When the notes drift in the wind, I can't help but be drawn to the mystery of a song. This is not an ordinary melody, but the latest single "Three Dozen White Bone Spirits" by Deyun Club actor Meng Hetang. His high-profile sharing made me click on ** with curiosity, however, this aural journey made me think deeply about the song.
Body:
At the beginning of this song, Meng Hetang sang in a playful tone full of classical mythology that caught my attention. However, as the melody unfolded, I felt the shortcomings of his basic skills, as if he was returning to the ordinary performance on the cross talk stage. Although the lyrics "Let the demons change more, the sharp eyes can see clearly, the iron rod is in the hand, and the demons are clean, sweeping away the white bones in the world" is not difficult to hear, but it fails to resonate at the beginning of the song, but makes people feel blocked.
I thought that the follow-up songs would bring surprises, but I found that Meng Hetang's performance was not satisfactory. As a cross talk actor, his articulation and loud voice are advantages, however, in this attempt, he chose a style that does not match his characteristics, which makes the overall listening feeling awkward. Compared with the song performance of other Deyun Club actors, this attempt is more like losing oneself than highlighting one's personality.
In the middle of the song, I was even in a trance, as if I was in a certain track at station B. Compared with the "upside-down orange" and "Datang Label", Meng Hetang's version is slightly mediocre in lyrics. At this stage, I began to think that it is not uncommon for cross talk actors to sing, Yue Yunpeng's "If There Is an Elevator to Heaven", Zhang Yunlei's "Yuzhen" and Zhang Helun's "Little Juan'er" all showed excellent acting ability, but I couldn't feel Meng Hetang's personal characteristics.
This "Three Dozen White Bone Spirits" was originally a small piece of Meng Hetang on the stage in Tianjin, and after many improvements, it became the chorus of Deyun Douxiao Club. However, I didn't expect him to push it out alone. In the lyrics, expressions such as "Only the Great Sage has seen through the white bones and keeps chasing, wanting its soul to catch the earliest plane" seem to rhyme forcibly, and the word "airplane" seems out of place in the theme of Journey to the West, which is uncomfortable. Such lyrical expression seems to be a distortion of the theme of "slaying demons and destroying demons".
Perhaps because of Meng Hetang's personal life and emotional experience, I was a little disappointed in his creation. After leaving his partner for ten years, he chose to marry a fan after becoming popular in the entertainment industry, which makes me wonder if he really sees himself. Especially in "Three Dozen White Bone Spirits", which depicts the charm of women, I feel the lack of his singing skills.
Conclusion:
This auditory journey made me think about the personality expression and emotional communication of artists in the creation of **. Perhaps, sometimes, it is not a bad thing to pursue individuality, but it is also necessary to fully demonstrate understanding and respect for the work while retaining its own characteristics. In this song, Meng Hetang seems to have lost his usual agility and profundity on the cross talk stage, making it difficult for people to identify with this version of him.