"Uncle, are you blowing puffer fish or piggy? Your belly is blowing too big, isn't it? ”

Li Xiaoni came to Lin Zaishan, who was a candy blower, with a smile, and laughed at Lin Zaishan's Zhu Bajie-themed works that were very clumsy. Pen, fun, pavilion www. biquge。 info

"Alas......"

Lin Zaishan smiled and sighed, his hands still shaking.

Today, it's hard for him to focus all his energy on the game.

Everything around him was familiar and fresh, and it was hard for him to suppress himself.

Lin Zaishan blew the sugar man twice in a row, but both ended in failure.

Li Xiaoni noticed that Lin Zaishan was worried about today, and couldn't help frowning, and asked Lin Zaishan: "Are you okay?" Why don't I come? ”

"It's like you have to do a craft by yourself."

"I'll ask."

Li Xiaoni stepped aside and asked the staff if she could do both crafts by herself. However, the answer was no, and the two players had to complete a craft challenge each.

In other words, after Lee Hyo-ni completes the challenge of the noodle kneader, Lin Jae-shan must independently complete the challenge of the candy blower.

"Uncle, don't worry, take your time, I heard that the other teams are stuck at the front door, and there is no group to complete the teapot battle." Li Xiaoni patiently comforted Lin Zaishan.

Lin Zaishan smiled bitterly, he didn't care if other teams would catch up with them, his homesickness was awakened by this ancient city that had crossed time and space, and it was difficult to return to the game.

All he thinks about is the bell and drum tower next to him, where can he blow the sugar man in his former life?

It's a bit muddy, and after blowing the Tang people four times, Lin Zaishan was finally taken care of by the master and barely passed this level.

They spent almost half an hour here.

But even so, no group could keep up with them.

Other stars are still working hard in the teapot battle at the front door, but Lin Zaishan was taken by Li Xiaoni and reluctantly left the Bell and Drum Tower.

Sitting in the car, watching the bell and drum tower behind him gradually drift away, Lin Zaishan was inexplicably sentimental.

"You're all right, are you? Feel like you're not in the right shape today, huh? ”

Li Xiaoni asked Lin Zaishan with concern in the car.

She wondered if Lin Zaishan was missing Old Man Lin?

Lin Zaishan shook his head with a smile and didn't say anything.

Li Yani also saw that Lin Zaishan was not in the right state today, so she asked Lin Zaishan: "Uncle Lin, I heard that you just sang the song "Qianmen Big Bowl of Tea" and told the story of your grandfather, is your grandfather from Beijing?" ”

Li Yani actually knew that Lin Zaishan's ancestral home was Beijing, and she also saw from the Internet that Lin Zaishan's grandfather was a builder who went to the East China Sea from Beijing.

At the beginning of this season, after learning that she was going to serve Lin Zaishan and Li Xiaoni, Li Yani had already given Lin Zaishan a clear understanding, and she carefully sorted out Lin Zaishan's information, although she didn't like Lin Zaishan very much at that time, but the work that should be done still had to be done.

Lin Zaishan smiled and said: "Yes, my grandfather is from Beijing, so I have a special affection for the city, and I remember that my grandfather always told me the story of 'home' when he was a child. ”

"You've been to Beijing many times before, right?" This is what Li Xiaoni asked, and she didn't understand why Lin Zaishan's attitude was so abnormal when she came to Beijing this time.

"Been here a few times. But every time I come, I have something new. ”

Li Yani asked with interest: "New feeling - meaning, you have new musical inspiration?" She wanted to encourage Lin to sing in the mountains again.

"I can't talk about new inspiration, but I've actually written some of these works before." Lin Zaishan took the initiative to stretch out his hand to Li Yani: "Give me the guitar and sing you a song." ”

"What a song." Lee asked.

"The two buildings behind me - "Bell and Drum Tower"."

returned to China for recording, and the special cars allocated by the program team to the stars were all nanny cars seconded from the local area, which were very comfortable and spacious.

Li Yani saw Lin Zaishan's interest in singing by herself, and hurriedly gave Lin Zaishan his mottled old guitar.

