观风卷云舒,品人生百味,点滴心语,思想火花,心如花木向阳而生

艺术质人物,宗教天才人物

?天才与疯子一线之隔

要么升至巅峰成就自己要么毁灭自己

艺术质人物 Artistic people

艺术质人物,天生的敏感特质,生活在内心的争斗之中,完美期望和现实差距的痛苦之中,生活在抑郁之中,容易成就艺术,也容易走上自我毁灭

2010

Fear of Falling — An Artist’s Life

Today, if you ask me who I am, or what I do, I will tell you easily and naturally, “I am an artist.” It wasn’t always easy. It took years of doubt to get to this point, but I figured out how to maintain my belief in myself as an artist, in the face of all obstacles. I would like to share my conclusions with you, in the hope of making your journey a little easier. You may recognize yourself in the following biography.

________________________________________

When I was four years old, I started making pictures for the sheer joy of it. I spent the long summer days of my childhood drawing on a makeshift plywood table in the back yard, completely enthralled. The sun would go down and all my colors turn blue before I realized it was time to go in. In junior high school, my textbooks were filled with drawings; I illuminated the chapter headings and drew unicorns and dragons on the title pages. I drew what I saw in my mind and it seemed magical — this mysterious power to make beautiful things that did not exist in ‘real life.’ By the time I reached high school, my talent had impressed my teachers, and when asked what I wanted to be when I ‘grew up,’ it was the most natural thing in the world to answer “I’ll be an artist.”

When applying to college, sending out my slides, and filling in the part about my goals, it was more difficult to assert that I was an artist. After all, by now I’d read and been taught enough to know better. An artist was somebody like Picasso, or Jackson Pollack, or Andy Warhol. A celebrity. A famous guy. Later in college I realized that my figurative, surrealistic style was unpopular among the faculty — one teacher (the only female among thirty art teachers) told me that I would never be taken seriously if I continued to do representational work. She used the words ‘dilettante’ and ‘Sunday painter.’ I overheard a (male) sculpture teacher telling a small group of male disciples that they didn’t need to worry about competition from ‘the girls’ because “. . .they’re just going to get married and make babies.” Since I didn’t realize that I was already an artist, with valid ideas I’d been formulating for years, I wasn’t ready to question those judgements. To satisfy my teachers I tried to change my style again and again and hated the results. My heart wasn’t in it and I lost my ‘voice.’

By the time I graduated, I had studied printmaking, jewelry, sculpture, painting, 2- and 3-D design, anatomy, life drawing, ceramics, and more, and earned a Bachelor’s degree in visual art, magna cum laude. But for six agonizing years after college I could hardly make art. For one thing, I was too tired to be creative — always working or looking for work or a place to live, and barely surviving. If I had had children at the time, the story might have ended right there. Though not ambitious, I somehow had absorbed the idea that pursuing a ‘career’ was the important thing in life, the adult thing to do. I had sold some drawings and prints in college, but that seemed accidental, rather than a career choice. Pitifully unprepared by my fine arts education to show or sell my work, let alone support myself, the only ‘marketable’ skills I had acquired were an eye for composition, a willingness to work with my hands, and typing. So I made molds in a dental lab, proofread blueprints at IBM and did layout and design for a couple of ad agencies. Though I felt terrible anxiety because I wasn’t creating, I decided, “Aha! Advertising must be the career I’m cut out for. It’s something I know how to do.”

In college I had been trained out of making art just for the fun of it. Remember, now, art is a serious business. Oh, you’re not supposed to just enjoy the pleasure of creation. You’re also not supposed to worry about someday selling your work, or even showing it. Just concentrate on theory and make a meaningful statement about deconstructionism, or form versus function. Since my greatest joy in art was to create my own worlds, making a spiritual connection to a larger universe, I hid my feelings about my work and didn’t talk to anyone about them. And now that I was out of college, I had even lost the context in which to take art so terribly seriously. I lost touch with the student artists I had known. I had never joined an arts organization and had no sense of community .

Though I still produced a few paintings and drawings for my own pleasure, I stopped telling people that I was an artist, partly for fear they might ask if I’d sold anything, or what gallery represented me, and would find out that I was a fraud. And a little voice kept telling me I was no good, that my ideas weren’t important, serious ideas, that I was just a girl, and a fraud, that I couldn’t make money making art, and that making art was a self-indulgent? luxury. I told myself to wake up and admit that I could never be an artist.

