社摇没有春天

王五四  2016-03-09 

前几天北京市文联主办了一场题为“中国摇滚30年回顾与展望”的研讨会,在这个会上“北京摇滚音乐学会筹备组”首次亮相,这意味着浪荡了三十年的中国摇滚,要开始享受党疼国爱了,摇滚也要按照“基本法”了。1992年被“SPIN”杂志评为中国最伟大的吉他手的唐朝老五也在此次会议上发言表态,中规中矩,很识时务。对此,不少摇滚乐迷有点炸锅,如丧考妣,认为是对中国摇滚极大的侮辱,我仿佛看到了当年的场景:查普曼对约翰·列侬开了五枪说:你变了!其实你们想多了,中国摇滚没变,中国摇滚也没死,没有生哪来的死,中国摇滚事实上根本没有存在过,不论是1986年崔健在工人体育馆唱响《一无所有》,还是1994年,何勇穿着海魂衫系着红领巾,抱着吉他在红磡体育馆唱《垃圾场》,这些都只是中国摇滚的一场春梦,最终了无痕。每隔一段时间就有摇滚乐迷搬出1994年红磡体育馆的那场演出,仿佛1994年的中国摇滚圈,就是1969年的伍德斯托克、1978年的伦敦朋克俱乐部。其实那些年我们只看到了摇滚的表演形式,而真正的摇滚还未孕育而出便胎死在社会主义的腹中。

当年中国摇滚乐的表演的确让观众发春了,群情激奋,但摇滚乐手却最终射精无力,成年的摇滚乐手在社会形态面前其实还只是个孩子,摇滚精神并未射入社会群体体内,摇滚乐也无从完成它的社会使命。中国的摇滚乐手们学会的仅仅只是摇滚的表演形式,当然也学会了浮于表面的摇滚生活方式:性和毒品,但是它依然给摇滚乐迷们留下了深刻的虚假希望,他们实在是太需要摇滚了。中国摇滚当年或许出现过希望的萌芽,但基本都被组织及时扑灭,就像1996年的那场演出,很多摇滚圈子的人依然认为是那场演出葬送了中国摇滚的前途,而我的想法却恰恰相反,那场演出反而是给中国摇滚保留了最后的尊严,在那场名为“流行音乐20年”的晚会上,何勇演唱了《姑娘漂亮》,1994年在香港红磡体育场唱这首歌时,他高喊,“香港的姑娘们,你们漂亮吗?”,这次他问的是,“李素丽,你漂亮吗?”,他忘了,这次是在北京工体,李素丽是当年红极一时的劳模。摇滚乐手何勇显然忽视了那场演出的重要性,如果他不喊那句话,中国的摇滚乐有很大的机会从地下走进主流视野,不过,如果克制不喊如果乖乖的,那还是摇滚吗?

国内很多乐迷要求摇滚去政治化,说音乐不要和政治扯上关系,这是一种常见的自欺欺人的提法,不仅仅在摇滚领域,在生活的各个领域我们都能听到这样的提法:不要提政治。音乐怎么可能与政治无关呢?音乐可以是一种大众情绪的表达,也可以为政治所用反控社会情绪,60版的电影《刘三姐》里,地主莫怀仁就极力禁止百姓唱山歌,这是一种对情绪表达和观念传播的舆论控制手段。摇滚乐在所有的音乐形式里具有极其鲜明的社会表达和引导功能,当年在民主德国,摇滚青年们的群体行为往往会被夸大为叛国,虽然他们并没有什么破坏行为,只是在公开场合大声唱西方的摇滚乐。当时莱比锡党委第一书记就认为年轻人喜欢摇滚乐并非只是潮流那么简单,他说,“潮流只是表象,这种潮流关系到战争与和平的问题。警察进行的审讯已经证明,这些团伙是和西德情报机构有联系的。他们的情报机构希望看到我们的年轻人脱离社会,从而容易接受帝国主义意识形态的影响。”

