The "face" of the mainland music scene: Do you know any singers who dare to "conquer" the Red Pavilion?

To a great extent, concert is an important indicator to measure the strength of a singer. The Red Pavilion is a "dream place" for China singers and a "holy land" for concerts. The full name of the Red Pavilion is Hong Kong Hung Hom Gymnasium,12,500 seats. The red pavilion has a unique shape, not only without any columns, but also with a wide top and a narrow bottom, like a diamond or an inverted pyramid. Big names are gathered, the fares are close to the people, and the stage is fully open on all sides. Whether you are at the top of the mountain or shaking hands, the live experience of the Red Pavilion concert is superb. In the eyes of the audience, the Red Pavilion is also a hard standard to measure and test a singer's strength and status-whoever has not sung in the Red Pavilion is not a first-line singer, but a second-rate role at best. In the 1990s, at the peak of Hong Kong's music scene, top stars such as Samuel Hui, Paula Tsui, Jacky Cheung and Anita Mui could even give 30 or 40 concerts in the Red Pavilion. This is the strength of the superstar and the charm of the Red Pavilion.

Therefore, it goes without saying that the Red Pavilion is a concert venue. For the kings of Hong Kong and Taiwan, it may be common to hold concerts in the Red Pavilion, but for mainland singers, it is somewhat unattainable to hold concerts in the Red Pavilion. Nowadays, there are very few mainland singers who dare to "conquer" the Red Pavilion. To a certain extent, they represent the "face" of the mainland music scene.

1, Magic Rock Sanjie

The feat of mainland singers "conquering" the Red Pavilion dates back to the winter of 1994. 1994 The concert "Rock China Music Power" in the Red House was really a wonderful evening. At that time, Zhang Chu, He Yong, Dou Wei and Tang people who were still alive in Zhang Ju represented the "faces" of the mainland music scene and knocked on the door of the Red Pavilion. Third Sister Mo Yan and the guest Tang Dynasty band sang 14 works. Dou Wei's Advanced Animals, Zhang Chu's Lonely Man is a Shame, He Yong's Bell and Drum Tower and the Tang Dynasty Band's Birds are all listed.

Flute, singing and roaring constantly lead to the commotion under the stage. Although Dou Wei sang the wrong lyrics and the guitarist in Zhang Chu was out of tune, these defects became the crowning touch of the audience, who gave enough face to dance and scream. For Hong Kong listeners who are used to listening to guava love songs, no one expected mainland pop music to be so charming, and Hung Hom that night became a sea of revelry. Of course, the success of this concert in the Red Pavilion is also attributed to the clever packaging of the behind-the-scenes trader Zhang Peiren. He Yong blasted at the press conference that "the four kings are all clowns except Jacky Cheung, who is a singer". Later, they admitted that this was the packaging and gimmick of magic rock culture. At that time, Dou Wei, Zhang Chu and He Yong drew lots, and whoever drew lots spoke. As a result, He Yong was out of luck.

Before leaving, the three masters of Magic Rock stated their lives and deaths, and the Hong Kong stars tore clothes all over the venue, and the four kings also watched in the audience ... These legends were all proved to be false, but in fact they were the marketing means of Zhang Peiren Magic Rock culture. Today, the Red Pavilion concert still leaves too many legends. To some extent, it is also an unprecedented scene of mainland rock. But there is a different voice, "if there are no rolling stones, those people are just two-legged people in the street." Although 1994 "The Three Heroes of the Magic Rock" and the Tang Dynasty band created the myth of Hung Hom concert, the well-known popularity and topics at that time failed to bring them practical help. There is a documentary about the changes of rock and roll. The photographer followed the director to photograph the living conditions of Dou Wei, Zhang Chu and He Yong. After really seeing their plight, he was deeply moved: "I heard their songs before, thinking that they were all wearing big gold chains and driving sports cars, followed by a group of younger brothers." They should be very handsome and rich. But when I actually understood it, I found that it was not what I thought at all, and their conditions in all aspects were very difficult. "