But being an artist had been the core of my identity, and now there was nothing to fill the void. The less I painted, the worse I felt. I was seriously depressed for some years before I finally became desperate enough to try to change my way of thinking.

In 1986 I decided to start a new life, one in which I could say “I am an artist” to myself, and to anybody who asked, without excuses, or feeling that I had to prove it. Since then, I’ve been in dozens of shows, worked in four art organizations, taught art workshops, and have sold a lot of work. In order to arrive at this point I had to change my approach to living life as an artist.
_______________________________________

Here’s my 10-point plan:
Since your belief in yourself as an artist hinges on your ability to create, you must put your creative time and resources ahead of all other obligations in your life. If being an artist is central to who you are, you must put that first. Everything else will follow.

1.) Tell people you are an artist. Say “I am an artist” to your family, friends, mate, boss, or therapist… Not “I’m artistic,” or “I’m trying to be an artist,” or I’m an account executive but I like to paint.” To be able to say it with confidence you have to start by saying it at all. Try, “I’m an artist, and I’m currently supporting my artistic career with work in another field.” This tells people what you think is important about yourself. Not your day job, because one year you’ll be saying “I am a salesperson,” the next year “I’m a legal secretary.” Then who are you? How will other people believe in your artist self enough to support your endeavors?
If you want to make being an artist possible, make the commitment, take a leap of faith. If you cannot tell people that you are an artist, it will be impossible to do the other things you need to do to make it come true.

2.) Make art your first job. If you are very lucky, you might get a paying job in a related field — fabric design, teaching art, illustration. But if you have a job you barely tolerate because you need the money, you must set aside a large chunk of time in which to be creative or you’ll go crazy. Cut back on your hours or work part-time! Making art is your first job. It’s a real job, no matter how little money you make doing it. (The IRS is happy to confirm this!) Other work, even if it pays more, has to come second in your heart. Keep reminding yourself and others that you have another, more important job to go to: creating art.
[I work in brief, very productive spells between long dry spells. Since I can’t schedule the creative urge, I’ve arranged my job to allow flexible creative time, whether I get the urge or not. A dependable part-time job and paycheck have meant security. When I free-lanced as a graphic artist I found myself spending my ‘free’ time worrying about the next job. I also learned to refuse extra work. Being firm about my commitment to my career as an artist convinced my employers that it was a conviction worth respecting, even if they didn’t understand it.]
If you can, put in a couple of hours a month with an arts organization or gallery. This is real work, if unpaid, that can get you art-world connections and credentials.

3.) Put your studio firstin your living arrangements. If you need to create where you live, because you work at odd hours or can’t afford a separate studio, then arrange your home around your studio. If your living room is the biggest room with the best light, make that room your studio, and don’t worry about guests. Which is more important to you, making art or entertaining? (If you need to, you can always make your studio comfortable enough for visitors or family.) If you need a separate studio, but can’t afford one, move! Find or share a cheaper apartment or share a studio.

4.) Put your creativity first in your relationships. If you’re not able to create, you’ll feel frustrated, resentful, unhappy, and will be no good to anyone. If your friends or family want to know why you need time in your studio instead of socializing or supporting them, explain to them clearly (not defensively) that you are an artist, that you take your work seriously, that it takes a lot of time, and that being creative is important to your happiness and your future. They will begin to respect your commitment. (If you need to be more specific, you can say that you are working on a show, because you are always working on a show.)
If your domestic partner or children are not actively involved in your work, you must separate your creative time and resources from them, by schedule or location, or you will be constantly trying to choose between them…an impossible task.
Sometimes crises in your relationships are more important than whatever you are doing in your studio. But if you constantly use up creative time and energy putting out emotional fires there will be nothing left to give to yourself or your work. You have to draw a line somewhere.

[At one point in a difficult relationship I realized that I was spending my time waiting around for the other person and was too anxious to create. When I realized how? many months I had been away from my work, I was distressed. I was sacrificing who I was for the relationship. I told my partner that I needed time and energy to be creative, and that I should not be forced to choose between my work and our relationship. When this was clear tome, it was clear to my partner, who became more supportive.]

