沈旭暉剛在Esquire雜誌刊登了這篇關於他和鍾氏兄弟 The Chung Brothers怎樣認識、《Song Book 歌集》的理念、以爵士音樂重新想像香港情懷以及上個月我和他合作的音樂會。唔知大家想唔想繼續我哋有更多嘅合作呢?
全文:https://www.esquirehk.com/culture/entertainment/simon-shen-article-jazz-cantopop?fbclid=IwAR3TvJ7Ytk6veNw10Ypygqqem-HmeFM6FYpVHHHHOdCLigt1CxJpcN4EbI8
節錄:
//鍾氏兄弟當年一首《時代的顛覆者》,除了被當年顛覆時代的人們,賦予另一重意思,歌曲亦顛覆了流行音樂的商業世界,奪得當年CASH的各個大獎,今天聽來,更似是先知。//
//幾年之後,Roger成家立室,音樂上也嘗試單飛發展,開展了另一個project,比以前更具前贍性。//
//Songbook這概念到了東方,因為卡拉OK大行其道,每一首歌的拍子、節奏、唱腔都變得千遍一律的格式化,songbook並不容易發揮。有見及此,Roger卻嘗試將songbook的槪念帶進Cantopop的世界,發佈了爵士天碟《Song Book 歌集》,以爵士風格演繹11首廣東歌經典,包括令人驚喜地爵士化的《心裡日記》,據說連原唱者歌神許冠傑聽了也拍案叫絕。//
//「兄弟爬山各自努力」,軟性地訂立廣東歌經典的標準,然後向外文化輸出,即使未必算是光復樂壇,但絕對是香港文化的一種保存。//
//音樂會中問了Roger一個問題:「你心目中的香港到底是甚麼?」...這次音樂會,這本歌集記錄了香港黃金時代的廣東歌,但願若干年後,未來還繼續有香港歌集,入面載有一首首屬於這個時代的每一首歌:每一首真正屬於香港人的歌。//
堅離地城:沈旭暉國際生活台 Simon's Glos World
Esquire HK
同時也有26部Youtube影片,追蹤數超過10萬的網紅MPWeekly明周,也在其Youtube影片中提到,【#星期五樂城】有沒有一首歌,能帶你走過傷痛的時候,然後抱着破碎的心,繼續下一個夢? 「在YouTube發佈《失落沮喪歌》的翻唱後,得到一位聽眾留言說,我的聲音讓她難過不安時、如釋重負。非常感謝她,令我意識到,原來我一直在唱,除了自high,還可以有不一樣的意義。」就這樣唱進別人心房,蓋出了獨屬C...
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cantopop culture 在 人山人海 PMPS Music Facebook 的最讚貼文
剛剛的北美之行,在演出之餘,當然也勾結了不少的當地的媒體。
#lgbtqInHongKong #CensorshipInChina #FreedomOfSpeech #LiberateHongKong #StandWithHongKong #CantoPop
//Anthony Wong’s Forbidden Colors
Out Hong Kong Canto-pop star brings his activism to US during his home’s protest crisis
BY MICHAEL LUONGO
From 1988’s “Forbidden Colors,” named for a 1953 novel by gay Japanese writer Yukio Mishima to this year’s “Is It A Crime?,” commemorating the 30th anniversary of the Tiananmen Square Massacre, Hong Kong Canto-pop star Anthony Wong Yiu-ming has combined music and activism over his long career. As Hong Kong explodes in revolt against Beijing’s tightening grip with the One Country, Two Systems policy ticking to its halfway point, Wong arrived stateside for a tour that included ’s Gramercy Theatre.
Gay City News caught up with 57-year-old Wong in the Upper West Side apartment of Hong Kong film director Evans Chan, a collaborator on several films. The director was hosting a gathering for Hong Kong diaspora fans, many from the New York For Hong Kong (NY4HK) solidarity movement.
The conversation covered Wong’s friendship with out actress, model, and singer Denise Ho Wan-see who co-founded the LGBTQ group Big Love Alliance with Wong and recently spoke to the US Congress; the late Leslie Cheung, perhaps Asia’s most famous LGBTQ celebrity; the threat of China’s rise in the global order; and the ongoing relationship among Canto-pop, the Cantonese language, and Hong Kong identity.
Wong felt it was important to point out that Hong Kong’s current struggle is one of many related to preserving democracy in the former British colony that was handed back to China in 1997. While not his own lyrics, Wong is known for singing “Raise the Umbrella” at public events and in Chan’s 2016 documentary “Raise the Umbrellas,” which examined the 2014 Occupy Central or Umbrella Movement, when Hong Kong citizens took over the central business district for nearly three months, paralyzing the city.
