Respawn Entertainment: Days of Glory

Chapter 984 I Can't Stand It

After saying this, Liu Ziyang asked Bian Lang, "So, what do you think?"

After thinking for a moment, Bian Lang said, "In my opinion, rock music doesn't mind expressing ambiguous things, while pop music has a clearer content direction. For example, with a pop song, you can tell that it's about love, and you can even tell whether it's sweet love or bitter love, including things like family love and friendship."

However, if you put it into rock music, you won't feel a particularly obvious directionality. This is the core difference between the two in terms of content positioning...

Take, for example, Cui Jian's "A Piece of Red Cloth." We can't glean any meaning from the literal words, but each listener has their own unique interpretation. The work provides ample room for interpretation; we can interpret it however we like.

There are countless examples like this. Take, for instance, the songs that Bian Lang has already transferred. "Dye the Night Black," from an earlier period, could indeed be seen as a satire of Goose Egg Music's monopoly in that context. But if we change the time frame, it can also be understood as an inspirational song about self-breakthrough.

The philosophical lyrics depict a unique nighttime scene. The song begins with the opening of a long-unopened window, dust scattering, as if time has stood still, making one forget the passage of time and sense of direction.

The lyrics ask what force can overcome the gray obstacles and what can allow love to grow, which may symbolize the impulses and hopes deep within one's heart, allowing one to search for answers in the intertwining of reality and dreams.

The song repeatedly emphasizes "why does the ink stain the night black," which is a symbol, possibly suggesting how difficulties and darkness in life quietly envelop us. The ink arbitrarily smeared around the moonlight symbolizes confusion and bewilderment. In the song, the singer seems to be exploring why the night is rendered in this way, whether it is due to inner struggles or unknown challenges in life.

The final "Oh~" might be the singer's exclamation about the issue, or a reflection on the philosophy of life. The entire song, with its recurring melody and questions, guides listeners to reflect on the boundaries between black and white in life, and how to face and understand the dark ink that stains the night.

This is something that people will interpret differently depending on their own perspective...

Some people thought this answer was good, while others were dissatisfied. For example, Liu Ziyang said: "Bian Lang, the Rolling Stones are considered a top-tier band abroad now, and this is all you tell us?"

Bian Lang thought for a moment and then quoted a producer from the original Earth, whose exact words he couldn't remember: "The planning and promotion methods for rock and pop music are also different. Most pop music album covers feature portraits or even headshots. Rock music album covers, on the other hand, usually don't use photos of the singer or the band; they typically use other imagery to express their message."

The gorilla from the original Earth Rolling Stones, Pink Floyd's psychedelic triangular prism, Nirvana's swimming children... these are all album covers most familiar to fans. Domestically, there are the two large flags of Tang Dynasty and the leopard head of Black Panther.

Of course, there are also album covers featuring portraits, such as the "Crazy Bugs Crossing the Street" album and Zheng Jun's headshot, which have left a deep impression on music fans.

On this point, Liu Ziyang didn't have much of an authoritative opinion and could only turn his attention to Guo Sichu.

Guo Sichu is certainly the clearest about this: "Popular music targets the mass market; it's an industrialized assembly line. It's about packaging the songs, not the artists, so doing so during promotion maximizes profits."

Rock music certainly craves a mass market, but their approach is quite unique. They usually package their work first, without promoting the artists, then use that initial work to resonate with a select group before expanding their influence. The album cover is just an external element… Bian Lang, you agree, right?”

Seeing the tacit understanding between the two, Liu Ziyang felt somewhat envious: "I originally thought that the two of you would have a big difference in musical ideas, but now it seems that I was overthinking it."

Actually, it wasn't that Liu Ziyang was overthinking things. It was entirely because Bian Lang's creative abilities not only covered Guo Sichu's ideas but also far surpassed them, completely conquering this queen of pop.

In the past, the musicians who collaborated with Guo Sichu, regardless of their fame or ability, would always communicate beforehand and make some choices before starting the creative process. It's true that Guo Sichu hasn't written or released any songs herself over the years, because she feels that her own writing is not as good as what others write for her, but compared to second- or third-rate producers, it's definitely not bad.