5.) Make art part of your social life. Making art can get lonely. Attend art events, meet and talk to other artists, join arts organizations, and create a sense of community for yourself in which art is important. When you are creating, you spend a lot of time by yourself and you can lose your perspective. If you spend time with other people to whom making art is a worthwhile enterprise, you will feel strengthened and encouraged, and it will validate what you do when you’re alone. You will also make the connections you need to survive, and you will get information about shows, grants, supplies, and a whole range of opportunities that you might not otherwise hear about.

6.) Sell your work. If you want to reach the point where all you do is make art, selling your work will be very important. Because if you don’t sell your work ,you will end up doing some other job to make money (unless you are independently wealthy). You will use up your creative time and energy in a job that does not engage your heart, though it might exercise your intellect.
Never give your work away without thinking about it very carefully. Your work is your life blood. It is the fruit of years of training and effort, and is the foundation of your portfolio. When you give away a work of art, you lessen the value of the rest of your work, partly because you appear to value it so little. However, a donation to a cause that is important to you can create good publicity about your work.

Be careful about accepting commissions. Make sure that you will be paid enough to compensate for compromising or redirecting your creativity. Don’t take a commission unless you are very comfortable with the medium and clear about the concept involved, or you will probably regret it.

To support yourself through art alone, you must accept that part of your precious creative time and energy will be spent on marketing your work :
1.) improving your presentation (framing, portfolio, slides),
2.) publicity (invitations, mailing list, artist statement & resume),
3.) showing (contacting galleries, competitions, holding your own open studios), and
4.) getting funding (grants, loans, residencies, or, yes, a part-time job.) If you need instruction or support in these areas, take a class or join an organization like California Lawyers for the Arts, Artists in Print or Artists Equity.

7.) Be true to your art/heart. You must not allow the intention to sell your work change your style or subject matter. For one thing, all the joy will go out of it. For another, your style, your ideas are what make your work unique! If your work is currently unfashionable, you may have to work harder and longer to show or sell, but eventually you will find the right audience for your vision. People will not buy your work on the basis of whether it is fashionable, or a good investment. They will buy it because they respond to it, for reasons of their own. The clearer you are about what you are trying to convey, and the more faithful you are in translating your vision into your medium, the stronger will be the response from your audience.

Don’t dismiss any of your creative ideas, no matter how trivial. Curiosity is your best friend. Most of the things that interest us deeply are things we were curious about as small children. (Einstein’s interest in invisible forces began with a compass he got when he was seven.) Hold on to all your ideas. Carry a small sketchbook or notebook whenever you can. Often your subconscious will prompt you, when playing or doodling, to pursue an idea that will later inspire you to serious work.

8.) Take classes and workshops. You may temporarily lose your inspiration or become discouraged about your current direction. You may find it difficult to schedule creative time, or you may have absolutely no self-discipline and succumb to every distraction that comes along. Sometimes it’s hard to keep up connections to the art community. In all these cases, a regular class will get your motor going again. You will always be working on something, even if it’s only an exercise in color, or studies in a new medium. Artists, like dancers, never stop taking classes,? never stop learning.

9.) Don’t worry. Be happy. You do not need to be unhappy, an alcoholic or crazy to see visions and make beautiful things. In fact, the true symptoms of creative thinking are joy, curiosity, clarity, and a single-minded, almost obsessive concentration.

Don’t harp on mistakes or losses; they’re part of your training and may inspire new work. Take joy in your ability to solve these problems and to make use of interesting accidents. Your interest in problem-solving may have gotten you into art in the first place.

Take dry spells in your stride or the anxiety will interfere with the creative thinking that your subconscious is always engaged in. Your subconscious is busy day and night, turning over ideas, memories, dreams, and making connections. Let it work, while you do something calming or playful, renew your energy. Remind yourself often of the joy you feel while you are creating, your satisfaction in problem-solving, your delight in making discoveries, your sheer sensual response to shapes and colors.
If you experience a creeping feeling of fraudulence, especially as you get ready for a show or talk about your work, keep in mind that this is a well-known fear among artists, similar to stage-fright. (Women artists seem to suffer more acutely from this feeling.) Just roll with it; it will pass. There is a little critic in the back of your mind that sounds like all the voices of your family and teachers rolled into one. This critic or censor is a part of you that is terribly afraid of failure, and may whisper negative things in your ear to make you stop trying new or risky things, in a misguided effort to protectyou. Know it for what it is, and ignore it.
Most important: every morning when you wake up, give yourself a minute with your eyes closed, and say to yourself “I deserve to be happy,” or “I am a wonderful, prolific artist.” If it doesn’t come easily, you need to say it more often. This is not just talk — words have power, and as the days go by, you will discover that they become true.