Wong told Gay City News, “I wanted to sing it on this tour because it was the fifth anniversary of the Umbrella Movement last week.”
He added, “For a long time after, nobody wanted to sing that song, because we all thought the Umbrella Movement was a failure. We all thought we were defeated.”
Still, he said, without previous movements “we wouldn’t have reached today,” adding, “Even more so than the Umbrella Movement, I still feel we feel more empowered than before.”
Hong Kong’s current protests came days after the 30th anniversary commemorations of the Tiananmen Square Massacre, known in China as the June 4th Incident. Hong Kong is the only place on Chinese soil where the Massacre can be publicly discussed and commemorated. Working with Tats Lau of his band Tat Ming Pair, Wong wrote the song “Is It A Crime?” to perform at Hong Kong’s annual Tiananmen commemoration. The song emphasizes how the right to remember the Massacre is increasingly fraught.
“I wanted our group to put out that song to commemorate that because to me Tiananmen Square was a big enlightenment,” a warning of what the Beijing government will do to those who challenge it, he said, adding that during the June 4 Victoria Park vigil, “I really felt the energy and the power was coming back to the people. I really felt it, so when I was onstage to sing that song I really felt the energy. I knew that people would go onto the street in the following days.”
As the genre Canto-pop suggests, most of Wong’s work is in Cantonese, also known as Guangdonghua, the language of Guangdong province and Hong Kong. Mandarin, or Putonghua, is China’s national language. Wong feels Beijing’s goal is to eliminate Cantonese, even in Hong Kong.
“When you want to destroy a people, you destroy the language first, and the culture will disappear,” he said, adding that despite Cantonese being spoken by tens of millions of people, “we are being marginalized.”
Canto-pop and the Cantonese language are integral to Hong Kong’s identity; losing it is among the fears driving the protests.
“Our culture is being marginalized, more than five years ago I think I could feel it coming, I could see it coming,” Wong said. “That’s why in my music and in my concerts, I kept addressing this issue of Hong Kong being marginalized.”
This fight against the marginalization of identity has pervaded Wong’s work since his earliest days.
“People would find our music and our words, our lyrical content very apocalyptic,” he explained. “Most of our songs were about the last days of Hong Kong, because in 1984, they signed over the Sino-British declaration and that was the first time I realized I was going to lose Hong Kong.”
Clarifying identity is why Wong officially came out in 2012, after years of hints. He said his fans always knew but journalists hounded him to be direct.
“I sang a lot of songs about free love, about ambiguity and sexuality — even in the ‘80s,” he said, referring to 1988’s “Forbidden Colors.” “When we released that song as a single, people kept asking me questions.”
In 1989, he released the gender-fluid ballad “Forget He is She,” but with homosexuality still criminalized until 1991, he did not state his sexuality directly.
That changed in 2012, a politically active year that brought Hong Kongers out against a now-defunct plan to give Beijing tighter control over grade school curriculum. Raymond Chan Chi-chuen was elected to the Legislative Council, becoming the city’s first out gay legislator. In a concert, Wong used a play on the Chinese word “tongzhi,” which has an official meaning of comrade in the communist sense, but also homosexual in modern slang. By flashing the word about himself and simultaneously about an unpopular Hong Kong leader considered loyal to the Chinese Communist Party, he came out.
“The [2012] show is about identity about Hong Kong, because the whole city is losing its identity,” he said. “So I think I should be honest about it. It is not that I had been very dishonest about it, I thought I was honest enough.”
That same year he founded Big Love Alliance with Denise Ho, who also came out that year. The LGBTQ rights group organizes Hong Kong’s queer festival Pink Dot, which has its roots in Singapore’s LGBTQ movement. Given the current unrest, however, Pink Dot will not be held this year in Hong Kong.
As out celebrities using their star power to promote LGBTQ issues, Wong and Ho follow in the footsteps of fellow Hong Konger Leslie Cheung, the late actor and singer known for “Farewell My Concubine” (1993), “Happy Together” (1997), and other movies where he played gay or sexually ambiguous characters.
“He is like the biggest star in Hong Kong culture,” said Wong, adding he was not a close friend though the two collaborated on an album shortly before Cheung’s 2003 suicide.
Wong said that some might think he came to North America at an odd time, while his native city is literally burning. However, he wanted to help others connect to Hong Kong.
