關於 how many 80s songs do you know ，我們在網路上蒐集到這些相關的討論、資訊與評價

剛剛的北美之行，在演出之餘，當然也勾結了不少的當地的媒體。

#lgbtqInHongKong #CensorshipInChina #FreedomOfSpeech #LiberateHongKong #StandWithHongKong #CantoPop

//Anthony Wong’s Forbidden Colors

Out Hong Kong Canto-pop star brings his activism to US during his home’s protest crisis

BY MICHAEL LUONGO

From 1988’s “Forbidden Colors,” named for a 1953 novel by gay Japanese writer Yukio Mishima to this year’s “Is It A Crime?,” commemorating the 30th anniversary of the Tiananmen Square Massacre, Hong Kong Canto-pop star Anthony Wong Yiu-ming has combined music and activism over his long career. As Hong Kong explodes in revolt against Beijing’s tightening grip with the One Country, Two Systems policy ticking to its halfway point, Wong arrived stateside for a tour that included ’s Gramercy Theatre.

Gay City News caught up with 57-year-old Wong in the Upper West Side apartment of Hong Kong film director Evans Chan, a collaborator on several films. The director was hosting a gathering for Hong Kong diaspora fans, many from the New York For Hong Kong (NY4HK) solidarity movement.

The conversation covered Wong’s friendship with out actress, model, and singer Denise Ho Wan-see who co-founded the LGBTQ group Big Love Alliance with Wong and recently spoke to the US Congress; the late Leslie Cheung, perhaps Asia’s most famous LGBTQ celebrity; the threat of China’s rise in the global order; and the ongoing relationship among Canto-pop, the Cantonese language, and Hong Kong identity.

Wong felt it was important to point out that Hong Kong’s current struggle is one of many related to preserving democracy in the former British colony that was handed back to China in 1997. While not his own lyrics, Wong is known for singing “Raise the Umbrella” at public events and in Chan’s 2016 documentary “Raise the Umbrellas,” which examined the 2014 Occupy Central or Umbrella Movement, when Hong Kong citizens took over the central business district for nearly three months, paralyzing the city.

Wong told Gay City News, “I wanted to sing it on this tour because it was the fifth anniversary of the Umbrella Movement last week.”

He added, “For a long time after, nobody wanted to sing that song, because we all thought the Umbrella Movement was a failure. We all thought we were defeated.”

Still, he said, without previous movements “we wouldn’t have reached today,” adding, “Even more so than the Umbrella Movement, I still feel we feel more empowered than before.”

Hong Kong’s current protests came days after the 30th anniversary commemorations of the Tiananmen Square Massacre, known in China as the June 4th Incident. Hong Kong is the only place on Chinese soil where the Massacre can be publicly discussed and commemorated. Working with Tats Lau of his band Tat Ming Pair, Wong wrote the song “Is It A Crime?” to perform at Hong Kong’s annual Tiananmen commemoration. The song emphasizes how the right to remember the Massacre is increasingly fraught.

“I wanted our group to put out that song to commemorate that because to me Tiananmen Square was a big enlightenm­ent,” a warning of what the Beijing government will do to those who challenge it, he said, adding that during the June 4 Victoria Park vigil, “I really felt the energy and the power was coming back to the people. I really felt it, so when I was onstage to sing that song I really felt the energy. I knew that people would go onto the street in the following days.”

As the genre Canto-pop suggests, most of Wong’s work is in Cantonese, also known as Guangdonghua, the language of Guangdong province and Hong Kong. Mandarin, or Putonghua, is China’s national language. Wong feels Beijing’s goal is to eliminate Cantonese, even in Hong Kong.

“When you want to destroy a people, you destroy the language first, and the culture will disappear,” he said, adding that despite Cantonese being spoken by tens of millions of people, “we are being marginaliz­ed.”

Canto-pop and the Cantonese language are integral to Hong Kong’s identity; losing it is among the fears driving the protests.

“Our culture is being marginalized, more than five years ago I think I could feel it coming, I could see it coming,” Wong said. “That’s why in my music and in my concerts, I kept addressing this issue of Hong Kong being marginaliz­ed.”

This fight against the marginalization of identity has pervaded Wong’s work since his earliest days.