10.) Return to the source. If you ever lose your way, re-think your priorities. What things are you putting ahead of your artistic self? Is something else using up your creative time and energy? You may need to make some of the changes I’ve suggested above. Go down the list. Or perhaps you simply need to take a break. Even a corn field has to rest between crops, or it becomes drained of all nutrients and is no longer suitable for growing things.

Always remember this, once you are an artist, you are always an artist. Like swimming, you cannot forget how to create. The source of your inspiration may occasionally seem hidden by the brambles of daily life, but it is always there at your center, like a deep pool of clear water, a spring welling up from the depths of your persona, self-renewing, and waiting for you to plunge in.
You can see my work by going to the Artist Eye Gallery

Bibliography:
To support your creative process, read Drawing on the Right Side of the Brain by Betty Edwards, and Julia Cameron’s The Artist’s Way.
To understand creative thinking from a psychological standpoint read John Briggs’ The Fire in the Crucible.
For practical advice about the business of art, read Toby Klayman’s The Artist’s Survival Manual. (Order directly from Toby Klayman. $25 plus tax and plus $3 shipping and handling. tobykcrete@aol.com)
To support your goal of achieving your dreams, read Barbara Sher’s Wishcraft.

More books(suggested by John Jacobsen)
The Blank Canvasby Anna Held Audette. An excellent (and small!) introduction to learning how to work and overcome obstacles as an artist
Art and Fearby David Bayles (and others). Another excellent book about the same topic
The Natural Way to Drawby Kimon Nikolaides. A classic text in drawing
Books by Robert Beverly Hale. Beautiful series on classical figure drawing illustrated with old master drawings

宗教天才人物

谓宗教天才人物,也象其他领域如艺术、科学等天才人物一样。他们在神经类型和心理素质方面,大多表现得超常。如极度敏感和聪颖,在常人司空见惯事物那里,他们则另具慧眼,能作出新发现。这种新发现,或者是事物新特性,或者是唤起通灵的意识等等。他们的精神总处于躁动不安或心态矛盾之中,甚至显现为有些偏执和狂热的病态。因此,天才人物常常被误解为神经质或神经病。其中,宗教天才被误解者尤甚。以至于人们认为,宗教天才的作品也是他们机体患病的结果。当然,他们的外在精神表现确乎与神经质或神经病有相似之处。由此,在反对宗教的人士那里,在对这些超常的宗教天才解释时,或者把他们不加区别地划归精神病,进而认为宗教为荒诞不经,或者借以讽刺宗教,以至于认为青年的宗教热情是青春期反应。

虽然这些宗教天才外在表现与神经病者或神经质者有相似之处,但两者的精神活动所引出的经验效果却截然不同。事实说明,精神病患者在未治愈时,永远处于精神错乱,言语行动皆然。而宗教天才则在近似偏执或狂热中与神灵感通,经过神灵恩典,得到新生,完全变成一个具有神性的人,变得具有圣徒性格:庄重、严肃、仁慈。对于这种人经过与神灵感通的新生或再生的巨大变化,詹氏还借助他的心理学研究指出:“无论我们的机体特质如何,我们的心理状态仍有独立的价值,显示生动的真理。”就是说,即使宗教天才人物身患疾病,但他们的心理状态还要从其经验效果来判定。事实证明,所谓神经质的宗教天才,更容易获得与神感通的经验。

海子

?陶渊明

隐去

张国荣

? 张国荣在关锦鹏《男生女相》的访问中,曾坦白地承认自己是一个性格阴柔而又带有自恋倾向的人,他觉得自己的特点是敏感,尤其是对爱情的敏感,而观众也认同了他这些细腻、细致的特质,难怪关锦鹏也回应说:在张国荣的易装电影中,不知是这些阴柔的角色造就了他,还是他本人造就了这些角色?!