“My tool is still primarily my music, I still use my music to express myself, and part of my concern is about Hong Kong, about the world, and I didn’t want to cancel this tour in the midst of all this unrest,” he said. “In this trip I learned that I could encourage more people to keep an eye on what is going on in Hong Kong.”
Wong worries about the future of LGBTQ rights in Hong Kong, explaining, “We are trying to fight for the freedom for all Hong Kongers. If Hong Kongers don’t have freedom, the minorities won’t.”
That’s why he appreciates Taiwan’s marriage equality law and its leadership in Asia on LGBTQ rights.
“I am so happy that Taiwan has done that and they set a very good example in every way and not just in LGBT rights, but in democracy,” he said.
Wong was clear about his message to the US, warning “what is happening to Hong Kong won’t just happen to Hong Kongers, it will happen to the free world, the West, all those crackdowns, all those censorships, all those crackdowns on freedom of the press, all this crackdown will spread to the West.”
Wong’s music is banned in Mainland China because of his outspokenness against Beijing.
Like other recent notable Hong Kong visitors including activist Joshua Wong who testified before Congress with Ho, Wong is looking for the US to come to his city’s aid.
Wong tightened his body and his arms against himself, his most physically expressive moment throughout the hour and a half interview, and said, “Whoever wants to have a relationship with China, no matter what kind of relationship, a business relationship, an artistic relationship, or even in the academic world, they feel the pressure, they feel that they have to be quiet sometimes. So we all, we are all facing this situation, because China is so big they really want the free world to compromise.”
(These remarks came just weeks before China’s angry response to support for Hong Kong protesters voiced by the Houston Rockets’ general manager that could threaten significant investment in the National Basketball Association by that nation.)
Wong added, “America is the biggest democracy in the world, and they really have to use their influence to help Hong Kong. I hope they know this is not only a Hong Kong issue. This will become a global issue because China really wants to rule the world.”
Of that prospect, he said, “That’s very scary.”//
cantopop culture 在 人山人海 PMPS Music Facebook 的最佳貼文
//A Cantopop star publicly supported Hong Kong protesters. So Beijing disappeared his music.
By AUGUST BROWN
The 2 million pro-democracy protesters who have flooded the streets of Hong Kong over the last few months have been tear-gassed, beaten by police and arrested arbitrarily. But many of the territory’s most famous cultural figures have yet to speak up for them. Several prominent musicians, actors and celebrities have even sided with the cops and the government in Beijing.
The protesters are demanding rights to fair elections and judicial reform in the semiautonomous territory. Yet action film star Jackie Chan, Hong Kong-born K-pop star Jackson Wang of the group GOT7 and Cantopop singers Alan Tam and Kenny Bee have supported the police crackdown, calling themselves “flag protectors.” Other Hong Kong cultural figures have stayed silent, fearing for their careers.
The few artists who have spoken out have seen their economic and performing prospects in mainland China annihilated overnight. Their songs have vanished from streaming services, their concert tours canceled. But a few musicians have recently traveled to America to support the protesters against long odds and reprisals from China.
“Pop musicians want to be quiet about controversy, and on this one they’re particularly quiet,” said Anthony Wong Yiu-ming, 57, the singer and cofounder of the pioneering Hong Kong pop group Tat Ming Pair.
Wong is a popular, progressive Cantopop artist — a Hong Kong Bryan Ferry or David Bowie, with lyrics sung in the territory’s distinct dialect. But he, along with such singer-actors as Denise Ho and Deanie Ip, have made democratic reforms the new cause of their careers, even at the expense of their musical futures in China. Wong’s on tour in the U.S. and will perform a solo show in L.A. on Tuesday.
“It’s rebelling against the establishment, and [most artists] just don’t want to,” Wong said. “Of course, I’m very disappointed, but I never expected different from some people. Freedom of speech and civil liberties in Hong Kong are not controversial. It’s basic human rights. But most artists and actors and singers, they don’t stand with Hong Kongers.”
Hong Kong protesters
Hundreds of people form a human chain at Victoria Peak in Hong Kong on Sept. 13.(Marcus Yam/Los Angeles Times)
The protests are an echo — and escalation — of the Occupy Central movement five years ago that turned into a broad pro-democracy effort known as the Umbrella Movement. Those protests, led by teenage activist Joshua Wong (no relation), rebelled against a new policy of Beijing pre-screening candidates for political office in Hong Kong to ensure party loyalty.
Protesters were unsuccessful in stopping those policies, but the movement galvanized a generation of activists.