“People would find our music and our words, our lyrical content very apocalyptic,” he explained. “Most of our songs were about the last days of Hong Kong, because in 1984, they signed over the Sino-British declaration and that was the first time I realized I was going to lose Hong Kong.”

Clarifying identity is why Wong officially came out in 2012, after years of hints. He said his fans always knew but journalists hounded him to be direct.

“I sang a lot of songs about free love, about ambiguity and sexuality — even in the ‘80s,” he said, referring to 1988’s “Forbidden Colors.” “When we released that song as a single, people kept asking me questions.”

In 1989, he released the gender-fluid ballad “Forget He is She,” but with homosexuality still criminalized until 1991, he did not state his sexuality directly.

That changed in 2012, a politically active year that brought Hong Kongers out against a now-defunct plan to give Beijing tighter control over grade school curriculum. Raymond Chan Chi-chuen was elected to the Legislative Council, becoming the city’s first out gay legislator. In a concert, Wong used a play on the Chinese word “tongzhi,” which has an official meaning of comrade in the communist sense, but also homosexual in modern slang. By flashing the word about himself and simultaneously about an unpopular Hong Kong leader considered loyal to the Chinese Communist Party, he came out.

“The [2012] show is about identity about Hong Kong, because the whole city is losing its identity,” he said. “So I think I should be honest about it. It is not that I had been very dishonest about it, I thought I was honest enough.”

That same year he founded Big Love Alliance with Denise Ho, who also came out that year. The LGBTQ rights group organizes Hong Kong’s queer festival Pink Dot, which has its roots in Singapore’s LGBTQ movement. Given the current unrest, however, Pink Dot will not be held this year in Hong Kong.

As out celebrities using their star power to promote LGBTQ issues, Wong and Ho follow in the footsteps of fellow Hong Konger Leslie Cheung, the late actor and singer known for “Farewell My Concubine” (1993), “Happy Together” (1997), and other movies where he played gay or sexually ambiguous characters.

“He is like the biggest star in Hong Kong culture,” said Wong, adding he was not a close friend though the two collaborated on an album shortly before Cheung’s 2003 suicide.

Wong said that some might think he came to North America at an odd time, while his native city is literally burning. However, he wanted to help others connect to Hong Kong.

“My tool is still primarily my music, I still use my music to express myself, and part of my concern is about Hong Kong, about the world, and I didn’t want to cancel this tour in the midst of all this unrest,” he said. “In this trip I learned that I could encourage more people to keep an eye on what is going on in Hong Kong.”

Wong worries about the future of LGBTQ rights in Hong Kong, explaining, “We are trying to fight for the freedom for all Hong Kongers. If Hong Kongers don’t have freedom, the minorities won’t.”

That’s why he appreciates Taiwan’s marriage equality law and its leadership in Asia on LGBTQ rights.

“I am so happy that Taiwan has done that and they set a very good example in every way and not just in LGBT rights, but in democracy,” he said.

Wong was clear about his message to the US, warning “what is happening to Hong Kong won’t just happen to Hong Kongers, it will happen to the free world, the West, all those crackdowns, all those censorships, all those crackdowns on freedom of the press, all this crackdown will spread to the West.”

Wong’s music is banned in Mainland China because of his outspokenness against Beijing.

Like other recent notable Hong Kong visitors including activist Joshua Wong who testified before Congress with Ho, Wong is looking for the US to come to his city’s aid.

Wong tightened his body and his arms against himself, his most physically expressive moment throughout the hour and a half interview, and said, “Whoever wants to have a relationship with China, no matter what kind of relationship, a business relationship, an artistic relationship, or even in the academic world, they feel the pressure, they feel that they have to be quiet sometimes. So we all, we are all facing this situation, because China is so big they really want the free world to compromise.”

(These remarks came just weeks before China’s angry response to support for Hong Kong protesters voiced by the Houston Rockets’ general manager that could threaten significant investment in the National Basketball Association by that nation.)

Wong added, “America is the biggest democracy in the world, and they really have to use their influence to help Hong Kong. I hope they know this is not only a Hong Kong issue. This will become a global issue because China really wants to rule the world.”

Of that prospect, he said, “That’s very scary.”//

//A Cantopop star publicly supported Hong Kong protesters. So Beijing disappeared his music.