Take Yingzi from the original Earth as an example. It feels like she's just a pure vocal singer. She wrote the lyrics for three songs: "A Smile and It's Over," "Heartbreaking Romance," and "Better to Remember Than to Meet."
There's also Wang Jingwen, with "Restless": she wrote almost the entire album herself, showcasing an experimental style with minimalist melodies and abstract lyrics, such as tracks like "Impermanence" and "Fallen". She also wrote half of the album "Fables", including five parts such as "Cambrian", "New Tenant" and "Chanel", which blend philosophy and poetry.

"Ziyang, what you're saying is nonsense. With Bian Lang's breadth of creative output, who do you think would disagree with him? Even if there were disagreements at the beginning, they wouldn't say another word later. Why humiliate yourself!"

Speaking of this, Liu Ziyang inevitably thought of the time he worked with Dong Youbian on the arrangement of the songs for the album "Anhe Bridge". All the brilliant ideas and inspirations that he thought were strokes of genius were ultimately proven to be just wishful thinking in the face of Bian Lang's version.

There is no inherent superiority or inferiority in artistic creation, but comparisons can be detrimental!

Compared to theirs, it's obvious that Bian Lang's work sounds like it should be this way! That's what Liu Ziyang finds most terrifying about Bian Lang...

Since he thought of Dong Youbian, Liu Ziyang naturally thought of "Flammable and Explosive." It was obvious that Bian Lang couldn't personally handle the production of this song, but he wanted to know what it would be like if Bian Lang were in charge.

When the two went to the restroom together, Liu Ziyang finally couldn't help but ask the question: "Bian Lang, if I scrapped 'Flammable and Explosive,' would you step in and make another version?"

Without even thinking, Bian Lang replied, "Who would I sing this for? Dude, stop messing with me!"

But when it comes to this song, Bian Lang has a lot of feelings... but it has absolutely nothing to do with Dong Youbian.

When the song "Original Earth" suddenly appeared, Bian Lang felt only one word: "Amazing!"

From a female listener's perspective, the lyrics alone perfectly satirize Bian Lang and his ilk, these "stinking" men.

It's very cathartic to write, it feels like a modern version of "Red Rose, White Rose". The lyrics are not fancy, let alone artistic conception, but why do so many people like it?
To put it simply, it boils down to three words: immersion!

The song is incredibly relatable; what woman wouldn't be moved? It's clearly about that scumbag, that ex—you just want to strangle him. Perhaps that's the greatest success of these lyrics!
Although there are no explicit words of blame or complaint in the entire song "Flammable and Explosive," the lyrics, filled with dramatic conflict, combined with Chen Li's explosive vocals, fiercely condemn this unequal romantic relationship, leaving the listener feeling thoroughly satisfied. What others want of me is irrelevant. Perhaps a title like "Damn it, what do you want?!" would be more fitting.

Hua Chenyu played a crucial role in the song's subsequent widespread popularity. However, how Chen Li ended up banning Hua Chenyu from singing it again is another story altogether.

Hua Chenyu sang this song on the stage of "Singer". On stage, he was less temperamental than usual and more sorrowful and solemn. Dressed in all black, he exuded a sense of mystery, and the atmosphere was obviously different from usual.

It is said that Hua Chenyu did not choose this song during the rehearsal. During the rehearsal, he was still trying out Shin Band's "Can't Go Back". It was only at the last minute that he changed it to "Flammable and Explosive" for the recording. Everyone has been speculating about the reason for the song change. In fact, it is not hard to guess, because Shang Mengdi, the author of "Flammable and Explosive", passed away two weeks ago when she was not yet 23 years old.

Just before Hua Chenyu's rehearsal, Chen Li posted a Weibo confirming the news. Subsequently, Shang Mengdi's friend, who is also a fan of Hua Chenyu, tagged Hua Chenyu in the comments to tell him the news, hoping that more people would remember her and this beautiful girl.

Unexpectedly, Hua Chenyu actually saw it after rehearsing, so he decided to change the song at the last minute to commemorate this beautiful life in this way, which touched my heart and was heartbreaking.

We are all powerless in the face of death; all we can do is remember the kindness of those who have passed away. Bian Lang believes that Hua Chenyu must be deeply saddened to see this news. Perhaps he wants more people to know this song and that a beautiful girl once came into this world and brought us such an excellent work.

