
"Super Popularity" judge Xu Changde and host Yu Meiren discussed structural issues such as the lack of representative works, insufficient production budgets and copyright monopoly in the Taiwanese music scene.
AI-generated summary
Xu Changde and Yu Meiren have been participating in the "Super Popularity List" program for a long time and have observed the development of Taiwanese singers for many years. The two provided professional insights into the production mechanism, copyright issues and market competitiveness of the Taiwanese music scene.
Is the Taiwanese music scene really in decline? "Super Celebrity List" judge and musician Xu Changde doesn't think so. He believes that the market has never lacked singers who can sing, nor has there been a shortage of audiences willing to listen to Taiwanese songs. What is really worrying is that even though more and more singers are well-known, they lack masterpieces that can be remembered and sung repeatedly by a generation.
"Nowadays, some singers are so popular that everyone recognizes them, but if you ask what their masterpiece is, you can't name it. This is the real fault." In an exclusive interview with "Free Entertainment", Xu Changde pointed out that if a singer can only become a familiar face in variety shows and a performer in events, but does not have a work that is enough to stay in the market, the Taiwanese music scene may seem lively on the surface, but its foundation is actually loosening.
He pointed the question at the production mechanism of Taiwanese songs. Xu Changde analyzed that in the past, the production of many Taiwanese songs was supported by karaoke-related income for a long time. When companies have to cut production costs from limited income, music will naturally tend to be completed with low budget and quick copying. Insufficient budget not only affects arrangement, recording and promotion, but also causes creators who are truly willing to write songs tailored to singers to gradually leave.
"If you write a very good song, how can you sell it out?" He said that the creator behind the good song is unwilling to sell the rights at a low price, but the record company may not have enough cost to purchase and operate it for a long time. In the end, the market can only continue to copy proven types. When a song is only quickly put on the shelves and consumed quickly, it will be difficult for the singer to develop the recognition of his own work no matter how good he is at singing it.
Xu Changde believes that the problem of some record companies is not that they have few resources, but that they lack the vision to invest in their works. "Few of the bosses of these companies understand music, and they are not open-minded enough to accept talented creators to write songs for them." If they only produce songs in the most budget-friendly way, of course the creators will not produce the best work, and the singers and the entire market will be hurt in the end.
Copyright issues have also plunged Taiwanese songs into another vicious cycle. Yu Meiren pointed out that many good songs should have been constantly covered and re-given life, but due to complex rights relations, they are even monopolized by a few people, and the song selection of the program is often limited. Xu Changde believes that there are not many Taiwanese-language song programs in the first place. If the copyright holder only regards the works as a short-term charging tool and is unwilling to let the songs continue to be sung, no one will profit in the end, but the entire market will become smaller and smaller.
Yu Meiren also added from the perspective of singer investment that for an artist to be truly remembered by the public, it is never just about having a good voice. "To bump into a singer or a song, you need to invest in addition to luck." She said that buying songs, finding producers, shooting MVs, and promoting them are all costs. If the market only wants to use the lowest budget for the fastest return, it will be difficult to expect the next generation-penetrating work to appear.
Xu Changde even believes that if the record company does not change, it may be replaced by the singer himself in the future. Self-media allows singers to directly contact the audience, and AI also lowers the threshold for arrangement and production; when creators can write, sing, and publish by themselves, record companies are no longer the only entrance. "Singers no longer need the support of record companies." In Yu Meiren's view, "There are no simple answers to complex problems." The dilemma of the Taiwanese music scene involves creation, production, copyright, and the market, and no one party can solve it alone.

At the age of five, Cai Chengrong gained attention with "Silent Flower" in the "Little King of Singers" section of "Super Popular List", and returned to the show when he grew up. Yu Meiren and Xu Changde emphasized that the original intention of the program was to let children experience singing rather than fighting for victory or defeat, retaining innocence and freedom, and Taiwanese songs have become a carrier for inheritance across generations.

The "Super Popularity" program has been running for 16 years. It has trained Taiwanese singers through a 20-level defense system. 15 people have completed the defense. Among them, Jiang Huiyi has won the Golden Melody Award for Best Taiwanese Female Singer twice, and Kuang Zedong is the first Malaysian male champion. The program not only discovers new local talents, but also promotes Taiwanese songs to the overseas Chinese community. It is regarded as an important talent cultivation base and market supply channel for the Taiwanese music industry.

A 40-year-old woman in Puli, Nantou, dreamed of winning the first prize after arguing with a store clerk over the purchase of Jincai 539 lottery tickets. The next day, she bought a 300-yuan package lottery ticket according to her dream. She actually won the 1-bet first prize and 5-bet second prize in the 19th lottery draw, with a total bonus of 8.1 million yuan. She set off firecrackers in celebration of the lottery.

"Super Celebrity List" hosts Yu Meiren, Cai Changxian, and Hui Zhihao have formed a fixed team for many years. In fact, the production team retained Cai Changxian's human form when he enlisted in the army. Hui Zhihao was originally a fill-in but became a permanent member because the audience loved the interaction between the three. The program emphasizes human touch and multiple voices rather than a single authority.

"Avengers: Endgame" was re-released in 3,060 theaters in North America. It ranked first in North America with a box office of US$26 million in its first weekend, and contributed US$60 million overseas. It grossed US$86 million in its global first weekend, becoming the runner-up in box office openings among re-released films in film history. This re-release pushed the global box office to US$2.885 billion, second only to "Avatar", and the overseas box office exceeded the US$2 billion mark.

Riz Ahmed revealed in an exclusive interview that the production of "Diggers" was highly confidential and it was difficult for him to discuss the content of the film. He plays scientist Dr. Ganesh, his first official audition for a film role in nearly a decade. He appreciated director Iñárritu's attitude of constantly polishing his creations, and described Tom Cruise as having unique energy and concentration. He encouraged him to take risks and fail during rehearsals, and even suspended the main film shooting for stunt training, demonstrating his never-ending enthusiasm for work. Rizzi eventually forgot about Tom Cruise's stardom and only remembered the character Diggle, believing that was the key to the show's success. The movie will be released in Taiwan on October 2, with a limited word-of-mouth screening on October 1.