By AUGUST BROWN

The 2 million pro-democracy protesters who have flooded the streets of Hong Kong over the last few months have been tear-gassed, beaten by police and arrested arbitrarily. But many of the territory’s most famous cultural figures have yet to speak up for them. Several prominent musicians, actors and celebrities have even sided with the cops and the government in Beijing.

The protesters are demanding rights to fair elections and judicial reform in the semiautonomous territory. Yet action film star Jackie Chan, Hong Kong-born K-pop star Jackson Wang of the group GOT7 and Cantopop singers Alan Tam and Kenny Bee have supported the police crackdown, calling themselves “flag protectors.” Other Hong Kong cultural figures have stayed silent, fearing for their careers.

The few artists who have spoken out have seen their economic and performing prospects in mainland China annihilated overnight. Their songs have vanished from streaming services, their concert tours canceled. But a few musicians have recently traveled to America to support the protesters against long odds and reprisals from China.

“Pop musicians want to be quiet about controversy, and on this one they’re particularly quiet,” said Anthony Wong Yiu-ming, 57, the singer and cofounder of the pioneering Hong Kong pop group Tat Ming Pair.

Wong is a popular, progressive Cantopop artist — a Hong Kong Bryan Ferry or David Bowie, with lyrics sung in the territory’s distinct dialect. But he, along with such singer-actors as Denise Ho and Deanie Ip, have made democratic reforms the new cause of their careers, even at the expense of their musical futures in China. Wong’s on tour in the U.S. and will perform a solo show in L.A. on Tuesday.

“It’s rebelling against the establishment, and [most artists] just don’t want to,” Wong said. “Of course, I’m very disappointed, but I never expected different from some people. Freedom of speech and civil liberties in Hong Kong are not controversial. It’s basic human rights. But most artists and actors and singers, they don’t stand with Hong Kongers.”

Hong Kong protesters
Hundreds of people form a human chain at Victoria Peak in Hong Kong on Sept. 13.(Marcus Yam/Los Angeles Times)
The protests are an echo — and escalation — of the Occupy Central movement five years ago that turned into a broad pro-democracy effort known as the Umbrella Movement. Those protests, led by teenage activist Joshua Wong (no relation), rebelled against a new policy of Beijing pre-screening candidates for political office in Hong Kong to ensure party loyalty.

Protesters were unsuccessful in stopping those policies, but the movement galvanized a generation of activists.

These latest demonstrations were in response to a proposed policy of extraditing suspected criminals from Hong Kong to mainland China, which activists feared would undermine their territory’s legal independence and put its residents at risk. The protests now encompass a range of reforms — the withdrawal of the extradition bill, secured voting rights, police reform, amnesty for protesters and a public apology for how Beijing and police have portrayed the demonstrations.

Wong, already respected as an activist for LGBT causes in Hong Kong, is one of vanishingly few musicians to have put their futures on the line to push for those goals.

Wong’s group Tat Ming Pair was one of the most progressive Cantonese acts of the ’80s and ’90s (imagine a politically radical Chinese Depeche Mode). When Wong spoke out in favor of the Umbrella Movement at the time, he gained credibility as an activist but paid the price as an artist: His touring and recording career evaporated on the mainland.

The Chinese government often pressures popular services like Tencent (the country’s leading music-streaming service, with 800 million monthly users) to remove artists who criticize the government. Artists can find longstanding relationships with live promoters on ice and lucrative endorsement deals drying up.

“This government will do things to take revenge on you,” Wong said. “If you’re not obedient, you’ll be punished. Since the Umbrella Movement, I’ve been put on a blacklist in China. I anticipated that would happen, but what I did not expect was even local opportunities decreased as well. Most companies have some ties with mainland China, and they didn’t want to make their China partners unhappy, so they might as well stop working with us.”

Censorship is both overt and subtly preemptive, said Victoria Tin-bor Hui, a professor and Hong Kong native who teaches Chinese politics and history at the University of Notre Dame.

“Every time artists or stars say anything even remotely sympathetic to protesters or critical of the government, they get in trouble,” Hui said. “You can literally have your career ruined. Denise Ho, after she joined the Umbrella Movement, everything she had listed online or on shelves was taken off. Companies [including the cosmetics firm Lancôme] told her they would have nothing more to do with her, and she started doing everything on her own.”