These latest demonstrations were in response to a proposed policy of extraditing suspected criminals from Hong Kong to mainland China, which activists feared would undermine their territory’s legal independence and put its residents at risk. The protests now encompass a range of reforms — the withdrawal of the extradition bill, secured voting rights, police reform, amnesty for protesters and a public apology for how Beijing and police have portrayed the demonstrations.
Wong, already respected as an activist for LGBT causes in Hong Kong, is one of vanishingly few musicians to have put their futures on the line to push for those goals.
Wong’s group Tat Ming Pair was one of the most progressive Cantonese acts of the ’80s and ’90s (imagine a politically radical Chinese Depeche Mode). When Wong spoke out in favor of the Umbrella Movement at the time, he gained credibility as an activist but paid the price as an artist: His touring and recording career evaporated on the mainland.
The Chinese government often pressures popular services like Tencent (the country’s leading music-streaming service, with 800 million monthly users) to remove artists who criticize the government. Artists can find longstanding relationships with live promoters on ice and lucrative endorsement deals drying up.
“This government will do things to take revenge on you,” Wong said. “If you’re not obedient, you’ll be punished. Since the Umbrella Movement, I’ve been put on a blacklist in China. I anticipated that would happen, but what I did not expect was even local opportunities decreased as well. Most companies have some ties with mainland China, and they didn’t want to make their China partners unhappy, so they might as well stop working with us.”
Censorship is both overt and subtly preemptive, said Victoria Tin-bor Hui, a professor and Hong Kong native who teaches Chinese politics and history at the University of Notre Dame.
“Every time artists or stars say anything even remotely sympathetic to protesters or critical of the government, they get in trouble,” Hui said. “You can literally have your career ruined. Denise Ho, after she joined the Umbrella Movement, everything she had listed online or on shelves was taken off. Companies [including the cosmetics firm Lancôme] told her they would have nothing more to do with her, and she started doing everything on her own.”
So Wong and other artists like Ho have been pushing back where they can.
Wong’s recent single, “Is It a Crime,” questions Beijing crackdowns on all memorials of the Tiananmen Square massacre, especially in Hong Kong, where there was a robust culture of activism and memorials around that tragedy. The single, which feels akin to Pink Floyd’s expansive, ominous electronic rock, has been blacklisted on mainland streaming services and stores.
Wong plans to speak out to commemorate the anniversary of the Umbrella Movement on this tour as well.
“The government is very afraid of art and culture,” Wong said. “If people sing about liberty and freedom of speech, the government is afraid. When I sing about the anniversary of Tiananmen, is it a crime to remember what happened? To express views? I think the Chinese government wants to suppress this side of art and freedom.”
The fallout from his support of the protests has forced him to work with new, more underground promoters and venues. The change may have some silver linings, as bookers are placing his heavy synth-rock in more rebellious club settings than the Chinese casinos he’d often play stateside. (In L.A., he’s playing 1720, a downtown venue that more often hosts underground punk bands.)
“We lost the second biggest market in the world, but because of what we are fighting for, in a way, we gained some new fans. We met new promoters who are interested in promoting us in newer markets. It’s opened new options for people who don’t want to follow” the government’s hard-line approach, Wong said.
Hui agreed that while loyalty from pro-democracy protesters can’t make up for the lost income of the China market, artists should know that Hong Kongers will remember whose side they were on during this moment and turn out or push back accordingly.
“You make less money, but Hong Kong pro-democracy people say, ‘These are our own singers, we have to save them,’” Hui said. “They support their own artists and democracy as part of larger effort to blacklist companies that sell out Hong Kong.”
Ho testified before Congress last week to support Hong Kong’s protesters. “This is not a plea for so-called foreign interference. This is a plea for democracy,” Ho said in her speech. A new bill to ban U.S. exports of crowd-control technology to Hong Kong police has bipartisan support.
No Hong Kong artists are under any illusions that the fight to maintain democracy will be easy. Even the most outspoken protesters know the long odds against a Chinese government with infinite patience for stifling dissent. That’s why support from cultural figures and musicians can be even more meaningful now, Hui said.
“Artists, if they say anything, that cheers people on,” Hui said. “Psychologists say Hong Kong suffers from territory-wide depression. Even minor symbolic gestures from artists really lift people’s morale.”
Pro-democracy artists, like protesters, are more anxious than ever. They’ve never been more invested in these uprisings, but they also fear the worst from the mainland Chinese government. “If you asked me six months ago, I was not very hopeful,” Wong said. “But after what’s happened, even though the oppression is bigger, we are stronger and more determined than before.”