周劲松

一个沉浸于自我、沉淀着太多抑郁和才情的艺术质人物

一个在现实世界孤独寂寞,只能跟兽交流的人

一个桀骜不驯、坚持自我的人

在这样一个缺乏多元化的环境中,大隐于市的艺术家

祝福他,希望他能够被发现能够走出来

媒体资料:

“中国达人秀”周劲松初选的《选美》(《妩媚》)

复赛的《龙的传人》

星尚头条:周劲松!桀骜不顺的巅峰!(复赛后采访删减版)

周劲松《猫》 MIDI表演模拟版

周劲松(上猇)95年专辑之《痛南方》单行道乐队 (超赞)

边塞情歌 单行道

———

发表日期:2010-9-27 12:54:57
看了昨晚的“中国达人秀”,颇有些失望。周劲松无疑是表现最好的选手之一,但无奈过于“小众”,没能博得大众的支持。那帮评审懂什么?一如我之前所说,包子而已!
  
  周劲松最后的那声嘶吼,让我不禁想起约翰列侬唱“Hey Jude”的场景,很有范儿!
  
  好好儿做你的摇滚,小众又如何?!哥玩儿得就是正宗的摇滚
1#作者:zhangfei0421 回复日期:2010-9-27 12:59:00
  摇滚乐是很难被大众接受,那帮评审就是多余的,支持周!

下载手机软件游戏上掌中天涯:wap.tianya.cn2#作者:破烂摇滚 回复日期:2010-9-27 13:12:00
  摇滚乐在中国不受追捧,或者发展滞后的原因有很多,有社会的,有个人的,有教育的,也有宣传方面的.何况,周劲松的视觉系.
  中国摇滚人,任重道远.
  个人觉得周的声音的特点比较接近 Axl Rose ,枪花的主唱
  但无论如何,我支持周劲松。
  40岁的人了,还能坚持,可见对摇滚的痴迷。
  PS:玩摇滚的人,很多性格都缺陷的比较厉害,自我形态,自我意识过于强烈,这也是在中国这样一个社会环境下,摇滚人不被认可的重要原因之一。
  3#作者:铃儿响叮当wwy 回复日期:2010-9-27 13:20:00
  昨晚周劲震撼到我的心灵!都已是多元化世界了,为什么容不下他呢。。。4#作者:破烂摇滚 回复日期:2010-9-27 13:26:00
  作者:铃儿响叮当wwy 回复日期:2010-9-27 13:20:00
    昨晚周劲震撼到我的心灵!都已是多元化世界了,为什么容不下他呢。。。
  ======================================================================
  不是所有的付出都有回报的.中国在世界,但世界未必在中国.
  文化是多元的,但也有一定的排斥性.社会形态与社会的结构造成了文化的结构和层次.
  日本的主流文化是动漫,但是在其他国家就是一种非主流.
  摇滚在西方过家是主流文化,在东发国家就不是了.5#作者:水的名字 回复日期:2010-9-27 13:33:00
  我也很支持他
  
  只可惜,寡不敌众6#作者:咖啡美人志 回复日期:2010-9-27 13:33:00
  :)7#作者:lzy加一档 回复日期:2010-9-27 13:40:00
  请记住,这是在中国,大悲剧8#作者:破烂摇滚 回复日期:2010-9-27 13:53:00
  作者:lzy加一档 回复日期:2010-9-27 13:40:00
    请记住,这是在中国,大悲剧
  ================================================
  世间本无悲剧,亦无喜剧.悲喜不过是人们自己给自己加上的枷锁.
  摇滚人也是一样,无所谓悲,无所谓喜.
  留给人们的永远是执著的精神.9#作者:小蚂蚁2010zgl 回复日期:2010-9-27 14:00:00
  周劲松的风格变化的太快了,就连评委都接受不了,更何况不是太懂音乐的观众呢?10#作者:工人小乙 回复日期:2010-9-27 14:40:00
  高雅,高雅侬晓得伐?11#作者:青蛇1981 回复日期:2010-9-27 16:01:00
  可惜啊,没人欣赏,他的确是一音乐达人~12#作者:chentaoeptte 回复日期:2010-9-27 16:59:00
  周劲松我支持你!13#作者:上海_尘埃落定 回复日期:2010-9-28 10:24:00
  是的,无数人喜爱周劲松,上猇;还是感谢这次乱糟糟,广告满天飞的《中国达人秀》,让我们看到他;周劲松在当今社会风气下,高贵地坚持自我,令人震撼和钦佩。
    刚才在网易看到一则新闻是说:,《中国达人秀》第三场半决赛在九点正式开始时开机率很低,上海只有2.7的收视,全国只有0.4,是九场比赛最低的一次,但在短短十分钟过后,上海收视就迅速飙升到9.4,全国也达到1.4,翻了三倍多。而当晚的收视冠军则属于周劲松,尽管他的摇滚比较小众化,在媒体评审团那里得票数并不高,但在他表演期间,上海本地收视高达23.4,全国也达到了3.4,成为当晚收视最高的节目。
    http://ent.163.com/10/0928/03/6HL08Q2N00031H2L.html
    这就是他的音乐力量,称得上中国达人,与那些通过示弱来博取“感动”的其他人,上猇是多么强大,我们支持你,你的音乐是你的热爱,也是我们的热爱。15#作者:非专业痞子流氓 回复日期:2010-9-28 16:43:00
  此次达人秀中的唯一达人16#作者:默聲 回复日期:2010-9-28 16:43:00
  蛮不错的!~~~~~~~~17#作者:默聲 回复日期:2010-9-28 16:51:00
  周劲松 好帅啊 我勒个草 作为一个男人 也不能不承认啊 看起来好年轻!18#作者:pinkogemini 回复日期:2010-9-28 16:55:00
  顶19#作者:白了发的魔女 回复日期:2010-9-28 17:42:00
  哎,我只想说是不是有什么内幕呀,为什么音箱效果那么差?
  摇滚不光要靠自己的喉咙吧
  
