These two words seem to be out of place with a rapper, but the author said them seriously. It can be said that it is these two words that make the author motivated to finish such a long music review. Looking at the rap circle, rap is faster than GAI, with better rhyme and higher melody. Even if the author doesn't know much about it, there are almost certainly many. However, there are only a handful of rappers with "cultural consciousness", and among these few, China's ancient poems, rebellious heroism, chivalrous spirit and other traditional elements will be re-integrated into hip-hop, and GAI is the only one.
This seems to be just a question of "angle". It seems that if only this gap, other rappers are not much worse than GAI. But what I want to point out is that the gap in music technology is negligible, and it takes several years of study or a good production team to catch up. And this seemingly small "angle" gap is the real gap. This is the same in any artistic field, including novels, poems and so on. In a word, "if you want to learn poetry, you have to work outside poetry"!
Throughout the music reviews, the author hardly pulled in any other rappers (especially the top domestic hip-hop players) for comparison. The reason is that other rappers are hardly worth mentioning in the author's evaluation system (cultural consciousness and humanistic care). For example, all the lyrics sung by PG one, TT, Xiaobai, etc. At present, they are just talking about their mental state, what happened to me today, how powerful I am in the rap world, and how many fans I have. Their previous works are nothing more than imported images that bring the origin of hip-hop. Slightly better, it is music that tells about one's own experiences, such as After Travel by Eugene and Life is a Struggle by VAVA. This kind of music has a certain humanistic concern, but the pattern is still relatively low, limited to the singer himself.
Technically, the author is completely unprofessional, and it is impossible to judge whether PG ONE and others are much better than GAI. This aspect can be judged by people who understand. However, it is very funny to compare the works of these rappers with GAI's representative works (such as ascetic monks) and even criticize GAI's works. To exaggerate, it's like Li wrote "My brother died in Jiangnan, and my brother died in Saibei", and then criticized "Youzhou Tower" (what era is in front of me? Behind me, where are the future generations? I think of heaven and earth, there is no limit, there is no end, I am alone, and my tears fall down. It doesn't rhyme at all! Wow, your antithesis is completely untidy! Wow, you are crazy. You can't even count the words correctly! Is it really a shame for our poets? "(Of course, this metaphor is exaggerated. GAI's works are far from this level, and others' works are not that bad. )
I am very happy to hear GAI's music, but unfortunately there is only one GAI in rap music. Perhaps this article makes people feel that the author is a brainless blow from GAI, but I want to say that the author's GAI powder level may be far lower than that of many readers. Because the author understands that GAI's cultural consciousness is spontaneous, it is very likely that GAI himself does not realize how important it is; And if he doesn't realize it, then he is likely to throw these things away unconsciously in the future development. This is very, very possible. He's getting angry now. Under the impact of capital and market, he will easily lose himself-this is too normal. People will be changed by the environment, especially artistic creation. The author also has such an experience. When I was young, I had an irresistible desire to tell stories and wrote many bitter novels. After marriage, the relationship and life are stable, and all creative desires are completely lost. So is Jay Chou, the king of Chinese music. He wrote touching and bitter love songs such as Trajectory, Quiet and Sunny Day when his early years were not smooth and his feelings were full of twists and turns. However, after he married and had children with Hannah Quinlivan, his music was no longer bitter, but had an irresistible nursery rhyme-like joy.
It is for the above reasons that the author is not optimistic about GAI's future music. I admire GAI's music now, because his street music pays attention to some pictures in the process of great social change in China, both good and bad, which are reflected in his songs. This humanistic spirit is rare but necessary in any era. His China rap music shows his understanding of China culture in the form of rough and lofty sentiments. But after that? After he has money, will he still pay attention to those "children who grew up in mines spinning in the street"? Will he still watch the Romance of the Three Kingdoms, and will he fantasize that he can touch the sky with one hand after reading it?
Time will give us the answer. Before that answer comes out, the author also wants to sincerely say to GAI that life is long, GAI, you are good at walking.