Anthony Wong Yiu-ming
Where: 1720, 1720 E. 16th St.
When: 7 p.m. Tuesday
Tickets: $55-$150
Info: 1720.la //
cantopop culture 在 MPWeekly明周 Youtube 的最佳解答
【#星期五樂城】有沒有一首歌,能帶你走過傷痛的時候,然後抱着破碎的心,繼續下一個夢?
「在YouTube發佈《失落沮喪歌》的翻唱後,得到一位聽眾留言說,我的聲音讓她難過不安時、如釋重負。非常感謝她,令我意識到,原來我一直在唱,除了自high,還可以有不一樣的意義。」就這樣唱進別人心房,蓋出了獨屬Cha Cha的甜美夢想。
Cha Cha從小到大,都特別愛唱,但不知為何,總害怕音樂夢遭人嘲笑。「慶幸幾年前,勇敢開了IG channel」分享多了,她發現it's okay to be not okay,因為每人都會在茫茫人生海洋裏,抓住至少一闕由歌化成的浮木。
《#你叫我譯一首德國歌詞》蘊含的,對故土之愛恨交纏,今天,被她輕盈哼出。Cha Cha期望,她的音樂能成為微光,溫柔融化黑夜。
更多Cha Cha的作品♪
IG:@singingchacha
YouTube:Singingchacha
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cantopop culture 在 MPWeekly明周 Youtube 的最佳貼文
【#星期五樂城】一句「#我愛香港」,久久掛在Zoe IG Channel的簡介裏。土生土長,香港的人事物,為她所熟稔,並且深深懷念。「原來有一班志同道合的朋友,每次想玩音樂,隨時就可以約出來相聚。」
離開香港到台灣,Zoe直言生活模式有了轉變,亦少了在街頭busking的機會:「很多時候,只能靠自己一個。」勇敢打破寂寞,她正憑清新、治癒的聲線,在各大小比賽展露歌喉。
不論身處何方,Zoe只願擁抱堅強,繼續唱下去。這次她獻唱 #SERRINI 的〈Don’t text him〉,得不到的、未有成真的、月與倒影的距離,永遠最美。就似她與香港,隔了634公里,愛意卻依然漫溢。
P.S. Zoe特別錄製了Cover MV,明媚風光與她的樂聲,相互輝映。大家可以看看有哪些熟悉的台灣景致~
更多Zoe的作品♪
IG:@jjjjeng_pymusic
YouTube:Hiuyan Chung鍾曉欣
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cantopop culture 在 MPWeekly明周 Youtube 的精選貼文
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Coffee #林芊妤 喺Facebook分享自己懷孕消息,但已經不幸流產,佢形容心情好似坐緊過山車;#鄧紫棋(G.E.M.)近日推出新歌《#超能力Superpower》,仲掀起一股「BiuBiuBiu Challenge」熱潮;#劉德華 今年初進駐抖音,華仔近日頻頻分享影片。
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胡杏兒第3個仔仔出咗世喇~重8磅幾,個名仲係杏兒老公親自幫佢改;RubberBand紅館演唱會成為全城熱話,而成員6號噚晚喊到收唔到,到底係因為咩事?;張錦程傳隔離期間擅離酒店房違隔離令,佢話純屬係一場誤會?
7/4/2021
陳浚霆同「爸爸」做運動輸十條街,羅樂林滾輪練腹肌老而彌堅 ;《總是有愛在隔離》張繼聰焗桑拿似火鍋雜菜,張智霖被兒歌難倒?|;李明蔚癌細胞擴散到肝不知道可以頂多久?
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兩個好戲之人 #歐陽震華 同 #馬德鐘,喺無綫新劇《#伙記辦大事》鬥戲連場,波比今日舉行宣傳活動大爆 #萬綺雯 浙江喺落地生根;電影《#真‧三國無双》今個月底上映,令一班Game迷非常期待,而飾演「#董卓」嘅 #林雪 就分享拍攝嘅辛酸事⋯⋯
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女神 #朱千雪 自從讀法律博士學位,就淡出娛樂圈,近日千雪BB有最新動向;《#聲夢傳奇》聽晚有得睇啦,14歲小妹妹 #鍾柔美,以及 #姚焯菲 面臨淘汰邊緣?!日本暢銷動漫《#進擊的巨人》,結束長達11年7個月嘅連載,唔大家又點睇漫畫嘅結局呢?
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