  很多人是不能理解他的
  但是我认为周的表现不错
  
  天才和疯子只在一线之间
  
  真正的艺术,往往是不能被大众所接受的
  
——-
  

  看到他只得了27票我就把电视关了。最后谁赢了,我不关心。无非是那个胖子或残疾人……反正没人关心艺术,就顾着看比自己更可怜更差的人以满足自己那点优越感。他们把这个叫做“同情”。

  我听过周劲松的《猫》,非常棒。我期待这次他能唱这个,并且舞台演绎也很能出彩。然而他没有,却选择了一首奇怪的非原创的《龙的传人》。整个舞台背景设置、服装、道具、灯光的配合都感到很仓促……种种疑惑堆在心里。在百度贴吧上看见这位仁兄的帖子,有些明白了。大家也看看,小众艺术是怎么被排挤的,大多数傻逼到底趣味在哪里!

  有些话,我想说清楚 是的,周劲松被淘汰了,比赛,有输有赢。可以理解。 但有些不知道的东西,我得说出来。 周劲松,当天唱的是《龙的传人》。其实节目组安排他唱的歌是《猫》,呵呵,是骑在老虎上,关在笼子里唱。我看见很多人说周的衣服不合适,我也可以告诉你们,是节目组安排周这么穿的。 一个46岁的男人了,说实话,在中国地下坚持做这个音乐不容易,真的不容易,就如他所说,至少我对得起我的音乐。默默无闻了这么多年,到底还是坚持下来了。 节目组把他当什么?当马戏团的小丑?穿着那样的衣服,骑着老虎,唱猫,呵呵,这是音乐,不是做秀谢谢。一个节目要收视率,我理解,但要有良心。你们他妈的把一个46岁坚持着自己的老男人当什么了?工具?你们知道他爱动物,结果把动物当什么了?工具? 其实开场的节奏是《猫》,网上的2个视频就是茶几做的,所以很熟悉这个前奏,是周劲松本人临时换成了龙的传人。知道意思么?这是不妥协的骨气。也是一个中国老摇滚人的骨气。 周劲松当时是想过妥协的。但是他为了音乐,还是坚持了自己。这也是伊能静为什么最后结巴的说:你坚持做自己,你是我的榜样。这样说,大家理解了吧? 至于舞台和道具方面的小手脚,这里我就不说了,有些人看出来了。 我写这个的目的,是告诉一些人,他放弃了比赛,但他保护了摇滚。这是真实的音乐,他得到的是可怜的27票,但他赢的了自己的坚持。

