At the end of the 90s, after the financial crisis, with the gradual fading out of the "Four Heavenly Kings" on Hong Kong Island, after entering the new century, only the glory of Xie Tingfeng, doctors and others appeared in the Hong Kong Island music scene. Among them, Hong Kong Island singer Xie Tingfeng has become the best-selling singer in Chinese with 2 million sales of two albums a year.

In 2000, Emperor Entertainment announced the establishment of MUSICPLUS musician record labels, including Doctor, Xie Tingfeng, Yung Zu, Teacher Chen, Zheng Xiyi, Twins, etc., and after only 5 years of development, it became one of the most popular record companies in the Hong Kong Island music scene at this time. From 1999 to 2002, Xie Tingfeng was the most glorious period, releasing his first Chinese album "Thank You for Your Love 1999", and the total sales of the champion album that won the Baodao record sales list that year also exceeded one million. The doctor is considered one of the indicators of the new era of Hong Kong pop music, and is also considered to be the successor of Jacky Cheung.

At the same time, Chou Dong of the Baodao music scene took off with the album of the same name "JAY", and the second album "Fantesi" quickly became popular in the entire Asian pop music industry. The album's hit single "Nunchuck" created a Chinese style for RAP, and has been sung in a style rarely seen in the Chinese music scene. From 2002 to 2006, Chou Dong successively released several albums such as "Octave Space", "Ye Huimei", "Qilixiang", "Chopard in November", "Still Fantaixi", etc., establishing his undisputed position in the pop music scene.

In 1999, Leehom Wang established his status as a "high-quality idol" in the Baodao music scene with albums such as "Revolution and Rotation" and "It's impossible to miss you", as well as a clean and refreshing image. Xiao Yaxuan topped the sales championship in Taiwan that year with his first album "Xiao Yaxuan" with 500,000 sales. In the unprecedentedly prosperous "R&B wave", many excellent singers have emerged, such as JJ, Pan Weibo, Xiao Zhu, Huang Lixing, etc.

In 2000, Liang Jingru became an instant hit with "Courage", and Jolin, the "boy killer" who debuted in 99, also officially transformed during this period, and "Look at Me 72 Changes" achieved unprecedented success, with 370,000 copies sold on Baodao and 1.5 million sales in Asia for the first time won the annual sales female singer championship of Baodao.

These years, that is, the years before and after the beginning of the 21st century, are the last peak of the Chinese music scene.

After the 21st century, the draft era began to appear, and quickly created many draft celebrities, such as the 21-year-old Chun Ge, who became the first elected idol in China. In 2003, Rolling Stone Records, a local company in the island area, closed its physical record distribution channels, and by 2009, digital distribution accounted for 60% of the entire Asian music market.

In 2005, the popular "Mice Love Rice" set a record of 6 million CRBT downloads in a single month, which brought 12 million yuan of income equivalent to 700,000 traditional records at that time. This year is known as the "first year of Chinese digital music" by many industry insiders. Since then, traditional video stores have gradually entered the cold winter.

In 2011, Xu Liang and Wang Sulong, two online singers, earned as much as 5 million pure organic downloads, surpassing established big record companies such as Universal. Then, with Apple's announcement that the IPOD would be discontinued, smartphones gradually became the best tool for people to listen to music. According to data, in 2011, among the 1.1 billion music users in China, mobile Internet users accounted for 700 million. In addition to traditional record singers, this is also the best era for many niche independent singers, and they have achieved a greater communication effect through online platforms than before.

All in all, the stage of 04-05 is not only the era of crazy output of various gods, but also the era when Internet singers begin to show their signs, and it is really not an exaggeration to say that it is a battle between gods and gods.

Later, the prosperity of the Chinese music scene finally came to an end, as the old group of musicians retreated into the background, the age of the young and middle-aged generations gradually increased, and the musicians of the younger generation did not have the talent of their predecessors, and more, all of them were traffic niches.

People began to be disappointed with the performance of the Chinese music scene, and for a time people finally began to miss the glory of the past.

I still remember that in 1982, Luo Dayou, who was still an intern, finished creating a series of works and began to record by himself. As a result, as soon as "Zhihu Ye" was released, it was like a bombshell into the music market at that time, setting off a black storm in the history of the music scene on Treasure Island. "Childhood", which was given to Zhang Aijia, was brought to the mainland by Cheng Fangyuan in 1986 and widely sung, and another song "The Story of Time" became Chen Kexin's nostalgia for youth in "Chinese Partner".