Immediately, Lin Zaishan played the old guitar, plucked his heartstrings, and sang his favorite "Bell and Drum Tower"-

……

My home is ~inside the 2nd Ring Road~

People here ~have so much time~

They are talking ~ whose three long and two short ~

They're looking at you~what brand of cigarette~

The hard work in the small restaurant is the villagers from other places~

Their faces are ~like mine~

……

Bicycle stepping on the fallen leaves~ watching the sunset disappear~

The silver ingot bridge can no longer be seen clearly~ can't see the West Mountain~

The lotus flower in the water ~ its leaves are left ~ The moon in the reflection ~ negotiating with the street lamp ~

Talking about tomorrow morning~Who is lighting the fire to cook~

said that tomorrow morning~ is to eat fritters and biscuits~

……

The bell and drum tower inhales the dust and smoke ~ let you draw his face ~ I can't hear your voice~ It's too noisy and chaotic now~

You've been watching it for so long~Why haven't you spoken yet~

Who came up with the question so difficult~There are correct answers everywhere~

Who came up with the question so difficult~There are correct answers everywhere~

……

Although there is no three-stringed eye, Lin Zaishan accompanied by a lonely guitar, and his tender chant still sang this "Bell and Drum Tower" into the hearts of Li Xiaoni and others.

Li Xiaoni finally confirmed that Lin Zaishan must be thinking about Old Man Lin. Otherwise, his emotions would not have sunk to such a point.

When singing this song, Lin Zaishan's mood was indeed a little heavy.

Because of nostalgia, but also because of some feelings that can never go back, the hometown and relatives that can never be seen again.

Not noisy, but absolutely touching.

Just like He Yong, the original creator of this song, a screamer known as the grandfather of Chinese punk, expresses his best emotions in a work without any anger, which is so quiet and moving.

Sometimes it's amazing to think about things in this world. It has to be said that it is a miracle that the most angry rock musician has written the quietest and most moving folklore works.

For He Yong, Lin Zaishan has endless feelings. He Yong's "Junkyard" album has always been one of Lin Zaishan's favorite domestic rock music albums.

It would be difficult to comment on He Yong's "Junkyard" album, but at the same time it would be a very simple thing.

It is difficult to say that it is because the work of "Junkfield" has spanned more than ten years from creation to production to final release, and the style of music and the social information carried by the work are very complicated.

And it is simple because "Junkyard" is not difficult compared to "Lonely People Are Shameful" (Zhang Chu) and "Black Dream" (Dou Wei).

If "Lonely People Are Shameful" plays "speculation", "Black Dreams" plays "atmosphere", and "Junkyard" plays "emotion".

Many people like to use the word "anger" to describe He Yong when talking about him, but in fact, "anger" is not appropriate for He Yong, "anger" based on speculation can be called "anger", and "anger" based on emotions can only be called "anger".

Some people will ask: "What is the source of He Yong's anger, and what makes him angry"? It's a good question, and figuring out the source of Ho's anger is crucial to understanding the record "Junkyard."

In fact, before 2000, there were only two people who really represented the concept of "Beijing rock" - Cui Jian and He Yong. Supporting these two men are two completely different Beijing subcultures -- the military's "compound culture" and the grassroots "hutong culture."

Cui Jian's rock is a product of "courtyard culture", and He Yong's rock is a product of "Hutong culture". The kind of red idealism that Cui Jian rocks, the kind of social criticism with a sense of responsibility and mission, is completely absent here in He Yong.

He Yong's rock and roll focuses on the metaphysical life of the city, and the joys, sorrows and sorrows of the grass people in Beijing's hutongs.

If Cui Jian's rock is an adjective, then He Yong's rock is a verb.

If Cui Jian's rock is a sculpture, then He Yong's rock is a video.

If Cui Jian's rock is the rock of political science, then He Yong's rock is the rock of economics.

Cui Jian's "anger" is a symbolic resistance, and He Yong's "anger" is a rebellion introduced into daily life.

Cui Jian's roots in rock are in ******, and He Yong's roots in rock are in Lao She.

