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《Deadman》
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对于音乐人而言,现在还是一个靠作品说话的时代吗?
3 6 Ke· 2025-06-18 00:13
Core Viewpoint - The article explores the contrasting paths of two music artists, Cai Xukun and Shan Yichun, highlighting the complexities of the music industry where resource allocation, development paths, market expectations, and personal expression intertwine [1][19]. Group 1: Cai Xukun's Return - Cai Xukun's new single "Deadman" marks a significant comeback, showcasing a high level of industrial completion with precise atmosphere creation and rich arrangement, positioning him at the forefront of Chinese pop music [2][4]. - The song has garnered substantial attention, with 2.96 million views on Bilibili's music festival video and 2.3 million views on its music video, indicating a shift in public perception beyond just his fanbase [2][4]. - The success of "Deadman" is attributed to the top-tier resources available to Cai Xukun, including a high investment in production and collaboration with elite teams, which enhances the persuasive power of the work [4][16]. Group 2: Shan Yichun's Controversial Performance - Shan Yichun's performance of "Li Bai" on "Singer 2025" sparked controversy, with mixed reactions regarding her bold reinterpretation of the original song, reflecting the challenges artists face in balancing personal expression with audience expectations [10][12]. - Her recent marketing efforts have focused on enhancing her "human" image, which has resonated with younger audiences, yet her attempt to break away from formulaic performances has led to polarized opinions [12][13]. - The criticism of her performance underscores the difficulty for artists to achieve growth and breakthrough while maintaining a narrative that aligns with their established persona [13][14]. Group 3: The Broader Implications for Artists - Both Cai Xukun and Shan Yichun's experiences illustrate the necessity for artists to produce high-quality works that also convey their personal narratives, as this dual requirement is essential for establishing their value in the music industry [14][19]. - The article emphasizes that in the current digital age, merely having good music is insufficient; artists must also craft compelling stories to stand out in a saturated market [19].
新歌空降、再遇蔡徐坤!电竞、NFT、盲盒⋯⋯周杰伦的IP宇宙还能抓住Z世代吗?
Mei Ri Jing Ji Xin Wen· 2025-06-07 04:55
Group 1 - Jay Chou released a new song titled "Impromptu" on June 6, which quickly topped QQ Music's charts, marking a significant return after three years since his last album "The Greatest Works of Art" [1][5] - The song "Impromptu" was initially performed during his self-produced variety show "Travel with Jay Chou," showcasing his creative process and connection to iconic music history [4][5] - The release of "Impromptu" has reignited discussions about the generational clash between Jay Chou and younger artists like Cai Xukun, reflecting the evolving landscape of pop culture and fan engagement [4][7] Group 2 - Jay Chou's previous album sold over 5.99 million copies, generating nearly 1.8 billion yuan in revenue, but faced criticism for having only six new songs out of twelve [7] - The competition between Jay Chou and Cai Xukun's fanbases highlights the differences in cultural recognition and participation methods across generations [7][9] - Jay Chou's commercial ventures, including collaborations in the gaming and metaverse sectors, indicate his efforts to adapt to the interests of Generation Z, although some initiatives have not met expectations [9][10] Group 3 - The upcoming album from Jay Chou is anticipated to be a collaboration with lyricist Fang Wenshan, which is crucial for maintaining his influence among both older and younger fans [7][10] - Jay Chou's IP expansion includes various projects, such as theme parks and exhibitions, but some have struggled to achieve success, raising questions about the sustainability of his brand in a changing market [10][14] - The "Hua Qiao Dream World" project, which aimed to leverage Jay Chou's IP, has faced challenges, indicating the difficulties in executing large-scale entertainment ventures [13][14]