction of Britney Spears’s “Everytime” pumping into the gargantuan main room. One of her few songs that I actually like, this ballad’s arrangement created the exhilarating illusion of the restaurant’s lofty ceilings being somewhere beyond the stratosphere. I have a penchant for high ceilings, cloudless skies and astronomy. I like the place. 

By conditioned response, I sat myself down in a non-conspicuous corner, but was soon surrounded by a host of smiling waiters with paper coasters to be autographed. So began my mini-autographing session before even seeing a menu … sigh. While obliging as legibly as possible over the coasters’ green “Heineken” logos, I silently asked myself, “should I be signing THESE?” My thoughts were interrupted by the back of a cellular phone shoved in front of my down-turned gaze. “Mr. Wang, can you please sign this for me?” I looked up to see a slightly older, bespectacled restaurant manager. “Sure,” I said as I wrote my name over his phone’s removable battery. “But…”, I began and then stopped. 

I didn’t want to come across as arrogant or stringy, but staring at the stack of coasters to be signed, combined with the fact that the manager himself was standing in front of me, my words just came out! I swallowed and continued, “I just released my new album… and you play music (loudly) in your restaurant,” I was feeling awkward already, but I thought after signing so many autographs it was a fair request. “Could you play my new album here, sometimes?” The manager quickly made a wincing expression, and answered in an awkwardly polite way, that to me was no less caustic than a slap in the face. 

“Sorry Mr. Wang, our rules are that we can only play English songs here.” 

The restaurant manager’s words reverberate in my mind to this day like a gunshot. I’d been hit in the chest and was stunned. “What?” I thought, incredulously. “What kind of rule is that? We’re inTaiwanand you can’t play Chinese songs?” My first emotion was anger. As a musician who has dedicated so much of his life to Chinese music, I was feeling personally attached. But looking up at the bespectacled restaurant manager, I realized he meant no harm, and it wasn’t his fault. In an effort to make theWarnerVillageso cool, so hip, so international, they had actually set up rules to follow. Rules, in my eyes, that are sadly disillusioned.

I can understand if a Mexican restaurant wants to play only Mexican music to stay consistent with its decor, or a Japanese pub’s theme is to play J-pop music videos in the store. I respect and applaud those creative decisions. But if these establishments in Taiwan, in order to make themselves appear more “international”, embrace the prejudice that Chinese music is “too local” for their image, this is not only ludicrous, but also detrimental to the development of our popular culture, and its overall self-esteem. 

These rules (decreed, or unspoken) are accepted in many Taiwanese establishments that are trying to be “international”. It’s so ironic that Americans, many of whom know nothing of Chinese, Japanese, or Korean culture, (they’ve never even heard of British pop stars like Robbie Williams, Blue or Craig David, who sing in English!), have little or no exposure to international radio, television, movies, and print media, are the ones we often look up to as being “international”. The truth of the matter is, Chinese people are in many ways more “international” than theU.S., and more in touch with the goings on of other countries worldwide. 

Chinese establishments should feel proud to play the music of local artist. Now more than ever, we should embrace our own culture, and work hard to take it to a more international competitive level. As a musician, this is one of my paramount goals. I know it can be done if we take pride in our work, and in ourselves. 

Be proud to be Chinese. No one else has what we’ve got.





   置身在熙來攘往繁華的台北夜生活中,還有一個地方能讓我感覺更孤獨嗎?下意識中,和可能我把此時心中想安靜獨享晚餐的感覺,聯想到當我獨自站在舞台上面對千萬觀衆表演時心中平靜的孤獨感。我決定直接走進華納威秀裡充滿五光十色的「Neo 19」。







    台灣有太多的店家爲了試圖營造所謂「國際化」的氣氛,把這些自視可以成爲「國際化」的「規則」(成文或不成文的)奉為圭臬,遵行不諱。諷刺的是,其實許多美國人完全不了解中國、日本或韓國文化(甚至那些唱英文歌的英國歌手如Robbie Williams、Blue或是Craig David,他們從來也沒聼過),很少、或者是幾乎沒聼過國際電台、更沒看過外國的電視、電影、書報雜誌;而我們卻常常以爲美國人比我們「國際化」並希望向他們看齊。事實上,在很多方面,許多中國人比美國人更國際化,更常接觸世界咨詢,更關注其他國家發展的脈動。



                                               [2006-03-05 23:05:23]


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