音乐从来就不是无力的,它的能量甚于枪炮,上世纪六十年代美国民谣对社会变革起了极大的作用,Bob Dylan的反主流和Joan Baez 的反战,是美国六十年代反对文化的重要论述基础,同样,摇滚乐对于上世纪八十年代的社会变革也起了不可磨灭的作用。今年一月份英国摇滚乐手大卫·鲍伊去世,德国外交部还专门发声明感谢大卫·鲍伊“帮助我们推倒了柏林墙”。1987年柏林墙还立在东西柏林之间,在苏联控制的东柏林,摇滚音乐还是违禁物,1987年6月,大卫·鲍伊决定在西柏林靠近柏林墙的地方举办一场摇滚乐会,这个消息吸引了很多东德摇滚爱好者,他们挤到靠近柏林墙的地方,希望哪怕能听到一点声音。这引起了东柏林警方的恐慌,他们用棍棒驱逐,还逮捕了一些摇滚乐迷,一些年轻人高喊,“必须拆了柏林墙!”。后来,迈克尔·杰克逊和平克·弗洛依德也来到同一地点演出,东柏林政府这次学聪明了,他们举办了一次对抗演出,他们邀请来世界著名的乐队BigCountry、Marillion等,希望借此阻止人们涌向柏林墙。

摇滚从不避讳政治,政治也无法拒绝摇滚,在第32届肯尼迪中心荣誉奖现场,美国总统奥巴马在为人称“the boss”的摇滚乐手斯普林斯汀颁奖时说,“我是总统,他则是‘老大’(boss)!”。猫王曾在他和尼克松的一次谈话中强调着自己对于整个70年代反传统文化的主导作用,他说美国一系列的文化问题,包括嬉皮文化、共产主义,甚至TheBeatles的“文化入侵”,他都可以左右,由此他向尼克松总统进言,“如果让我成为联邦探员,我将发挥我最大的作用,将美国的文化走向管起来……”,虽然当时尼克松表示了呵呵,但摇滚乐以及摇滚乐手对于社会发展的重要性不言而喻。摇滚对于中国社会的意义同样重要,只是在这存在着一个真摇滚还是伪摇滚的问题,几年前窦唯说“摇滚误国论”,他说“很多人打着摇滚的旗号,想得到的无非是名利。”,他也曾将矛头指向丁武,“我们是纯粹做音乐的,不像有些人打着音乐的幌子蒙骗公众,营造出所谓的摇滚盛世,实则做些给房地产商跑堂会的事。”,摇滚乐不是不能赚钱,但是窦唯的愤怒也不是没有来由,在窦唯看来,中国的摇滚乐是没有灵魂的,不具备独立、反叛、自由的精神,徒有一具肉身。乐评人颜峻曾经自信满满:“随着迷笛音乐节文化成长起来的音乐群众,他们不是眺望和谈论摇滚乐,而是过着摇滚生活。这个群体是独立时代的英雄。”,他确实盲目自信了,吸毒和滥交不是摇滚生活,民族主义情绪和小粉红不具备独立精神,不过后来,颜峻懂事了,他在《十月的耻辱》中写道:“那一天我的心突然地从节日的天空掉落。我们一群人在惊讶中体会到了理想的破灭,那种感觉,就是悲伤。谁能告诉我,他所爱的中国究竟在哪里,他所爱的摇滚乐在哪里?”

中国的摇滚跟中国的其他东西一样,都染上了中国特色,中国摇滚没有自由,只有性自由,没有精神,只有精神病。许巍不再“没有什么能够阻挡我对自由的向往”,痛仰不再“哪里有压迫哪里有反抗”,窦唯的《高级动物》很适合唱社会主义核心价值观。自由而独立、批评与反对当然不是摇滚乐唯一的标签,不同的时代背景摇滚乐有不同的属性呈现,但当下这片土地上的摇滚圈看起来就像是一个傲娇的傻逼。摇滚或许看起来混乱喧嚣,但至少它不该穿着皮裤在官方的舞台上饱含深情滴唱赞歌,更不该像《中国好声音》里的伪摇滚一样博取观众同情:我一定会勇敢地唱下去!勇敢NMLGB,又不是路边卖唱被城管赶,又不是唱异议歌曲被警察抓,唱赞歌需要什么勇气?中国摇滚缺很多东西,最缺的或许是勇气。

 

 

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