So Wong and other artists like Ho have been pushing back where they can.

Wong’s recent single, “Is It a Crime,” questions Beijing crackdowns on all memorials of the Tiananmen Square massacre, especially in Hong Kong, where there was a robust culture of activism and memorials around that tragedy. The single, which feels akin to Pink Floyd’s expansive, ominous electronic rock, has been blacklisted on mainland streaming services and stores.

Wong plans to speak out to commemorate the anniversary of the Umbrella Movement on this tour as well.

“The government is very afraid of art and culture,” Wong said. “If people sing about liberty and freedom of speech, the government is afraid. When I sing about the anniversary of Tiananmen, is it a crime to remember what happened? To express views? I think the Chinese government wants to suppress this side of art and freedom.”

The fallout from his support of the protests has forced him to work with new, more underground promoters and venues. The change may have some silver linings, as bookers are placing his heavy synth-rock in more rebellious club settings than the Chinese casinos he’d often play stateside. (In L.A., he’s playing 1720, a downtown venue that more often hosts underground punk bands.)

“We lost the second biggest market in the world, but because of what we are fighting for, in a way, we gained some new fans. We met new promoters who are interested in promoting us in newer markets. It’s opened new options for people who don’t want to follow” the government’s hard-line approach, Wong said.

Hui agreed that while loyalty from pro-democracy protesters can’t make up for the lost income of the China market, artists should know that Hong Kongers will remember whose side they were on during this moment and turn out or push back accordingly.

“You make less money, but Hong Kong pro-democracy people say, ‘These are our own singers, we have to save them,’” Hui said. “They support their own artists and democracy as part of larger effort to blacklist companies that sell out Hong Kong.”

Ho testified before Congress last week to support Hong Kong’s protesters. “This is not a plea for so-called foreign interference. This is a plea for democracy,” Ho said in her speech. A new bill to ban U.S. exports of crowd-control technology to Hong Kong police has bipartisan support.

No Hong Kong artists are under any illusions that the fight to maintain democracy will be easy. Even the most outspoken protesters know the long odds against a Chinese government with infinite patience for stifling dissent. That’s why support from cultural figures and musicians can be even more meaningful now, Hui said.

“Artists, if they say anything, that cheers people on,” Hui said. “Psychologists say Hong Kong suffers from territory-wide depression. Even minor symbolic gestures from artists really lift people’s morale.”

Pro-democracy artists, like protesters, are more anxious than ever. They’ve never been more invested in these uprisings, but they also fear the worst from the mainland Chinese government. “If you asked me six months ago, I was not very hopeful,” Wong said. “But after what’s happened, even though the oppression is bigger, we are stronger and more determined than before.”

Anthony Wong Yiu-ming

Where: 1720, 1720 E. 16th St.
When: 7 p.m. Tuesday
Tickets: $55-$150
Info: 1720.la //

【桃花開在周杰倫】The Peach Blossom named Jay Chou（English writing below)

上星期的Youtube影片中，我談到周杰倫前世如何修到大桃花，以及桃花和個人財富的關係。

2019年9月11日2300H，久未發新歌的周杰倫推出新歌單曲《說好不哭》，兩天內就破一千萬的流量，刷下華語樂壇的新紀錄，而且在超過十個國家，包括美國、澳洲、韓國、德國、新馬港台等，都衝上了Youtube發燒影片第一名。

相比之下，蔡依林去年年尾推出睽違四年的新專輯，打破了傳統歌手唱情歌的套路，其中七首歌都有概念新穎、議論性極高的MV，但影片流量卻不敵這次「周五」的合作。

我不是蔡依林的歌迷，但她這次為專輯的付出真的讓我刮目相看 - 回顧蔡依林出道至今的「黑歷史」MV《怪美》，邀請吳君如一起拍向80、90年代香港電影致敬的MV《腦公》，邀小S拍的MV《紅衣女孩》，以及今年榮獲台灣金曲獎年度歌曲獎的《玫瑰少年》等等。

