Non-famous Actor ~

In 1974, Luo Dayou composed two songs, one was "Song" for the movie "Shiny Days", and the other was "Four Rhymes of Nostalgia".

Regarding the first song composed by Luo Dayou, he himself has different opinions in different talk shows at different times, and we will not do a detailed exploration here.

"Four Rhymes of Nostalgia" is a poem by Mr. Yu Guangzhong. As a leading figure in Taiwan's poetry circles, many people may not be familiar with the old man, but you must have heard the line "When I was young, nostalgia was a small flower" in "Nostalgia". Stamps, I'm here, my mother is there." The old man uses concrete things to describe the homesickness that was originally unclear, so that everyone who reads the poem can feel how the people on both sides of the Taiwan Strait, who are isolated due to political factors, miss each other's hometown endlessly.

Similarly, "Give me a ladle of Yangtze River water, Yangtze River water" in "Four Rhymes of Nostalgia" also has the same effect.

Because if you look at Luo Dayou's works as a whole, the feeling of his hometown and the reflection on the changes of his hometown run through it all the time.

In his lectures at Harvard University, he focused on how he moved around with his parents in Taiwan before the age of 20. This allowed him to feel the state of his hometown at a young age. The feelings of childhood and adolescence have always influenced his creation.

The first song "Lugang Town" on the A side of the first album "Zhihu Zhe Ye" in 1982 started from "home". Starting from "If your husband is from a small town in Lukang", Luo Dayou told a story about his confusion and anger.

The so-called confusion is that every young person thinks that Taipei is a "golden paradise", but can it carry so many dreams? And the other thing is, if you really want to "pass down incense from generation to generation", is it possible to use the method of "digging out the red bricks in your hometown and building cement walls"?

These two emotions mixed together accurately conveyed the psychological feelings of the people who left their hometowns at that time. They were struggling with "reality" in the big cities, but their hometowns were undergoing earth-shaking changes in the way of "losing what they once had". If I can go back, why should my hometown change? Is this change good?

These kinds of questions make the main theme of "Taipei is not my home" hit the deepest part of people's hearts again and again. This song also makes "neon lights" a representative of urban evil images, and the impact of modern cities on the dying agricultural era. The protests and regrets in people's hearts are vividly expressed in this song.

Many years later, the images of "red bricks, concrete walls, frustrated young people, and girls in dreams" were also mentioned in another song, "Out of the City" written by Lao Li for Li Jianqing.

"You haven't seen this tall building, have you? They used old bricks to build a new city wall. If someone calls you with a local accent, you won't know how to turn around."

Compared with Luo Dayou's anger when he was young, Lao Li wrote a sad song full of memories when he was an uncle. As for the changes in his hometown, Luo Dayou certainly did not remain impulsive and angry. On the contrary, memories will drag you to rethink the changes in your hometown.

In 1984, the warm and affectionate "Family" came out.

"Every poem thinking about you is written in front of the glass window after the rain,

Every sentimental song sings unintentional promises for you,

Every time I hold your hand, I dare not look into your eyes. "

These verses are the feelings of Luo Dayou, who was full of worries at the time, when he walked out of the house and looked back at his hometown.

Home may not be a place like poetry and songs, but where can we put the "tired soul" that has wandered all over the world?

Is it the home you left, or the home you worked hard to find, and where is the home where you can finally feel at ease?

Many years later, in 2017, "To Guanyin Mountain" may be the answer. When Luo Dayou was composing this song, he repeatedly studied the materials of Ru Gongzhen, drove and took a boat to experience Guanyin Mountain repeatedly. Of course, "city wall" appeared again in the lyrics. It's like a journey back and forth, a circle of reincarnation.

"Going back, the city wall seems to have been demolished, but it has reappeared."

The city wall seems to have been demolished, but it will reappear. The return here is probably the whole process of the wanderer leaving and returning, from anger to peace. In the song MV, former lovers and partners who used to make music together also changed from separation to reunion.

"Slowly flowing fresh water, starry day and night, shining Keelung River. Yesterday was cold and rainy, and tomorrow will be sunny." If you really listen carefully, you will hear the place that makes you feel at ease, the people who feel at ease, Xin'an's homes are all open arms, waiting for your return.

