The grievances between Guo Degang and Jiang Kun have long become a topic in the cross talk circle and entertainment industry. However, their contradictions are not irreconcilable. Jiang Kun, as a member of the mainstream cross talk industry, somewhat disdains "grassroots" artists like Guo Degang who are not in the system.
Their intersection, and even the contradictions they cause, are more the inevitable result of the development of the times. In the nineties of the last century, the sketch world was full of flowers, which led to the gradual decline of the cross talk world.
By the beginning of the twenty-first century, cross talk had almost disappeared. In this period when the cross talk industry is facing a "lack of success", Guo Degang was born and broke this situation.
Guo Degang used to be just an unknown little artist, but with the rise of new ** and ***, he saw it"Famous"of the dawn. He decided to break the traditional tone, add new elements, and innovate the stage mode to refresh the audience.
At the same time, he also made full use of the promotion ability of the online platform, and soon attracted a large number of fans and listeners. Around 2005, Guo Degang has become a new force in the cross talk industry, and his unique style is unmatched.
And in 2006, he was with Jiang Kun"Head to head"It has attracted widespread attention.
Although Jiang Kun once said that his peers were enemies, at the beginning, many cross talk actors welcomed Guo Degang's "popularity" and even felt happy. Ma Ji believes that Guo Degang has made more audiences like cross talk, thus bringing a lot of attention to the cross talk industry, which is a good thing.
Yang Shaohua also believes that Guo Degang is a "great hero" in the cross talk industry. However, if someone likes it, there will be someone who doesn't. At least many traditional "older generation" cross talk actors don't appreciate Guo Degang's "too down-to-earth" jokes, such as Jiang Kun.
Jiang Kun and Guo Degang have different backgrounds, he once worshipped Ma Ji as a teacher, and he already enjoyed a good reputation in the cross talk industry as early as the seventies of the last century. He has also appeared on the Spring Festival Gala many times, when his cross talk and Zhao Benshan's sketches were called the two major focuses of the Spring Festival Gala.
In other words, Guo Degang, who is now popular with half the sky, is Jiang Kun, the "red man" at that time. Jiang Kun has a different view of Guo Degang's works, which also has his confidence.
He created excellent works such as "Taking Pictures Like This" and "Escape from the Tiger's Mouth", which was the peak of cross talk art in that era.
Jiang Kun and Guo Degang's view is that cross talk performances not only need interesting jokes, but also deep meanings, and even need to include elements of education and guidance. This kind of standard is inherited by their generation, so they also expect the latecomers in the cross talk circle to follow it.
However, the emergence of Guo Degang broke this tradition and was therefore regarded as an "outlier". Although Jiang Kun is an excellent performer, his creative ability is not as good as Liang Zuo, who later switched careers to sitcoms.
Without Liang Zuo's creation, Jiang Kun's performance effect was greatly reduced. As his performance declined, so did the voices of skepticism. Jiang Kun was eager to change this decline, but he could only watch the entire cross talk world fall into trouble.
However, the appearance of Guo Degang is like a "dark horse", which once again makes cross talk active in front of the public. Jiang Kun was relieved by this, and he was grateful from the bottom of his heart for the appearance of this young man.
However, he soon discovered that Guo Degang's performance style was different from the cross talk in his traditional cognition, he was alternative and deviated from the traditional cross talk. In his words, Guo Degang's performance is "vulgar".
Jiang Kun was puzzled by the increase in the number of viewers in Deyun Club, and he wondered why these "rebellious" works were so widely acclaimed. As a representative of the mainstream school of cross talk, he believes that he has a responsibility to uphold industry standards, but before taking action, he wants to be able to understand the reasons behind it.
In a speech in Guangzhou, he publicly expressed his incomprehension, which attracted widespread attention in the mainstream of cross talk. At that time, Guo Degang was still in the development stage, and he did not choose to retreat from this challenge.
Instead, he put all his responses on the stage and proved his worth with practical actions.
In the "battle" of cross talk with Jiang Kun, Guo Degang insisted on resisting the "three customs" and strived to promote the noble literary and artistic fashion. Among them, Jiang Kun launched a boycott proposal in 2006 and took action together with many peers in the cross talk industry.
Guo Degang criticized this and published a short poem to satirize. It doesn't make it clear who it means, but most people can understand what it means. In the end, this "small fight" entered a white-hot stage with the proposal of the two sessions in 2008.
The contradiction between Deyun Club and Jiang Kun stems from the proposal of the two sessions in 2008, Jiang Kun proposed to ban small theaters and oppose the three customs, which had a huge impact on Deyun Club. For this reason, the members of Deyun Club collectively denounced Jiang Kun and posted a sarcastic post on Weibo.
Although the opinions of each school are different, the attack on each other is more of a "competition" in the industry, and it is harmless.
