迷笛音乐节

2023年12月21日发(作者：奥迪suv全部车型图片)

Pierced Fans, Stiff Cadres and Hip Rock

疯狂乐迷，有力管理和时尚摇滚

Security guards watched fans at the Zhenjiang Midi Music Festival earlier this month in

Zhenjiang City, China.

警察在本月初在中国镇江举行的迷笛音乐节维持秩序。(图片)

ZHENJIANG, China — A curious thing happened this month at the Midi Music Festival,

China’s oldest and boldest agglomeration of rock, funk, punk and electronica. Performers

took musical potshots at the country’s leaders, tattooed college students sold

antigovernment T-shirts and an unruly crowd of heavy metal fans giddily torched a

Japanese flag that had been emblazoned with expletives.

中国，镇江。本月迷笛音乐节发生了一个奇怪的事情，那就是中国最老牌最胆大的摇滚乐，乡村爵士乐，蓬克摇滚乐和电子音乐乐团齐聚一堂。演出者用音乐的方式随意调侃国家领导，纹身的大学生叫卖着反政府的T恤，一群重金属音乐的乐迷更是肆无忌惮的燃烧了日本国旗。

Curious, because the event, a four-day free-for-all of Budweiser, crowd-surfing and

camping, was sponsored by the local Communist Party, which spent $2.1 million to turn

cornfields into festival grounds, pay the growling punk bands and clean up the detritus

left by 80,000 attendees.

奇怪的是，此次四天的音乐节所有百威啤酒，人群流动和休息帐篷都由当地共产党免费提供，花费尽两百一十万美元将农田改成音乐节场地，支付咆哮的乐队和用来清理八万多参与者留下的垃圾。

The city cadres also provided an army of white-gloved police officers, earplugs in place,

who courteously endured bands with names like Miserable Faith and AK47 while fans

slung mud at one another.

该城市还组织了戴白手套的警察带着耳塞来维护秩序，他们尽可能礼貌的忍受着像Miserable Faith 和AK47这样的乐队，但是乐迷却在相互投掷烂泥巴。

The incongruity of security agents facilitating the sale of cannabis-themed merchandise

was not lost on the festival’s organizer, Zhang Fan.

音乐节的主办者安全部门并没有放弃对一些以大麻为主的商品交易的监管。张帆说。

“The government used to see rock fans as something akin to a devastating flood or an

invasion of savage beasts,” said Mr. Zhang, a handful of whose events have been

canceled by skittish bureaucrats since he pioneered the Chinese music festival in 2000.

“Now we’re all part of the nation’s quest for a harmonious society.”

“政府以前历来把摇滚乐迷看成是一种同族的摧残和野兽的侵略。”张说，他2000年创始的许多类似的音乐节都被有关当局取消了。“现在我们都是寻求和谐社会的一部分”。

He is not complaining, nor are the dozens of malnourished musicians who finally have a

way to monetize their craft — although no one is getting rich yet.

他并不是在抱怨，而是众多的发展不好的乐队最终只能让他们的作品货币化-尽管如此还是没有一个人因此而变得富有了。

The shift in official sentiment — and among state-backed companies paying to have their

logos splashed across the stage — has led to an explosion of festivals across China. In

2008, there were five multiday concerts, nearly all in Beijing. This year there have

already been more than 60, from the northern grasslands of Inner Mongolia to the

southern highlands of Yunnan Province.

政府观点的改变以及在国企的支持下使得许多乐队可以尽情在舞台上挥洒，也导致了各种音乐节在中国蓬勃发展。在2008年，在北京就有五场多日音乐会。今年，从北部的内蒙古大草原一直到南部的云贵高原又举行了约六十多场。

Without exception the festivals have been staged with the help of local governments that

have come to realize that pierced rockers flailing around a mosh pit are not necessarily

interested in upending single-party rule.