"The ancient Monga ballad, piercing the clouds and crossing the bridge, singing in duet around the river. It is in your ear, in front of your eyes, in your merciful world." Yes, this place is merciful, and home is also merciful. If you feel love Like Lin Xi's Mount Fuji, then her hometown may be like Guanyin Mountain in Luo Dayou's works. She guards alone, waiting for the child who has left and returned, compassionate and tolerant.

From "Lukang Town" to "Home", and then to "To Guanyin Mountain", the journey of life is full of joys and sorrows in the separation and reunion with home.

If thinking about his hometown is the foundation of Luo Dayou's creation, then the world of mortals he constructed in the lyrics is full of flesh and blood, and here is the love and hate that all dream chasers experience.

In 1990, two films were released in Hong Kong and the mainland, one was Andy Lau's "If There Is Love" by Wu Qianlian, and the other was "Rolling Red Dust" by Lin Qingxia and Qin Han. Sanmao has to be mentioned here, and of course, there are two songs by Luo Dayou, "Rolling Red Dust" and "Dream Chaser".

The movie "Rolling Red Dust" reflects Zhang Ailing and Hu Lancheng, and the love-hate entanglement between them is hard to say.

As for the screenwriter of this movie, Sanmao, what kind of love she experienced with her husband Jose in the Sahara desert, now I can only recall it when I think about it.

"You who didn't care at the beginning, and me who didn't care when I was young. The love in the world of mortals is only because of the rush of life and the stalemate."

It is probably the beginning of every story, the most gratifying memory fragment in love, but the tricks of fate, "dividing is easy to divide, reunion is difficult to reunite, the eternal sorrow of love and hate" is the most difficult to solve in the world of mortals place.

Luo Dayou expressed the words that Li Zongsheng wanted to say with a hippie smile, "I have only seen the long-term separation, but I have never seen the long-term separation" with great desolation and sincere compassion.

"Wandering footprints in the desert, write down eternal memories." What is the reason for Sanmao's suicide, I am afraid that it has not been traced. We will often think about the scribbled endings of many writers, poets, and artists, and perhaps we can only sigh "I laugh at my mortal world infatuatedly, and the incomprehensible care in the end."

If the depth of "Dream Chaser" makes people sad, then listening to the song "Proverbs of Love" composed by Luo Dayou for Ms. Teresa Teng, you can probably experience another kind of deep affection of caring in the world.

"I gave you my heart, and I left my sorrow to myself. I gave you my youth, and I left my years to myself."

Pulling everyone back to the past in an instant, you will suddenly think of Chen Sheng's "Leave my sadness to yourself, and let you take away your beauty."

Compared with Chen Sheng, Luo Dayou uses poetry to describe the depth of loving someone. And what is it like a lover that makes people so addicted and unable to extricate themselves?

Luo Dayou described "Shanghai Flower" sung by Zhen Ni in 1986:

"You who are so tender, give me a dream. You who are so affectionate, shake my dreams, lingering like waves in the sea."

Love songs seldom use the sea and waves as images for comparison. And the idea that the person I love gives me a dream, I think it may come from another senior musician, Luo Dayou once said that he particularly likes and is deeply influenced by a work, "Forever Smile" composed by Chen Gexin .

"The person in my heart, how many treasures are there, he can give me the sun in the dark night, he once gave me the spring light in late autumn." The intentions are very similar.

However, such an "extraordinary you" will still shatter my dreams, and there are such heart-warming words:

"Turning around, the waves and shadows are surging and disappearing from the world of mortals, water marks remain, and regrets are left in vain. I wish that he is born, and the shadow of yesterday can accompany him, and he will never be separated forever"

The world of mortals is mentioned here again, which is similar to "dividing is easy to divide, gathering is difficult to get together". Maybe you will notice that in Luo Dayou's world of mortals, there are often turbulent waves, and when you turn around affectionately, you will be submerged.

Therefore, in Luo Dayou's lyrics, there is only the deepest concern for the unpredictable and elusive world of mortals. This kind of care is not only romantic, but also an understanding of life and human nature.

