One person's entertainment

Chapter 135: Stormy

Hong Kong, EMI Records.

"This kid... actually has this trick up his sleeve."

Huang Weiqing looked at the album title "Jingge Jinqu" on the cover of Shen Lingyou's Cantonese album and had an indescribable feeling.

It can be said that these four words represent the most glorious and prosperous era of Hong Kong music.

From 1974 when Xu Guanjie, Koo Ka Fai and others opened up the era of modern Hong Kong music, to the 90s when the Four Heavenly Kings and Four Queens dominated the music scene, Hong Kong music reached an unprecedented peak.

Over the past 20 years, Hong Kong music has produced many shining stars.

They are the brilliant kings of the music world such as Xu Guanjie, Luo Wen, Wong James, Lam Chi-sang, Patrick Tam, Zhang Guorong and the Four Heavenly Kings.

They are also bright and colorful divas such as Teresa Tsui, Jenny Chan, Anita Mui, Sally Yeh, Priscilla Chan, Wang Jingfei, and Sammi Cheng.

"It's a pity that Hong Kong music has shown signs of decline in the past two years."

Huang Weiqing is unwilling to admit it, but it is an indisputable fact.

In the mid-20s, the Hong Kong music scene was swept by a wave of cover and adaptation, with many singers adapting foreign songs into Cantonese versions, giving birth to countless popular masterpieces.

Although cover songs and adaptations are unprecedentedly popular, they have also attracted some controversy. Some people believe that this practice has inhibited the development of Hong Kong music and made its style too monotonous. On the other hand, some people are worried that if the current situation is allowed to continue, the Hong Kong music scene may fall into the quagmire of homogeneous competition.

In order to improve this situation, some singers and musicians tried to ban cover songs and adaptations in order to enhance the influence of local music, but unfortunately it did not meet expectations.

On the other hand, cover songs and adaptations are becoming more and more popular, with many singers getting involved. The music styles in the Hong Kong music scene are becoming more and more similar, with little new ideas.

The Hong Kong entertainment industry has also failed to recognize its own shortcomings, such as lack of talent, lack of creativity, and fierce market competition, and is unable to adapt to the new market environment and audience demands.

Against the backdrop of mainland China’s reform and opening up, they were still immersed in their own world, failing to establish good connections and cooperation with the mainland market, and missing out on the prosperity and dividends of the mainland market.

At the same time, due to the market's excessive pursuit of superstars, the Hong Kong entertainment industry has always adopted a "focused" star-making strategy, investing most of its resources in a few stars. Although this strategy has made the Hong Kong entertainment industry temporarily dazzling, it has also weakened the competitiveness of the entire entertainment industry, and the growth space for newcomers has been severely restricted.

Although some newcomers have emerged in the history of Hong Kong entertainment industry, and their outstanding performances have won wide acclaim, the development path of these newcomers is not easy. They have never been able to surpass the former superstars in terms of the quantity and quality of their works, which makes the future of Hong Kong entertainment industry even more bizarre.

Another very important reason for the decline of Hong Kong's music scene is the Asian financial crisis this year. Under the huge impact of this, Hong Kong's record production and market have also entered a period of contraction.

“These are ten songs that would have been strong contenders for major music award ceremonies even in the golden decade.”

At this moment, Huang Weiqing had a clear idea.

The appearance of Shen Lingyou will stir up the water of Hong Kong music scene which is about to calm down. Not only will it not bring it back to its peak, but at least it will inject a lot of vitality into it.

Also, the media's boasting at the beginning of this year that he was "the last king of Chinese music at the end of the 20th century" and that he was truly a king who could rival the Four Heavenly Kings is no longer an exaggeration when we look back on it now.

In fact, this Cantonese album will change the Hong Kong music scene.

"Next month's major music award ceremonies will be interesting. We'll see if the organizers are tough this time or not."

Although Hong Kong's major music award ceremonies have become more accepting of mainland singers in recent years, the major awards are still basically given to Hong Kong singers.

Shen Lingyou's first three albums, two in Mandarin and one in Japanese, had many hits and good sales, which was enough for him to win awards.

However, the situation in Hong Kong is different.

There are four major award ceremonies in the Hong Kong music scene. They are the "Hit Music Awards" hosted by Hong Kong Commercial Radio, the "Top Ten Chinese Golden Songs Awards" hosted by Radio Hong Kong, the "Jade Solid Gold Awards" hosted by TVB, and the "Metro Bang Awards" hosted by Hong Kong Metro Radio.

These award ceremonies have always been a small circle game, with each organizer having their own rules, relationships and personal connections, and the results often have to take many factors into consideration. Now, the open and covert fighting between the camps is getting more and more intense, and it is even more exhausted.

It becomes exponentially more difficult for a mainland singer to win a major award at a Hong Kong awards ceremony.

However, Shen Lingyou's situation is different.

He released this Cantonese album, which included ten high-quality Cantonese songs in one go, which was the key to breaking the deadlock.

The organizers must at least allow the finalists, otherwise their credibility will be greatly reduced, which will cause great damage to themselves.

"Looking forward to seeing your performance."

Huang Weiqing looked like he was eating melons, and raised his hand to touch the stubble on his cheeks, muttering to himself: "One song "Red Bean" is not enough, yes, it's missing!"

At the same time, the senior executives of various record companies in Hong Kong were caught off guard by Shen Lingyou's operation.

If he only released Mandarin albums, then at most he could get a small piece of the Hong Kong record market cake in the form of fruits and chocolates, but he would not be able to touch the main body of the cake.

But now he has released a Cantonese album, which is different. He has taken a bite of the Hong Kong record market pie right away, and it is a very big bite.

what is this?
Ambition!

Since their interests are affected, they naturally have to think of countermeasures.

However, after listening to the ten songs in Shen Lingyou's new album, everyone fell silent.

How to fight this?
What to fight with?

However, they thought a little more and a little further.

Shen Lingyou no longer has the ability to increase investment, and the Cantonese songs in his current inventory are not enough to fill a Cantonese album.

Therefore, in the future, we will mainly promote Mandarin albums.

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Yanjing, Shichahai.

Shen Lingyou and Jiang Qinqin shot until the early morning again today before returning to the courtyard. As they entered the door, they yawned continuously.

"Sister Xi, why are you still awake so late?"

Hearing that they were back, Huo Wenxi came out of the room and said, "Well, I have something to discuss with Ling You."

Jiang Qinqin said "Oh" softly, "Then I'll go to rest. Good night, Sister Xi." She smiled at Shen Lingyou and said softly, "Good night."

Huo Wenxi smiled and said, "Good night."

Shen Lingyou smiled at her and said, "Sweet dreams."

Then, the two of them sat down at the stone table in the yard.

As soon as he sat down, Huo Wenxi showed excitement on his face and said, "Our drama "Never Forget" has been sold. Your joint broadcast method has been successful!"

(End of this chapter)