Between the 80s and 90s, there was a group of unemployed vagrants outside the system in Beijing, a group of thugs who wandered in the hutongs of Beijing, and He Yong was one of them.

He Yong can't be a hooligan, because his heart is not black enough, and he doesn't know how to damage it.

He Yong can't be a ruffian, because he is not sophisticated enough and not smooth enough.

He Yong has only a creaky bed, and he rides his bicycle from hutong to hutong, and he can only be a thug in the hutongs of Beijing.

He Yong's worldview is the worldview of a Beijing hutong gangster.

He Yong's "anger" comes from the anxiety and loneliness caused by the lack of identity, from the frustration in the process of picking up girls due to the embarrassment of financial situation and suspicious identity, and from the insecurity of being squeezed by the "modernization" of Beijing's hutongs and his living space - the three works "The Bag on the Head", "The Girl is Pretty" and "The Bell and Drum Tower" are the three roots of his "anger". The title song of the same name "Garbage Dump" is an emotional "blowout" after He Yong's multiple "irritations" are superimposed and amplified, and He Yong's roar is quite brutal, with a kind of "Boxer" style of violence.

The album "Junkyard" has a total of eight original songs, and the other four songs show the daily life of Beijing's gangsters. Will the brisk rhythm of "African Dream" remind you of the nonsense of the tea guests in Lao She's "Teahouse"?

Does the market language of "Chat" remind you of the witty and humorous poor mouths and raps of the stubborn masters in Wang Shuo's "The Stubborn Master"?

The punk flavor of "Hibernation" is very strong, simple, direct, and powerful, will it make you think of Beijing, as the land of ancient Yan Zhao, and the "ruthless" legacy of Beijingers who have been inherited for thousands of years? Does the beauty of the saxophone camp in "Stepping" remind you of the tranquility and leisure of the afternoon in the old Beijing hutongs?

"Junkyard" was written by He Yong's personal secretary about life in Beijing in the early 90s.

The process of urbanization has gradually deprived the "Hutong culture" of its survival.

The essence of Hutong culture is a world of acquaintances, and urbanization derives a world of living people.

The neighbors who looked down and didn't look up in the past were replaced by homeless people, beggars, thieves, massage girls who messed with Zhu Bajie, and Tang Sanzang, who gave people an auspicious appearance, and the peace and warmth of the past were replaced by today's hustle and bustle and danger, just like He Yong sang in the song: "People are like a member of the insects, in which you fight for my strength."

The process of Beijing's modernization is a process in which the "hutong experience" gives way to the "street experience". If "hutongs" exist for life, then "streets" are created for exchange.

Only dogs can be kept in the alleys, there will be no cars and bungalows for beautiful girls, and cars and bungalows can only appear on the streets.

Hutong is a world of acquaintances who do not need police mixing, while the street is a world of living people, who need police, and they are police officers who are "armed with pistols" and ready to strike at any time, and the intervention of the state apparatus in the lives of individuals is not weakened but strengthened.

The reconstruction of urban space means the reconstruction of order and the reconstruction of the value chain, and in the process of reconstruction, the "hutong gangsters" are ******** and bottom-level. The change of living space, the loss of identity, the abolition of the life experience of "Hutong culture", the strengthening of the control of individual life by the state apparatus, and the exclusion and suppression in the redistribution of interests have reduced the social competitiveness of the Hutong gangsters, and made the Hutong gangsters begin to panic and rage.

So He Yong shouted hoarsely, "Is there any hope", but in fact, he was not shouting "Is there any hope in this world", but "Is there any hope for me".

He is not doing social criticism, but he is calling for himself—a call for self-help before the catastrophe of destruction. That's the whole secret of Junkyard.

The record "Junkyard" would be much inferior without "Bell and Drum Tower", and it can only be regarded as an excellent record. But with "Bell and Drum Tower", it's different.

With "Bell and Drum Tower", "Junkyard" can be among the ranks of great records.

"Bell and Drum Tower" is the magical catalyst that makes "Junkyard" move from "good" to "great".