In the movie "Golden Age", Luo Dayou also asked Lin Xi to compose the lyrics of "Only One Life" in the song describing the life of the writer Xiao Hong. Lin Xi wrote too many lyrics about the elusive fate. Here again, the allusion of "Buddha holds flowers, Kasyapa smiles" is used to explain Xiao Hong's life, "Go to the depths of the blue sky and clear water, and the cycle is endless."

In comparison, Luo Dayou's brushstrokes in recent years have been open-minded when he wrote about the ups and downs of encounters and the world of mortals. The after-view of the movie "I'm Not the God of Medicine" "The Night Is the Brightness of the Autumn Moon" is a more profound reflection on the kindness of human nature.

In the verse part of the song, Luo Dayou quotes a lot of words from the latter master, but the composition is not in a sad tone. The images of spring flowers and east wind are used only to carry over the chorus of "If you are in the turbulent waves, it is difficult to get out of the world of mortals," this life is like this, people Here in the desolate forest." And "The avenue is like spring flowers, and the night is like the autumn moon."

If the ups and downs of the world of mortals are resolved by spring flowers, what about the ups and downs of the times?

After we have talked about the foundation and flesh and blood of Luo Dayou's lyrics, we must write about the spirit. Regarding the ups and downs of the times, Luo Dayou's lyrics have the power of enlightenment.

The front of the copper plate says the world is morning

The reverse side of the copper plate says the world is dusk

listen to my singing

The wall of the underpass asks who is blind and deaf today

Fortune-telling old men are unduly favored by ignorant people

Did the word of the prophet in the air come into your ears

A message from the tide and cicadas

hazy

This is a lyric from "Blind and Deaf". We often say that Misty Poetry has various attributes such as imagery, symbolization, and philosophizing. Among them, the monologues and confessions with metaphors are even more stinging.

Even if you don't listen to this song, just read this lyrics, you will think over and over again what the image of the copper plate represents, and what does the contrast between ignorance and prophet point to, what is the hazy message from the tide and the sound of cicadas? Isn't it a metaphor for the hazy state of society at that time?

Let's look back at that era now, when a song "Zhi Hu Zhe Ye" was born, which was earth-shattering. The black whirlwind blown by Luo Dayou can be interpreted as a cultural event.

Many years later, a citizen in Nanjing sang together with his idol for the first time in "Speaking of Big Events". The situation at that time still makes people laugh when thinking about it.

"Open one eye, breathe out with the mouth. Cover the ears, and everyone is happy. Everyone knows it, and everyone cares. Those who stand by and watch, you and I are also."

Now these lyrics can still be regarded as a direct indictment of you and me standing aside from the world. Then the second album "Future Protagonist" came out. In addition to "Blind and Deaf" which triggered reflections, there were also three songs dedicated to Taiwan's past, present and future that Ma Shifang mentioned in his "I heard" .

"Orphans of Asia" is dedicated to Taiwan's past, "Seventy-two Changes in Phenomenon" is written to Taiwan's then, and "Future Master" is written to Taiwan's future.

And Liang Xiaobin, a modern poet in the 1980s, also had a poem like "I ran on the red street and ran to the outskirts of the wilderness".

The white scars are precisely the source of the nostalgia mentioned at the beginning. The ban from 1949 to 1987 has inspired too many thoughts. Times have changed, and ten years ago, heavy industrial cities in the north experienced the throes of transition from a planned economy to a market economy, and several young people shouted "Kill that Shijiazhuang man".

And it is these lyrics that dare to truly face the pain of the times that will make everyone reflect. The heavy ideals in the lyrics will wake up the numb people and let future generations remember them.

In 1985, more than 60 singers from Taiwan, Hong Kong, and Singapore sang a song "Tomorrow Will Be Better" that imitated "We Are The World". This song was written and composed by Luo Dayou.

The version we hear today is peaceful and tender, but if you read Luo Dayou's manuscript at that time, you will find more thought-provoking propositions.

"Harse your throat, let out a roar, let us tear up this old world, let us rebuild a beautiful new world, let our tears, drown this despicable soul, and offer a pious sacrifice to the sky. Who can leave themselves Who can bear to look at the clown of yesterday and take away our smiles.”