Regardless of how much Bian Lang dislikes Hua Chenyu's musical style, he found Hua Chenyu's gesture heartwarming, especially his final kneeling, which was deeply moving. However, despite this, there are still many dissenting voices online, criticizing him for lacking sincerity and simply repeating a song he had previously covered on "The Next Top Singer."

The original singer, Chen Li, described "Flammable and Explosive" as grand, unrestrained, and free-spirited. However, Hua Chenyu's adaptation brought his own unique flavor to the song, with steady high notes, deep low notes, and distinct layers, creating a truly different feeling.

Because the song was originally sung in remembrance, it inevitably carries a sense of mourning. The original lyricist, though tragically passing away at the young age of 22, was undeniably talented. Therefore, the performance of this song becomes a hymn of praise.

With dreams in my eyes, I disregard how shattered reality is.

My heart never rests; I follow my dreams, even if it burns.

Life should be lived to the fullest; if you can bloom, you should also fade away as brilliantly as fireworks.

The attempt to cover up the truth only makes it more obvious; the last character remains unfinished.

Like "Spring," it abruptly ends, yet life bursts forth from the earth. "Flammable and Explosive" is even more like fireworks in the sky, exploding with a bang in a dazzling display. The most beautiful moment of my life is frozen in time; I came, I blossomed, and that's enough.

With a glissando, he fell to the ground, that kneel shattering all that had passed, both glory and shame… The curtain slowly fell, a soft melody lingering. Having come into this world, why such sorrow at departure? Past events appear like smoke and clouds, vanished with a wave of the sleeve…

Hua Chenyu's version of "Flammable and Explosive" is passionate, realistic, and dreamlike, weaving together a lament for life.

No madness, no life; passion makes everything better...

I don't know what Dong Youbian will ultimately achieve, and I have no expectations whatsoever. When I gave her the song, I didn't think much about it; I just wanted her to reach the most secure position on the path of becoming a leading female folk singer.

But now it feels like Dong Youbian is going to use this song to attack his ex-boyfriend, which is really upsetting.

But Bian Lang felt that what was given away was given away, and besides, he still owned the copyright, so if she wanted to sing it, he would let her sing it.

And what Bian Lang could foresee was that once this song broke out of its niche and caught the attention of feminists, things would get very interesting. It would probably become another masterpiece that would be highly esteemed!
The issue of women being labeled and objectified absolutely needs to be brought up and discussed again...

If an unmarried woman has a low level of education, she will be said to be inferior to men, but if she has a high level of education, she will be said to be hard to marry.

If a woman is married, she might be disliked if she isn't pretty enough, but if she's too beautiful, she might be suspected of being unfaithful.

If you have children, staying home to take care of them full-time might get you called a parasite, while going back to work might get you criticized for giving birth but not raising them.
This song best illustrates that contradiction is an eternal theme of the human soul.

The lyrics ironically express men's demands on women: they want women to be both innocent and base; they want women to be as pure as flowers and as unrestrained as wildflowers; they want women to be both budding and alluring...

In the lyrics, women are portrayed as a species that depends on men for survival, and as a reward in another competition for men. However, as women go from pursuing love to being abandoned and disliked, they also think about how to get rid of being discarded like playthings.

As a woman, should you be an independent, elegant, and sophisticated woman, or a dependent little girl who can't live without love? Should you be a pure, simply dressed girl, or a charming and alluring woman? Should you be a cold, aloof goddess, or a woman who fawns over men?

The woman in these lyrics seems to have seen through the contradictory thoughts of men, and she herself is on the verge of exploding with anger. Since neither the white rose nor the red rose can win a man's complete love, why not break free of the shackles and be herself!

"I am both alluring and innocent, like a pure jasmine. I shouldn't be defined. I am who I am, multifaceted, with a thousand faces. Why should I solidify myself just to get a man's attention? What's the difference between that and a figure in an oil painting?"

As women, we are born to be a thousand colors!
Bian Lang only realized how important this song was to women after listening to it many times. Otherwise, it wouldn't have been copied and even won an award in a poetry competition...

If Dong Youbian and Liu Ziyang do a decent job, then it's fine. But if their work is far inferior to the original, then that side of Lang will absolutely not tolerate it!
(End of this chapter)