2. Na Ying

When the whale fell, everything was born. After Chinese rock stepped down from the altar, the mainland pop music scene ushered in spring. Na Ying, as a heavyweight diva in mainland music, held a concert tour of "I am not an angel" after winning the Golden Melody Award "Best Mandarin Female Singer Award". As the first stop of the tour, the Red Pavilion has undoubtedly attracted much attention. 200 1 na ying stood on the stage of the red pavilion and sang on behalf of the facade and face of the mainland music scene. The concert invited Andy Lau and Stephanie, the hottest singers in Hong Kong and Taiwan, as guest singers, and attracted friends from all walks of life such as Zhong Zhentao, Cecilia Cheung, Zhang Yushan and Li Yanshan to support it. Faye Wong, Liming, Sammi Cheng and other friends who were not present also recorded videos in advance to support Na Ying. Na Ying, who is famous for singing Chinese songs, has no advantage in singing in the Red Pavilion, so her concert has played an extremely important role and tried her best to present classics for everyone. These include Na Ying's early cover "Julie's Dry Wine If Not for Sale", as well as her personal famous songs "Mountain does not turn to water" and "Looking at flowers in the fog". As well as Black Ignorance Night, which attracted attention in Taiwan Province Province, and classic works such as Conquest and Crisp Sadness and Romance, which sold more than 500,000 copies.

As the first female singer in mainland music circles to "conquer" the Red Pavilion, Na Ying opened her heart at the concert: "I hope I can dedicate my hardest work to this concert, so that everyone can appreciate the efforts and persistence of mainland artists in singing." After Na Ying's concert at the Red Pavilion, the media also intended to compare her with Tian Zhen. As we all know, Na Ying and Tian Zhen, who were in the limelight in those days, were also two heavyweight divas in mainland music circles, and both fans and the media never stopped comparing them. At that time, the two "big sisters" competed with each other and built their own stage, but only focused on the choice of direction. One is the main attack on the mainland market, and the other is the fragrance outside the wall. Although the market is different, the reaction of the two people is extremely warm and inseparable. Their competition proved that the music scene at that time was full of vitality, not a pool of stagnant water.

3. Dao Lang

After holding a concert in Hong Kong Red Pavilion and winning the Golden Melody Award, Na Ying is undoubtedly a flag figure in the mainland pop music scene. But her attitude towards another grassroots singer has attracted a lot of criticism for her. At the award ceremony of "Music Billboard" on 20 10, Na Ying flatly rejected Dao Lang's nomination: his music has no aesthetic standards and his works lack musicality. As the chairman of the jury of the award ceremony, Na Ying's views also represent the attitude of the mainstream music industry towards Dao Lang to a great extent. As early as 2004, when Wang Feng was interviewed by the media when he released his album Laughter and Cry, he boldly said: Dao Lang phenomenon is the sorrow of pop music. Wang Feng thinks that Dao Lang's music and lyrics are very ordinary, and the reason why they are so popular is that the rough and generous national style makes everyone feel fresh. Coincidentally, like Na Ying and Wang Feng, Yang Kun, the instructor of The Voice of China, made no secret of his disdain for Dao Lang when facing the media. Yang Kun even refused to call Dao Lang's songs music. "Does he have music?"

Despite being "squeezed out" by mainstream singers, the door of the Red Pavilion is open for him. 20 12, two years after Dao Lang was rejected by Na Ying's award ceremony, Dao Lang fought in the south and held a special concert in the Red Pavilion. He is also another mainland singer who "conquered" the Red Pavilion after Na Ying. Dao Lang felt that a successful singer must sing in the Red Pavilion, and his dream finally came true. In fact, Dao Lang's 20 12 years of "conquering" the Red Pavilion is far from reaching his peak. When everyone else is popular, Dao Lang only remembers to pursue his dream when he tends to be quiet, which is a kind of difference. Dao Lang's concert in the Red Pavilion specially combined his music career when he chose music. At the scene, Dao Lang also showed piano and tambourine. His youngest daughter, only 13 years old, came on stage and played a song "Complete" on the violin, which won a lot of applause.

Alan Tam, the "principal", was the guest singer, which also added a lot of color to the concert. Dao Lang sang Love in Late Autumn, and then sang Wolf in Sheep's Clothing with Alan Tam. The headmaster also teased Dao Lang: "His singing is always in the same tune, with good and bad. The good one is that he sings with flavor. The bad one is that when singing karaoke, others don't know that his voice is insufficient. The high-pitched screams are like ghosts, and everyone next to him thinks he has ghosts." In fact, the fate of Dao Lang and the Red Pavilion does not stop there. As early as 20 10, he appeared as a supporting role of Alan Tam on the Red Pavilion stage. Today, Dao Lang is still regarded as a symbol of "local flavor" by many people. Even if he was lost in the music scene, if only the concert at the Red Pavilion was considered, few mainstream singers who were "in their nests" and disdained him at that time had the courage to "conquer" the Red Pavilion.