What Luo Dayou wants to wake up is self-evident. And this "dignity of generations" is reproduced in the lyrics of "Pearl of the Orient".

In 1994, Luo Dayou released the album "Love Song 2000", the album copywriting reads:

A century is a century, and a love song is a que every six years. In 1982 AD, "Zhi Hu Zhe Ye" started our love song in 1980. In 1988 AD, "Comrade Lover" predicted that the world situation would change. Love Song 1990. In 1994 AD, "Love Song 2000" searched for the whereabouts and whereabouts of the yellow face.

In "Love Song 2000", the Himalayas also appeared for the second time, and the mountain peaks also faced the strait far away, but who is looking at whom? So is the coming and going of the yellow face clear?

We often explore the relationship between songs and history. How can songs speak for the times? Is the love song written for the times the most beautiful voice?

What is Luo Dayou's influence on the times, and what is the difference in his lyrics?

Many well-known musicians and scholars, such as Gao Xiaosong and Zhan Weixiong, commented that Luo Dayou is a hero of this era, a beacon in the music world, and illuminated the creative direction of musicians throughout the 1980s and 1990s.

Today we discuss the creation of lyrics, and we do not intend to list a long list of praise for him, which is not specific enough for you and me.

I will only briefly talk about a lecture "40 Years of Chinese Pop Music and Culture" given at Harvard by Luo Dayou, Gao Xiaosong, Fang Wenshan and Yin Yue, four musicians who are also lyricists. Among them, Fang Wenshan's speech is very suitable for discussing Luo Dayou's lyrics.

Fang Wenshan mentioned in his speech the difference between "poet" and "poet" in his opinion. Of course, the "poet and poet" here is only Fang Wenshan's specific reference. He said that the creation of a poet needs to serve the commissioned case and the emotions of others, which requires the greatest common divisor of emotions. Some keywords and elements need to be highlighted in the lyrics for various commercial reasons, which is passive writing. The "poet" in the creation of lyrics is subjective and serves one's own emotions, just like the creation of teacher Luo Dayou. The difference between the two is the difference in creative thinking.

Let's not talk about how Su Dongpo and Xin Qiji used subjective expressions to broaden the scope of Song Ci, so that the creative form of Ci no longer serves the singing and dancing of scholar-bureaucrats or prefers to be remembered for small love and love. We only talk about the lyrics of music, which one is better?

In this speech, you can understand the difference between Luo Dayou and most routine poets~www.mtlnovel.com~ How is his lyrics different from many formula creations, and you can also understand why Vincent Fang's lyrics are now of this model.

Why Luo Dayou's words can be deafening? Luo Dayou's lyrics are poems, just because of subjective expression, are they serving his own emotions? I think this is far from enough, his goodness is not limited to this.

Of course there are more diverse, more serious, and heavier things in it.

After 1976, contemporary literary poetry broke away from the form of eulogy and regained a new life. Poets who were forced to "go away" due to political reasons all "returned" and republished their poems, such as Ai Qing's "Song of Return", they brought speculation on freedom and history.

The young poets who grew up in the political catastrophe, such as Gu Cheng and Bei Dao, also found a different direction, that is, the exploration of social ideology and human nature itself. Throughout the 1980s, reflections on history and social status quo in poetry reached their peak.

These verses, which incorporate the poet's sentiments, carry the tide of thought, and hit people's faces, eventually aroused more resonance and thinking. When we look back at Luo Dayou's lyrics creation, the politically sensitive period he experienced, the thoughts and themes reflected in the lyrics, we will find that his lyrics are the same as the main theme of these poems.

So I want to say that this more profound thing is the spiritual core produced by the fusion of one's own life experience and the speculation of the entire era, starting from one's own emotions, but can trigger everyone's reflection.

His lyrics are poetic and the voice of the times.

If you think Lao Li's lyrics are straightforward, just like Bai Juyi, then who is the elder brother Luo Dayou's depression? Luo Dayou lyrics Fang Wenshan Li Zongsheng Taiwan statement: The opinions of this article represent only the author himself, Sohu is an information release platform, and Sohu only provides information storage space services.

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