The grievances between Guo Degang and Jiang Kun officially entered the public eye. Although Jiang Kun denied targeting Deyun Club before **, the incident continued to escalate. Jiang Kun thought that Deyun Club's behavior was just self-directed and self-acting, and regarded him as an imaginary enemy.
Some ** take this opportunity to create contradictions for no reason. On the frontal battlefield, both sides denied the existence of contradictions. But for cross talk actors, the stage is their main battlefield.
Jiang Kun criticized Guo Degang's vulgar performance, and Guo Degang retorted that Jiang Kun's business ability was insufficient and he couldn't talk well about cross talk. Jiang Kun accused Guo Degang of bullying his teacher and destroying his ancestors, his apprentice beating reporters, and having problems with his moral character, while Guo Degang insinuated Jiang Kun's daughter on stage.
The two sides come and go, and there is constant friction.
Under the impetus of self-promotion, the contradiction between Guo Degang and Yu Qian has been continuously expanded and amplified, and even extended to the two schools and groups. However, this is not the case, and their contradictions are not as intense as ** reported.
Jiang Kun's criticism of Guo Degang mainly focused on the business aspect, he believed that Guo Degang was praised too highly, which did not conform to the low-key introverted nature of an entertainer.
Although Guo Degang and Jiang Kun have had disputes, their relationship is not so bad in nature. In fact, their contradictions are also limited to small things.
As representatives of the cross talk era, their contribution to the industry is undeniable. Recently, the Chinese Music Association held a symposium in Beijing, and Jiang Kun, as the chairman, expressed his views on the current problems in the entertainment industry and the fan circle.
He once again put forward the "Anti-Three Vulgarity Initiative", hoping to correctly guide the artists and audiences. Although this initiative has caused some controversy in **, it is indeed a legitimate and relevant appeal.
Regarding the report on the new round of "conflict" between Guo Degang and Yu Qian, in fact, as early as November 2012, after Jiang Kun became the chairman of the Chinese Music Association, he never publicly criticized Guo Degang.
And the articles and ** circulating on the Internet, if you look closely, you will find that many of them are misinformation and chasing after the wind. Guo Degang has also changed his style, no longer blindly scolding his peers, but treating his peers with kindness.
He is not only full of respect for Ma Zhiming, Tian Lihe, Wei Wenliang and other predecessors, but also gives "spring breeze and drizzle" guidance and tolerance to Deyun Club and other juniors. Although ** believes that this is a "contradiction of the century" that is difficult to reconcile, in fact, the two sides have reached a "tacit understanding".
Jiang Kun said in an interview that the proposal just released by the Ququ Association has received a positive response from him. He said that Guo Degang's attitude was very positive after the first proposal, and even hugged the chairman of the Beijing Music Association when he visited Yu Qian.
This shows that his attitude towards the mainstream cross talk world has changed and he is no longer as indignant as before. At the same time, Jiang Kun did not "chase and beat" Guo Degang, but spoke highly of his performance.
He said that the works of Deyun Club show the strong vitality of cross talk, meet the cultural needs of people from different walks of life, and are worth vigorously advocating.
Jiang Kun's "ice release suspicion" is highly controversial, however, his words in the interview reveal the answer. He said the two sides had reached a "rapprochement" and that by taking a step back, each could move forward better.
Some people regret Guo Degang's "concession", thinking that the once fearless "dragon slaying boy" finally became a member of the "dragon". But in reality, such a result is the maximization of benefits.
Guo Degang is no longer alone, and the family and career behind him need to be taken care of. As a result, he now rarely satirizes his peers on stage, and he no longer fights back as easily as he used to.
Since the "big war" in 2016, he has not publicly fought with his peers, showing that he really intends to "let go of the fight and return to calm".
Guo Degang's essential performance project "The Big Truth" was canceled, which means that he no longer sings those satirical and sarcastic content. For him, there were too many enemies in the past, and now he longs for peace even more.
He used to hate the mainstream of cross talk, but now he can't help but want to get closer and accept recognition. He is like a knight who has retired to the rivers and lakes, and now he is beginning to yearn for the stability of the temple.
On the left of the picture is Jiang Kun, who chose to retire and enjoy his old age, giving up the so-called righteous path defense. This decision has made the atmosphere in the cross talk world unprecedentedly harmonious, just like the spring breeze in March, which makes people feel extremely comfortable.
While some regret this, the final win-win situation is undoubtedly much better than a lose-lose situation. In the days that followed, Jiang Kun continued to guide the development of the entire industry as a representative of the mainstream cross talk industry.
And Guo Degang led Deyun Club to a higher platform. Even in the near future, it is possible for Deyun Club to join the Music Association.
Maybe one day in the future, Guo Degang and Jiang Kun will be able to sit together and work together for the future development of the cross talk industry. This will undoubtedly be a moment that deserves to go down in history.
The dispute between the two spread to the entire cross talk circle, lasted for more than ten years, and was finally resolved peacefully. Years later, this historical entanglement will become the memory of a generation, bringing endless emotion and regret.