这次音乐节在政府支持下登上舞台的确是个例外，我们应该意识到其实那些疯狂的摇滚乐队并不是要蹲在一个反战的大坑周围就会推翻一党专制这么严重。

More importantly, the governments have decided, for now at least, that music festivals

can deliver something that even the most seasoned propagandists cannot spin out of thin

air: coolness.

更重要的是，政府认为至少现在音乐节还可以传递一些连最老练的宣传者也走不出去的尴尬境地：那就是城市氛围冷淡。

“All these local ministries want their cities to be thought of as fun, young and hip so they

can draw more tourists and claim a public relations trophy,” said Scarlett Li, a music

promoter whose company, Zebra Media, stages festivals, including one in Chengdu that

draws more than 150,000 to a park custom-built by the government.

“所有当地的官员都希望他们的城市被认为是一个年轻富有活力激情的城市，这样可以吸引更多旅游者的参观并为此得到称赞，”一位音乐人李先生说，他的公司也登上音乐节舞台，Zebra传媒旗下一个公司在成都一个政府为其特设的公园举办演出曾吸引了超过十五万乐迷。

The more permissive atmosphere for indie music is a contrast to heightened Internet

censorship and the crackdown on vocal advocates of political change. Skeptics say the

government is simply trying to co-opt youth culture, but others view the spread of

festivals as an encouraging sign that rock, punk and heavy metal might finally have a

stage free from the financial and political shackles that have constrained them.

对独立音乐创作日益宽松的环境与网上严谨的审查制度及对政治观点的发言权的限制形成鲜明对比。怀疑者说政府只是简单的尝试增选了年轻文化，但是其他人则认为音乐节的传播是对摇滚乐蓬克音乐重金属音乐的支持，并有可能最终提供一个没有金钱和政治铁链限制他们的舞台。

Even if the authorities still insist on approving lineups in advance, rejections are

infrequent, organizers say, partly because more musicians perform in English,1 which can

challenge all but the most learned censors.

举办者声明，尽管如此官方仍然强调要提前要列队整齐，减少反对声音。部分由于许多演出者是用英文表演，这也就对一些高层次的乐迷提出了挑战。

“The government is happy for young bands to sing in English because that way the fans

won’t know what they’re saying,” said Yang Haisong, the lead singer of a post-punk band

called P.K.14 and a producer.

“政府看到年轻乐团用英文表演还是很欣喜的因为这样有些乐迷根本不知道他们在唱什么,”一位P.K.14的后蓬克乐团的主唱和出品人这样说到。

Too much of a good thing, however, can have its downsides. The sudden proliferation of

festivals has led to sparse crowds as events compete for the limited pool of fans able to

afford the 150 yuan-a-day (about $22) admission. Then there are the slapdash affairs that

lack working toilets, edible food or decent sound systems. Nearly every seasoned

musician, it seems, has been shocked by an improperly grounded microphone or stiffed

by a promoter.

尽管总体来讲举办较为成功但仍然有些缺陷；此次空前繁荣的的音乐节导致部分空闲群众和少部分乐迷竞相支付着每天150RMB的入场券；同时在这次匆忙的集会中出现了缺少移动卫生间，可食用食品或者较高档的音响系统等问题。几乎每个经验丰富的音乐人对于没有合适的固定或可移动麦克感到很吃惊。

“There’s nothing quite like getting injured on stage and having to hobble out to the front

gate of a festival because no one thought to provide an ambulance,” said Helen Feng, a

Chinese-American musician, referring to her own fall during a recent performance.

“最好不要在舞台上受伤否则你要蹒跚着走到前门因为这里没有提供一辆救护车，”一位美籍华人音乐人冯海伦在这次演出中的一次受伤经历中提及。

Another problem is that China’s independent music scene is still in its adolescence, with

quality and originality in short supply. Many festivals showcase the same acts, some of

which might be charitably described as musically challenged.

另一个问题是中国独立的音乐背景仍然是针对青少年的，其中高质量和原创音乐作品较少。许多音乐节展示着相同的演出，其中一些可能被宽恕的描述为对音乐的挑战吧。

“If every festival has the same three bands or if there is too much corporate advertising or

if kids don’t enjoy themselves, they won’t come back,” Ms. Feng said.