我個人很喜歡這首《玫瑰少年》。此歌以轟動一時的「葉永鋕事件」為背後故事：葉永鋕，台灣人，國中生，因不同的性別氣質而遭到同學霸凌，不敢在下課時間去上廁所。十五歲那年，葉永鋕在上課時，提前離開教室去上廁所，後來被發現傷重倒臥血泊中，送醫後不治死亡。（取之：维基百科）

而在今年五月，台灣成為第一個將同性婚姻合法化的亞洲國家，讓《玫瑰少年》更具有代表性。

再看看周杰倫這次的新歌《說好不哭》，如果你也覺得「周杰倫是我的青春」，這MV用的許多「情懷梗」，作詞人方文山，神秘來賓五月天阿信，必會讓你驚喜連連。

對我而言，這首歌延續著周氏情歌的曲風，MV拍法沒有突破，並沒有像蔡依林的專輯有那麽強大的創意和正面能量。

可是蔡依林這次別出心裁，影片流量和賺到的錢也不少，卻依然亞於周杰倫。

這一切的現象隱藏著過去世的因果。

據我根本上師聖尊蓮生活佛開示，周杰倫前世修密教的敬愛法，想必他持了天文數字的敬愛咒。他八字寫著，這一世的寫歌本領就是他修來的眾桃花投影。

這桃花非同凡響，改變了華語樂壇對流行歌的審美觀。這次《說好不哭》的MV流量、新歌銷量等，都名列前茅，新歌上線的24小時內，總銷量548.5萬張，售額1645.6萬元人民幣（S$3.2m)。

蔡依林全身都是重桃花相，但就算如此，她和幾個星期前出新歌《對的時間點》的林俊傑，也完全被周杰倫比下去。

一些聰明的Youtuber在《說好不哭》上線24小時內火速推出了自己的翻唱影片，鋼琴彈奏版，歌詞版等。這是很明智的作法，因為不用花錢就能夠沾個邊，借一借周杰倫的桃花來旺自己。如果周杰倫的八字及歌曲旺他們的八字，就會更有效。

網路搜索，加上娛樂新聞頻道的新聞報導，他們的頻道便會迅速增加訂閱和流量。

寫了這麼多，有三點要提醒大家：

1）有幸得到師尊灌頂的敬愛尊咕嚕咕咧佛母和愛染明王法的同門，請勤修此法。

有眾桃花，貴人顯著，做什麼事情真的會比較容易，賺錢也可以比別人快。我個人的修法領悟，如果抱著利益眾生的菩提心來修，效果會更不可思議。

2） 要賺錢，你速度要快。

錢如流水走很快不等人，你要懂得觀察局勢，學學那些Youtubers的掙錢速度及魄力。如果還是不會， 批八字看風水時，可請教你的師父如何迅速為自己增強桃花。

3）往對的方向，用對的方法努力，能改自己和別人的命

無論你八字中有沒有眾生緣，你要有錢，有敬愛的魅力，你都得努力地去結眾生緣，持續地去佈施，慢慢地去積累。因為再多的眾生緣，也會有用完的一天。

以上的歌手都是努力的典範，包括那些Youtubers。因為努力而產生的影響力，能引導他人改自己的運勢，你的功德可加倍。

不要一日一日地這樣荒廢青春，別把時間都給了家人，而吝於給他人。佈施要用心思，要不然，有一天福報見底時，你和你的家人就會出現資糧荒的現況了。

「聰明人將精力用於預防和積累，而蠢蛋則寄望於補救。」

..........................

In my Youtube video last week, I talked about how Jay Chou cultivated his great Peach Blossoms in his past life and the correlation between your personal wealth and your Peach Blossoms.

On 11 September 2019 2300H, Jay Chou released his much-awaited new song "Won't Cry". His MV crossed 10 millions views within 48 hours on Youtube, setting a new record for Chinese music entertainment scene, and was the #1 trending MV in over 10 countries, including USA, Australia, Korea, Germany, Singapore, Malaysia, Hong Kong and Taiwan. His latest single also crashed Chinese music streaming site QQ music in less than a hour after its release.

In comparison, Jolin Tsai launched her new concept album end of last year, after a hiatus of 4 years. The album broke out of the conventional love ballads typical of Mandopop. 7 songs in this album were launched on Youtube with very creative and artsy music videos, which attracted much online discussion.

Yet the views on her MV cannot be compared with Jay Chou's latest MV.