  ?KUILEI,看过他博客的人都知道。他做到了,这只是游戏。 现在你们可以理解为什么他唱完后3个评位的表情那么难看和尴尬了??也可以理解周本人最后那无奈的笑了?是他不想继续了。一个46岁的老摇滚人,是值得尊重的。摇滚这种音乐,的确是种手段,但还不是被这些人拿来庸俗的娱乐的。 我奉劝周的FANS停止复活投票。不要让音乐再被侮辱一次。 这也是周本人放弃它的原因。一首龙的传人,告诉你一个真正的音乐人该有的骨气。 茶几说看到那前奏他却唱龙的传人时,他哭了。其实这是周的坚持,他保护好了自己的尊严。我不能去想他内心到底有多少委屈,但我感谢他带来了那些音乐。 最后,我想说的是,各位吧友也别闹了,保持素质。周自己也没为自己叫苦,我们也应当克制。其实带上耳机,按下播放键,这就是对周劲松本人最大的鼓励和尊重。这么多年都走过来了,我相信他。 中国达人秀,这真的只是一场秀。但至少谢谢你让我知道了周劲松。 因为我可以自豪而且自信的告诉我身边的外国朋友,听听看,这就是中国的摇滚。虽然在中国它(他)活的是那么的难。

  
  
?21#作者:jerrysam1212 回复日期:2010-9-28 18:25:00
  力挺周劲松,那帮评委算什么,又怎么懂得摇滚,懂得音乐22#作者:很多很多年 回复日期:2010-9-28 19:52:00
  我是不懂音乐的普通人.
  之前不知道他的历史的时候,觉得他唱得好难听.
  后来才在八卦看见挺他的贴子.才知道他原来挺厉害.
  
  不过,我只说出我真实的感觉.
  不要打我,我赶紧逃.23#作者:黑白心事 回复日期:2010-9-28 19:56:00
  上猇\死亡金属\柔软金属\哥特\朋克\视觉系.
  
  
  周劲松,无所谓失败,你只是站错舞台了.24#作者:digohu 回复日期:2010-9-28 20:20:00
  我蛮欣赏他的,说实话,达人秀里没几个达人,还没我要上春晚里的表演精彩。。。25#作者:yokimihide 回复日期:2010-9-28 20:36:00
  中国是个河蟹大国啊!!!无奈了。。26#作者:langht 回复日期:2010-9-28 20:39:00
  认真比赛,做好自己。27#作者:lilymaggie 回复日期:2010-9-29 9:02:00
  就冲他不用手机这点,我就爱上他了。true man!30#作者:什么都要注册啊 回复日期:2010-9-29 10:17:00
  他是达人秀里我最欣赏的人。真的自由。31#作者:天尚人涧 回复日期:2010-9-29 10:36:00
  加油吧,Mr.zhou,失去了晋级的机会,你却赢得了尊重…谢谢你带给我们的震撼32#作者:忆颜 回复日期:2010-9-29 11:08:00
  其实像他这样的人,很多北漂的“演艺人”都差不多啦…33#作者:jovi_xu 回复日期:2010-9-29 11:23:00
  周劲松这样水准的艺人。。地下酒吧里多的是。。。34#作者:Eros_san 回复日期:2010-9-29 16:50:00
  地下酒吧多的是吗,有几个人能像他一样坚持自己,坚持摇滚。35#作者:打情骂俏20年 回复日期:2010-9-29 17:42:00
  
  周劲松,这个名字我记住了。36#作者:老爷进书房 回复日期:2010-9-29 19:05:00
  不知道楼主这个唯一是指啥?
  
  其并不是唯一。37#作者:开一千年落一千年 回复日期:2010-9-29 20:12:00
  挺喜欢他的。38#作者:jennyxin3270 回复日期:2010-10-3 7:50:00
  http://blog.163.com/ttoonnyy_2006/
  这是周劲松的博客, 去看一看, 这是一颗什么样的灵魂.
  ”我怕疼, 但看到遍地荆棘, 我就不怕了”—-周劲松39#作者:来盗你的梦 回复日期:2010-10-3 15:28:00
  顶40#作者:帅哥美女就是好 回复日期:2010-10-5 20:07:00
  他博客里几首歌唱的不错

————

这大早上的,我在优酷的中国达人秀视频空间看有意思的东西,突然一个标题显示出来,中国摇滚、前辈、周劲松。隐约记得这个人,还记得单行道乐队,《边塞情歌》记得非常清楚。但是中国达人秀里面出镜的周劲松太让我惊讶了,46岁的年纪、看上去甚至有点腼腆的样子、半首《妩媚》。看上去高晓松当时并没有看出周劲松来,也可能高晓松根本就不知道周劲松,但是后来高晓松又说了几句找补的话,比如:我觉得你是一达人,你来这儿针对了,你是一音乐达人。
如果你真的不知道这个人的话,去百科周劲松的页面看看,对于周劲松我印象最深刻的就是那首《边塞情歌》了,真想不到这丫的声音那么分裂。只是找不到不删节的版本,非常想看全部的视频,实话说觉得这个这么唱还真的非常有味儿,很牛逼。而且这家伙的动作也很有范儿,和波波对答的也很有范儿。另外隐约的觉得丫可能是个GAY,《妩媚》的歌词是这样写的:
选择一个完美,从眼睛到脚背
越是在黑暗越光辉,品味了再品味
人美人造美也美,真与假都是氛围
千万个命运在追随,街头巷尾一个宝贝