“如果每次音乐节都有相同的三支乐队或者太多的广告公司参与，孩子们不能尽兴那他们下次就不会再来参与，”冯女士说。

The one festival that does not have a problem with loyalty is Midi, which began in 2000

as a recital for students at Mr. Zhang’s Midi School of Music in Beijing and has grown

into something of a cultural phenomenon. In the years when it hasn’t been shut down by

the authorities, the event has drawn tens of thousands to a Beijing park with dozens of

bands and a freewheeling atmosphere of young sophisticates, pimple-faced thrasher rock

enthusiasts and a smattering of angry nationalists who like their music loud and rough.

唯一没有失去忠于本色的音乐节就是“迷笛”，北京迷笛音乐学校张先生在2000年始办于一个学生独唱团发展到了现在的一种文化现象。几年来它并没有被有关部门关

闭，这样的音乐盛世吸引了成千上万的人来到北京创办无数乐团。为那些无论是早期在社会上打拼的年轻人，还是狂热的青年摇滚乐爱好者以及少数热爱音乐又略带愤怒的爱国主义者都提供了一个随心所欲的氛围。

But last year, after one too many impromptu cancellations by the Public Security Bureau,

Mr. Zhang decided to move his festival. Zhenjiang, in Jiangsu Province, was willing not

only to create festival grounds on an island in the Yangtze River but also to offer

generous subsidies, a 10-year arrangement and a hands-off approach.

但是去年在被公共安全局临时取消几次演出后，张先生决定把他的音乐节转移到江苏省镇江市，该城市不仅能够提供长江世业洲作为演出场地更是提出了不干涉其演出方式的未来10年慷慨赞助。

Mr. Zhang insisted on keeping ticket prices low, at $9 a day, and limiting corporate

advertising. He also persuaded the government to relinquish control over content. “They

also wisely heeded my advice and decided not to have local officials take the stage and

address the audience,” Mr. Zhang said.

张先生始终坚持保证每天9美元的低价门票和有限的广告植入。他还劝说政府尽量不要对演出内容加以限制。“有关部门很明智的留意了我的建议并决定不许本地官员控制舞台或引导观众，”张先生说。

The result was a refreshingly spirited festival and a crowd that was as countercultural as

they come in China. When a downpour turned green fields into brown goo, images of

Woodstock came to mind, albeit without the overt sex and drugs.

此次演出为音乐节注入了新鲜的思想和精神，乐迷们把文化冲击带到了中国。当一场倾盆大雨把绿地变成了泥潭，伍德斯托克音乐节的情节在没有性和毒品的情况下也把乐迷们带到了高涨的情绪中。

Offstage, vendors hawked vintage Mao buttons, bunny ears, glow sticks, neon-colored

clown wigs, penis-shaped water guns and stuffed “grass-mud horses,” a mythical creature

that has become a protest symbol against Internet censorship.

台下，小商贩沿街叫卖着毛泽东时代的纪念纽扣，兔儿发饰，荧光棒，尼龙小丑假发，水枪和用来反抗网络限制制度的“草泥马”。

Then there was Qian Cheng, 25, who had scrawled out a cheeky sign offering to sell

himself for 5 yuan, about 75 cents, to any girl who would have him. Mr. Qian, a

television station employee from central China, sat on a sheet of plastic surrounded by a

dozen people he had just met — all of whom had found one another online. Asked what

they had in common, Mr. Qian looked around with satisfaction. “We aren’t pretentious

and we are true to ourselves,” he said. “And unlike those in the outside world, we aren\'t

obsessed with looks and money.”