Although Lin Zaishan himself does not fully agree with this point of view, he has more than one friend in the music circle: Luo Dayou is known as the "Godfather of Chinese Music", and his classic works have a lot of volume, but a song "Stone Story" by Daming can sweep all of Luo Dayou's works. Similarly, although Cui Jian is known as the "Godfather of Chinese Rock" and has countless classic works, He Yong's "Bell and Drum Tower" can also sweep all of Cui Jian's works.

Wen Yiduo, an expert in Tang poetry and a famous scholar, commented that Zhang Ruoxu's "Spring River Flower Moonlight Night" is "a lonely story, but it is for everyone", Wen Yiduo believes that even if Zhang Ruoxu only wrote a poem "Spring River Flower Moonlight Night" in his life, he is also qualified to become a "everyone" at the same level as Li Bai, Du Fu, and Bai Juyi. Why? Because literary and artistic works rely on quality rather than quantity to speak, "Spring River Flower Moonlight Night" is too exciting, too awesome!

In the eyes of many people, "Bell and Drum Tower", "Stone Record" and "Spring River Flower Moonlight Night" can be described as "lonely", these three works all belong to the kind of dreamy, flying fairy style of magic brush, not only can not be imitated by future generations, even the author himself can not copy!

Now many people know Liu Xinwu because of his "Revealing the Dream of Red Mansions", Liu Xinwu uses suspenseful reasoning to interpret "Dream of Red Mansions", which is quite interesting.

Many people only know Liu Xinwu as a "red scientist", but not Liu Xinwu as a novelist.

In fact, Liu Xinwu used to be a very good novelist, and he was a representative writer of the "Beijing School" novels in the 80s.

In the 80s, he published a novel "Bell and Drum Tower", which described the daily life of ordinary citizens in Beijing in the 80s, and became famous as "The Riverside Scene of Qingming Festival in Beijing in the 80s".

He Yong used music to create a work with the same name as Liu Xinwu's novel, and the intention is obvious.

Beijing's Bell and Drum Tower is located on the north-south axis of Beijing, and in terms of practical value, the Bell and Drum Tower is a huge ruin, which has long lost its basic function of telling the time.

In terms of cultural value, the Bell and Drum Tower is a glorious monument, a landmark building, carrying the glory of the past and the "central complex" of old Beijing. Therefore, the bell and drum tower has a double metaphor of time and space.

Most of He Yong's "Junkyard" album plays with "emotions", while "Bell and Drum Tower" is not, "Bell and Drum Tower" has a description of live life - "Bicycle riding on the fallen leaves, watching the sunset disappear, the silver ingot bridge can no longer see clearly, the West Mountain"; There are descriptions of the details of life - "they are talking about whose three long and two short, they are watching you take out what brand of cigarettes"; There is a reflection - "The hard-working people in the small restaurant are the villagers from other places, and their faces are like mine"; There is a denial - "The bell and drum tower inhales the dust and smoke, let you paint his face, I can't hear your voice, now it is too noisy and chaotic"; Finally, he also raised a question that transcended time and space - "You have been watching for so long, why haven't you spoken?" A kind of metaphysical speculation and the search for ultimate meaning -- "Who made the question so difficult?" It's full of correct answers."

Yu Qiuyu used all the vicissitudes of language and tried his sensational skills to achieve no effect, but He Yong inadvertently did it - "Bell and Drum Tower" writes a sense of historical heaviness, and writes a great feeling that transcends personal encounters and sighs.

The lyrics of this song are well written, and the musical structure is actually very exquisite, not only using the national musical instruments Sanxian and flute, but also incorporating the elements of Beijing Qinshu and Beijing Yun drums, the use of Beijing traditional music is not deliberate, not abrupt, and makes people sound very comfortable.

On this day, after singing the song "Bell and Drum Tower", Lin Zaishan has been haunted by such a relatively indulgent feeling that he can never go back, and his state is very "muddy", but because his strength is too strong, he passed the most difficult first level with a checkpoint, and he and Li Xiaoni successfully won today's championship on the beacon tower of the Great Wall.

-----

[Kneel and beg for a monthly pass! ] Kneel and beg for a recommendation ticket! Kneel and beg to subscribe! (To be continued.) )