—-

周劲松的演唱风格接近于视觉系摇滚,擅长男女声的转换,雌雄莫辩,眼神与腰肢妩媚之极。颇有逝去的巨星张国荣的感觉。

—-

我来说说我刚回国一个月就迷恋上的周劲松!我从来不追星,可是我能被你吸引,我17岁出国,受了很多西方教育,可以说你在世界的阳光里你都会成为达人。上天给了你一条独一无二的声线!自己的创作证明我们中国人不止会模仿,我们懂得创新!展现在世界人面前看,我们中国人不仅仅会生产A货!我们有实力让你们来崇拜我们!我个人认为周劲松的歌声可以呐喊出中国真正的达人!

有的网友说松哥的造型象鬼,我不知道说出这种话的人对世界人的时尚了解多少,也不知道您的年龄,也许是您接受不了!您可以不喜欢但请不要重伤!世界级明星LADY GAGA我想在很多时尚青年的眼中都不陌生,她的声线就很诡异,造型就更不用多说!她被封为引导时尚的先驱,在世界上我想很少有人说她是鬼,至少在西方人眼里那些叫创意!LADY GAGA世界巡回演唱会场场爆满,门票再贵都买不到,谁敢说她不是达人!

如今在中国,我们也有了这样一位达人,也许他真正可以带动我们中国也去作一次引导时尚的先驱,为什么大家不愿意用开阔点的世界眼光来给他多些机会,鼓励和支持呢?

有人说他年纪大,感觉他20年前没出名,现在想红更难,但是请大家想想20年前的中国是否向今天一样强大!是否眼光跟现在一样开阔?再西方人眼中年龄永远不是问题,何况松哥的造型和感觉我想很多年轻人不如他!如果年龄真正成为最后的原因那我只能说松哥,我们这些猇魂为你可惜,20年前国人不够开阔的眼光埋没了你,20年后你再一次被中国腐朽老传统思想给锁在国内!但是我相信这种可能不大,因为中国强大了,思想进步了,眼光开阔了,你被埋没了那么多年,该是你走向世界的时候了!

—-

亲爱的上,你是妖精,太迷惑人。
对你痴迷到了一定的境界,连我自己都诧异。
不过,你这样的艺术家,只能用来欣赏,不适合迷恋。
还是会一如既往的支持你,用心的,默默的,支持你。

等到你出专辑的那一天,我一定会去买正版碟!就买两张。
等到你开演唱会的那一天,无论我在哪里,都会奔你而去。
相信这一天不会太遥远。
因为你是巨星,你是召唤灵魂的歌王。

现在,让我回归现实。

从歌词让我领略了另一面的你,你的思想深邃、你的才华一般人不可企及,你是一个孤独的思想者。从此以后,有你的歌迷相伴,希望你不再孤单。

迷上猇

虽然是在达人秀知道你,可觉得达人秀的秀场配不上你,达人秀太业余。而你,太强,玩得太专业。

唱得太好,让人一听如中毒,欲罢不能。

众所周知,秀星不像演艺公司大力推出的新人有那么多的工作机会和新闻通稿,秀星来自民间,除了在比赛时获得的知名度外,就依赖于公司策划和粉丝推广。而上猇目前应该还没有公司在专门为他进行策划,这种情况下粉丝推广变得尤为重要,粉丝团的有效运作在艺人的艺术生涯中也占据着相当重要的地位。如果真正爱上猇,希望上能早日实现他复兴摇滚的梦想,我们绝对不应该是散兵游勇,而是要团结起来成为上事业起步期的民间推动力。据目前看来,我们现在还只是通过YY,QQ群等把大家简单的组织在一起,那么下一步我们应该在团结起来的基础上同心协力,用行动来支持上猇。

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