25岁的钱程还厚颜无耻的胡乱举出牌子哪个女孩需要，他就把自己按5.75RMB的价钱卖出。钱先生是电视台的一位员工，他坐在一块塑料板上周围坐满了在网上结识的人们。当问及他们有什么共同点时，钱先生满意的看看周围的人们说，“我们不是伪装的而是真实的，”“和外面世界的人有所不同，我们不再为外表和金钱所困扰。”

One notable accessory was red scarves — the kind meticulously knotted around the necks

of Communist Party Young Pioneers. But these scarves were bound around arms or legs,

or drawn across the face for a bandit look.

一个显眼的饰物红领巾-被中国少年先锋队员整齐的佩戴在胸前红领巾此时却被系在胳臂或腿上，更有甚者围在脸上扮作强盗。

Chen Chen, 22, an architecture student, explained that the scarf, which schoolchildren

learn represents the blood of martyrs, has come to denote membership in a tribe trying to

carve out space in a society that demands absolute conformity. “It is a symbol of our

devotion to pure rock and to the fight against oppression,” he said proudly.

22岁的晨晨是一名建筑专业的大学生，他解释了红领巾的本身含义是代表着无数英雄先烈的鲜血。但是现在它现在的外函意义却是一个部落的成员为了在充满规则的社会中争取一席之地的象征。“这是我们致力于纯粹的摇滚音乐反抗压制的一个标志，”他大声的说到。

Most festivals, however, embrace more mundane diversions: apolitical entertainment, a

distraction from daily pressures and perhaps an opportunity to do some shopping. At the

same time that the Midi masses were squishing through the mud in Zhenjiang, several

thousand smartly dressed professionals in nearby Hangzhou were lounging on a

manicured lawn at a 1950s-era cement plant that is now a government-run arts center.

尽管如此，大部分的音乐节依旧是对世俗平淡的偏离：无政治意义的娱乐，日常生活压力的逃离或许还是一次购物的好机会。此次迷笛音乐节大量乐迷观众都是在挤

压在镇江的泥土中，几千名从杭州附近赶来的穿着讲究的乐迷都住宿在修整过的大草地上，这一带本是座五十年代的水泥厂现在已由政府将其改建为一个艺术中心。

Zebra, the company that staged the festival in Hangzhou, set up an arts and crafts market

and a booth for exchanging unwanted possessions, to highlight the theme of sustainability.

There were no red scarves, and the music, much of it of the Pop Idol variety, was easy on

the ears.

曾在杭州举行过音乐节的Zebra公司，创立了一个艺术市场和销售亭来交换一些无人需要的私人商品以此来推动可持续性这个主题。这里没有红领巾，音乐也大部分是耳熟能详的Pop Idol变体音乐。

Although she said the festival would probably lose money its first two years, Ms. Li of

Zebra said she wanted to introduce the concept of the music festival and expose young

Chinese to different kinds of music. And, she said of the musicians, “I want these kids to

see that they can turn their talent into a career.”

尽管最初两年音乐节可能会赔钱，Zebra的李小姐说，她希望以此来介绍音乐节的真正意义以激发中国年轻人去接触各种音乐形式。并且她以音乐人的角度强调，“我希望这些孩子会发现他们可以把才能转化为事业。”

But Yang Haisong of P.K.14 could not help but feel cynical as he looked around at the

Modern Sky Music Festival in Beijing going on at the same time as the others. To his

right was a J?germeister tent; to his left, an enormous line of well-dressed people waiting

for free Converse tote bags. Asked if he thought Chinese youth culture might be on the

brink of a tectonic breakthrough, Mr. Yang smiled and shook his head.

但是，当P.K.14乐队的杨海松看到同时在北京举办的Modern Sky Music音乐节时，他不得不感到它与其他音乐节一样具有讽刺意义。在他的右边是J?germeister乐队的帐篷，左边则是一整列穿戴整齐的人们等待着标有匡威标志的免费手提袋。当问及到他是否认为中国年轻一代的文化可能就在结构突破的边缘时，杨先生微笑着摇了摇头。

“The government used to see us as dangerous,” he said. “Now they see us as a market.”

“政府曾经认为我们很危险，”他说。“现在他们则任我我们是很有潜力的市场。”