Luo Dayou became the spiritual idol of the young people of Baodao, but he was trapped by the authorities of Baodao, and he had to go to the United States. At this time, Li Zongsheng, who was still a little transparent by Luo Dayou's side, emerged under Zhang Aijia's strong recommendation. In 1989, Li Zongsheng launched "Tell You Listen to You" for Chen Shuhua, which pushed the Baodao record industry into the industrial age, and he became the first promoter of pop music in the Baodao music scene in the 90s. In addition to songs such as "The Price of Love" and "True Hero", the public may be familiar with the new generation of pop singers he has cultivated, such as Lin Yilian, Zhou Huajian, Xu Ruyun, Mo Wenwei, Liang Jingru, Zhang Xingzhe and so on.

At this time, Luo Dayou, who had been in New York for 4 years, also returned, and the era that belonged to them had just begun. However, at that time, he first chose to move to Hong Kong Island, and at this time, the Hong Kong Island music scene had entered the prelude to the end of Tan Zhang's hegemony.

In the mid-80s, the whole of Hong Kong Island music was star-studded by the rise of Alan Tam and Leslie Cheung, but the rivalry between the two fans troubled Tam Cheung, who had a good relationship. This contradiction erupted in 1987 at the annual Top Ten Golden Melody Awards Ceremony, Alan Tam announced that he would no longer participate in any music song competitions, and two years later, Leslie Cheung also regretted leaving the music scene for the time being.

The kings and queens handed over their scepters one after another, and the Hong Kong Island music scene was instantly speechless in the early 90s, but the vacancy was soon filled by the new four kings. In 1992, the "Oriental Daily", which had the largest circulation on Hong Kong Island at that time, used the four heavenly kings in Buddhism to "canonize" Andy Lau, Jacky Cheung, Li Ming and Aaron Kwok, so far, the four heavenly kings were born, monopolizing Hong Kong Island and even the entire Chinese music scene for nearly 10 years. Moreover, the influence of Hong Kong Island musicians is no longer confined to Hong Kong and Taiwan, but has entered the mainland, pushing China's entertainment industry into an era of superstars. This is the youth of the post-80s: Jin Yong's martial arts and the four heavenly kings.

Time rolls to the return of Hong Kong Island in 1997, the four kings and the stars of Hong Kong Island sang on the same stage in the Great Hall of the People, mainlanders saw the real style, and Leslie Cheung, who had been away from the music scene for many years, also returned to perform in this year, and the tickets were sold out. At the same time, an 18-year-old boy sang a song he wrote for the first time, and a few years later, the Chinese music scene entered the last golden decade, and he became the last superstar of the record era, he was Dong Chou. The Chinese music scene has been through ups and downs for decades, and there are too many people who have created classics and written all the vicissitudes of life, they are not fleeting meteors in the current traffic era, but remain in the memory of a generation like stars.

We usually say that "there are talented people in the country, each leading the way for hundreds of years", Luo Dayou makes pop songs no longer limited to petty love, Jacky Cheung creates a new record of Asian pop songs, Huang Jiaju pays attention to the society and the original music of the nation-state has raised the style of the Hong Kong Island music scene, and Jay Chou has led the fashion trend of young people with a highly controversial singing form, which is a node in the Chinese music scene that is more popular and popular.

But as the times move forward, the achievements and value of the music industry have shrunk dramatically, and we can't find a pop song that provokes people's nerves, or puts aside the heavy, profound content and is full of freedom to satisfy the listener's perception, and no musician can drive the entire era. In the future that Zhou Fangyuan is familiar with, a traffic star can reach the top of the list without relying on his works, a singer plagiarizes and denies her songs, and her songs can still linger on major lists.

This is a fault line in Chinese music, and this fault line largely reflects the failure of musical inheritance.

Chou Dong liked Luo Dayou and Jacky Cheung at the earliest, and began to like black music at the age of fifteen, although his songs were no longer influenced by others, but he once said that his goal was to become a "music godfather" of an era like Luo Dayou, so that everyone would think of him when they thought of this era. Jacky Cheung was crowned the god of song very early, and his idol is the previous generation of singer Xu Guanjie, he once said that no one dares to call himself a superstar in front of Xu Guanjie; Andy Lau also once said a sentence, Huang Jiaju led me into the palace of music.