While I am not a fan of Jolin Tsai, I applaud her effort for this album. The Ugly Beauty MV talks about the criticisms that Jolin Tsai had received since her debut. The Hubby MV was a salute to Hong Kong movies in the 80s & 90s, with Sandra Wu guest starring. Xiao S was also invited for her Lady in Red MV. The song Womxnly won the Song of the Year in this year's Golden Melody Awards, while this album won Album of the Year.

My personal favourite is the song Womxnly, which was inspired by the sensational story of Yeh Yung-chih, a secondary school Taiwanese student who had been long bullied for his perceived effeminate behaviour and thus, never dared to go to the school toilet at break times. One day, just five minutes before school ended, he was found dead in the school’s restroom in a pool of blood at the age of 15.

In May this year, Taiwan became the first Asian country to legalise same-sex marriage and Womxnly became even more symbolic.

Let's now take a look at Jay Chou's new single Won't Cry. If you also think that "Jay Chou is my youth", the many punchlines in this MV, the lyricist Vincent Fang and the mystery guest Ashin of Mayday will have you grinning in surprise.

To me, while this song is not bad and a continuation of Jay Chou's love ballad style, it does not carry as much creativity and positive energy as Jolin Tsai's Ugly Beauty album. Jay Chou's MV was also pretty similar to many of his past MVs. There was no breakthrough.

Yet, beneath all that we have seen till now, is the karma from many past lives.

My Root Guru, His Holiness Living Buddha expounded that in Jay Chou's past life, he practiced the Magnetization Sadhana of Varjayana, and had recited an astronomical number of the mantra of Love and Respect. As stated in his Bazi, his songwriting talent this lifetime is a reflection of his cultivated Peach Blossoms of Mass Appeal.

This is an extraordinary Peach Blossom, as it rewrote the judgment standard of Mandopop. The viewership of Jay Chou's Won't Cry MV and sales volume of the single are just as astounding. Within 24 hours of release, his new song sold 5.485 million copies online and raked in S$3.2million.

The entire physical appearance of Jolin Tsai spells of heavy Peach Blossom of mass appeal. However, with Jay Chou in the picture, both she and JJ Lin Junjie who released a new single The Right Time 3 weeks ago paled in comparison.

Some clever Youtubers quickly uploaded their own covers, in less than 24 hours of Jay Chou's new song release. There were cover songs, piano versions, and lyric version. This is a very smart way of leveraging on Jay Chou's Peach Blossom luck for FREE. Works best if the song and Jay Chou’s Bazi are compatible with their Bazi.

Through online searches and online entertainment channels who report about the covers, the Youtubers get to boost their subscriber volumes and viewership at a much faster rate.

These are the 3 points I wish to highlight to everyone after writing so much:

1) To my fellow Dharma brothers and sisters who are fortunate enough to receive our Root Guru's Dharma empowerment of Kurukullā and Rāgarāja, please cultivate this Sadhana diligently.

When you have Peach Blossom of Mass Appeal, your benefactors are prominent and everything that you do in life gets easily done, even earning money is faster for you. My personal experience is that if you practice this Sadhana with the Bodhicitta heart to benefit sentient beings, the effects will be incredible.

2) If you make money, you must be speedy.

Money waits for no man. You have to know how to observe the situations and learn the money-making speed and drive of those Youtubers. If you do not know how, seek the advise of your Chinese Metaphysics practitioner, when getting your Bazi analysed or Feng Shui audit done.

3）Move in the right direction with the right method, and you can change your life and others' too.

Regardless your Bazi has mass appeal affinity or not, to have money, to have charisma of Love and Respect, you must be diligent in forming mass positive affinities. Learn to give and accumulate your way through. For no matter how many mass affinities you have, they get expedited over time.

The celebrities and Youtubers I mentioned above are examples of diligence.

When your hard work brings you the ability to influence, you will be able to guide others to improve their luck, be it you are conscious of it or not. And that doubles up your merits.

Don't squander your youth by living aimlessly. Don't blindly give all your time to your family and be miserly in giving your time to others.

Constant giving requires thought, otherwise when your good fortune hits rock bottom, you and your family will face a dire drought of life resources.

"The smart one spends his effort in prevention and accumulation, while the fool puts his hope in salvaging. "