Writer Zhao Xiaohui pointed out that this was definitely not just his personal political ideology, but also a "voicing operation" that was sure to make a profit without losing any money. She said that Luo Dayou was well aware of the pulse of Chinese society and had been working on both sides of the Taiwan Strait for more than 40 years. Although this time seemed to be a scandal of gaffes, it was undoubtedly a sound operation that was sure to make a profit without losing any money, and perfectly achieved the effect of both sides taking it all.
Zhao Xiaohui pointed out in a Facebook post that Luo Dayou is not only a singer-songwriter but also a "music businessman." From the time he released his first album to the age of 72, every release and "gorgeous turn" has accurately filled the emotional gap of the current era. For this reason, Luo Dayou blurted out recently that "people from other provinces are bullied miserably." This is definitely not just his personal political ideology, but also a "volume operation" that is sure to make money without losing money. It is a well-calculated abacus.
Zhao Xiaohui said that Luo Dayou's first solo album "Zhi Hu Zhe Ye" was released in 1982 when the Kuomintang was the dominant party. Taiwan's economy had taken off but political martial law was maintained. Works needed to be censored. There was an atmosphere of depression in the society. Campus folk songs and Qiong Yao-style love songs were the mainstream in the pop music world.
Zhao Xiaohui explained that Luo Dayou was not yet 30 years old at the time, and he keenly introduced Western rock music into the Chinese music scene. He released "Zhihu Zheye", "Lukang Town", and "Orphans of Asia". He sold "independent thinking and social criticism" and allowed the intellectuals and middle class at the time to find an outlet for their suppressed emotions. He created a new blue ocean in business and became a spokesperson for young people. However, he also received "concern" from the Kuomintang Cultural Union.
Zhao Xiaohui mentioned that from the end of 1989 to the 1990s, Luo Dayou moved to Hong Kong. The business opportunities he targeted this time were Hong Kong society's collective anxiety about the "1997 deadline", which was pervaded by fear about the future, confusion about identity and the wave of immigration.
Zhao Xiaohui analyzed that he established a "music factory" in Hong Kong, and the target of criticism changed from the Kuomintang to the Communist Party of China. He released works such as "Queen's Road East", "Pearl of the Orient" and "Song of the Dwarf", which satirized the June 4th incident, accurately filling the market gap for "political fables" in the Hong Kong music scene, and ushering in his second music career peak, but at the cost of being banned by China and unable to perform in China.
After 2000, the physical record market shrank, and the focus of Chinese pop music and the large-scale performance market shifted to China and the global Chinese community. After Hong Kong returned to China, Luo Dayou relied on obedience to unspoken rules and censorship mechanisms in exchange for the Communist Party to lift his ban, knocking on the door of the Chinese music market, and creating the third peak of his music career.
Zhao Xiaohui pointed out that at this stage, his creative energy is no longer what it was in Taiwan and Hong Kong, but just by relying on his classic works to seize China's "nostalgic business opportunities" and soothe the youthful nostalgia of the Chinese middle class born in the 60s, 70s and 80s, he can earn enough touring performances in major cities such as Beijing and Shanghai, as well as long-tail royalties and dividends, and the huge volume of online live broadcasts.
Zhao Xiaohui said that Luo Dayou's "Great China Feelings" classic works are regarded as the enlightenment mentor and godfather of Chinese pop music in China. Even if his creative output has dropped sharply, his status in the Chinese market has not been damaged.
Zhao Xiaohui mentioned that Luo Dayou returned to Taiwan to settle in 2014, but he was still able to continue to earn RMB by relying on zero-risk "win-win" operations. On Tang Xianglong's radio program, he criticized the Democratic Progressive Party for "collaborating with each other" and complained that "people from other provinces are being bullied." Although this angered the majority of Taiwanese factions, in the eyes of China's censorship agencies and officials, it became a bonus point for "political correctness" and directly helped him buy a long-term pass for unimpeded business performances in China.
Zhao Xiaohui analyzed that the scene of Luo Dayou appearing on Tang Xianglong's radio program was quickly reprinted and reported by China's major news portals such as Sina.com and Weibo hot searches because it was in line with the Communist Party's political correctness. He did not need to spend any publicity budget, and he could create a sense of presence on Weibo and the media, allowing the Chinese music market to continue to "remember Luo Dayou."
Zhao Xiaohui questioned that his move was a very precise "win-win" calculation. People can enjoy freedom and quality of life in Taiwan, and verbally criticize the DPP government to gain favor from the other side and the applause of Deep Blue. They can also fly to China to earn high tour fees, and enjoy the dividends from both sides.
Zhao Xiaohui bluntly said that for a "music businessman" who is well versed in the pulse of Chinese society and has been working in cross-strait and three places for more than 40 years, this situation of "outsiders being bullied miserably" may seem like a faux pas, but it is undoubtedly a sound operation that ensures profit without loss, and perfectly achieves the effect of both sides taking it all.