In front of the predecessors in the music industry, whether it is Jacky Cheung, Andy Lau or Jay Chou, they have always maintained humility and respect, and this emotion is out of their empathy and spiritual touch for the development of music in the previous era, which is a bit like passing on the torch from generation to generation, continuing the love for music from generation to generation. But this situation will change in the future, when the external layer of reinforced data builds an invisible well of rising height around traffic stars and their fans, the sky they can see will become narrower and narrower, and they will gradually become unconscious.

It's like the logic of a certain kun fan: a certain kun has the best data, so kun's strength is the strongest, everyone will remember kun and will know kun. Therefore, an old actor and performing artist was unfortunately sprayed because he didn't know kun.

Correspondingly, when the predecessors of the music industry no longer recognize newcomers, the inheritance will be broken. Li Zongsheng said bluntly, "I love this industry very much, I value this industry too much, I see too many irrelevant people to stir up and I feel very unhappy", and Zheng Jun was even more foul-mouthed, "When I hear it, this is", and the Internet agreed.

Of course, more fundamentally, capital and traffic have seized the void in the music scene, fueling and exploiting their ignorance.

To some extent, Kun is also a little unlucky, he alone concentrates all the artillery fire of public opinion against traffic stars, and his reputation is getting louder and louder every time, but he loses worse than he fights every time.

For example, after kun was jointly encircled and suppressed by station B, a large number of UP spontaneously produced various spoof videos, and a large area of non-stop bombardment in turns, the fan group officially announced that it would permanently withdraw from station B, and said that it would never update any videos and dynamics on station B in the future;

But this is not a victory for the Chinese music scene.

When the outside world pulls two people of different ranks and heights into a competition under one rule, this in itself is a kind of irony for the high-ranking person, and the beneficiary is just the party who makes the rules and sets up the stage.

According to the financial report released by Weibo, the activity of Weibo users mainly comes from two aspects: one is to cooperate with the media, variety shows, and sports events to drive in an interactive form, such as the Spring Festival Gala Photo Contest, and the other is to promote interaction and communication between users through products such as Chaohua community and fan groups. Weibo, which is becoming more and more entertaining, is obviously indispensable to big traffic users such as kun, han, and TF, but it is far more than Weibo that caters to traffic stars. QQ Music's ranking list has added the "Singer Social Media Activity Index", as one of the indicators to measure music works, NetEase Cloud Music's "Cloud Music Singer List" ranking rules, select four items of song playback, collection, sharing and singer topic activity for comprehensive calculation.

In the era of mobile Internet, everything can be quantified by traffic, and art forms such as music and movies are no exception, which has put the Chinese music scene into a sleeping spell.

In 2010, the power of Hong Kong Island music declined, which mainly came from the backlash of the star-making movement, and unlike the era of the four kings of Zhang, Liu, Guo and Li, the rise of Hong Kong Island Xiaosheng in the late 90s benefited from image packaging and publicity, but it is difficult to say their classic works. Even Zheng Yinjian and Chen Huilin can only get their hands on two or three title songs. At the same time, the treasure island music scene and variety shows have also bid farewell to the golden age.

This was supposed to be the time for mainland music to flourish with the help of the Internet, but the fragmentation of digital music is no longer able to create a superstar like Dong Chou, on the contrary, the prosperity of social media has derived a set of star-making mechanisms. At this time, it happened that after the invasion of the Korean Wave, the aesthetics and preferences of the younger generation were gradually affected, and the handsome new-style idols broke into their field of vision, so the platform, media, brokerage companies and the capital behind them all took Xiao Xianrou as the object of star-making. Music is just an auxiliary tool to support the aura and personality of the star, and traffic and data have become necessary means to forcibly improve his musical attainments.

Hong Kong and Taiwan music has declined, but at least they have been brilliant, and mainland music has not risen before it has been abandoned by public opinion. The enthusiastic Huang Jiaju once hated the impetuousness of Hong Kong Island music, saying that "there is no music scene on Hong Kong Island, only the entertainment industry", and if he sees the current Chinese music scene, I am afraid he will be even more disappointed. But fortunately, as an "old man", Zhou Fangyuan personally experienced the era of the War of the Gods, and he was fortunate to be able to grow up in such an era. Anyway, he himself has no interest in those traffic stars at all, and he can't understand the brain circuits of fans at all, of course, he can still understand the fan economy, and he is quite clear about the value of fans, so the money that should be earned is still to be earned, after all, the group is going to eat.

Of course, at the moment of 05 years, traffic stars have not yet emerged, and now they are still the battlefield of Internet stars and traditional stars, as the number one music platform in China, distant music and QQ music are also on their respective platforms, providing the broadest possible battlefield for both sides.