［潮流興，多花款，隨便偷歡］（識唱一齊唱）而家啲流行歌，上一陣榜就收皮，話咁快就讓位．原來就算最愛我不過暫時，名次每隔兩日都改變位置。

真架，經濟學人真係咩嘢都有，凈係評人地啲論文都大把嘢玩（我就評佢評人地啲論文）。上星期係科大篇「原來凶宅會平啲」論文（http://bit.ly/2NmtDM5），今次就法蘭克福大學（原文在此　http://bit.ly/2Nleydi）。研究最好賣嘅唱片，在流行榜留幾耐。研究咗過去半世紀咁滯。德國美國英國荷蘭（明顯因為寫嘅唔識法文西班牙文？）嘅流行榜。我建議大家可以做literature review 然後拎 勁歌金曲 寫返篇論文

結論就係好簡單，以前啲暢銷大碟，霸住上榜可以好耐。而家冇呢支歌仔，話咁快執位。

文章由Pink Floyd 嘅 The Dark Side of the Moon講起，Billboard 200，上榜900星期，18年。你可以諗下你換咗幾多條女。但而家邊有呢啲嘢？以前一年52星期，榜首可能係十幾廿隻碟。而家？40隻，即係個個星期換。大碟在榜上嘅壽命亦都短咗好多。八十年代可能係兩個幾月，而家平均都唔會夠一個月。

仲睇到係，以前啲大碟會慢慢煲上去，The Dark Side of the Moon上榜時係95位，之後先去上。而家呢個時代咩都快，你一出嚟上唔到第一，之後可以收皮。同樣地，上得快，跌得亦快。以前跌出榜前平均排100，而家平均排75，下星期你就消室。

正面啲睇就係消費者選擇多咗，競爭大咗，霸權細咗，唔只係廢老慣性收視大集團玩晒，大家口味亦都多元咗。負面睇就可以話以前啲歌襟聽，人人都聽，而家嗰啲唔知唱乜柒，聽一陣就厭，消費者亦都縱壞晒，冇忠誠，聽兩嘢又要換，attention span冇乜，always distracted，根本冇品味去好好地聽隻唱片，食餐飯，睇本書，甚至做一次愛。

正面定負面，任你點演繹，記住永恒不變嘅流行文化三段論：
1. 所有本人10歲前已經有嘅流行文化，都係陳舊老套不值一提。
2. 所有本人10-30歲之間誕生嘅流行文化，都係無法複製嘅經典集體回億
3. 所有本人30歲之後誕生嘅的流行文化，都係愚蠢膚淺壞品味垃撚圾

記住呢三條定律，講電影講音樂講足球講咩都好，包你去邊都有朋友（即係，唔好同啲唔同年紀嘅人討論咯）

當然，亦可能係成個音樂文化都變晒，阿叔，仲有人買唱片咩。但，如果只係老買，咁唔係應該個舊趨勢持續咩？

而肯定，在宣傳上，而家唔需要亦唔容許你慢慢煲，而家要快手造勢好容易，唔使再慢慢靠口碑上去。就算靠口碑都可以好快洗版，唔使等你周末去男朋友屋企聽到，然後下星期先再同姐妹講，然後姐妹再下星期先同佢地男朋友講（所以你直接搞上姐妹嘅男朋友就會快啲，可能啲男女關係複雜咗都係原因之一，我亂作的）

仲有，而家你可以直接單撈，又唔使唱片公司點再造勢，但亦變咗你根本唔需要再聽啲side track，反正可以一首一首咁買（或偷）。而當然正如所有文化都係，其實變得更加碎片化，你好難再好似咩以前　千千闕歌　或者　相思風雨中唱到全大陸都識　（係全大陸，唔止全香港，你返大陸唱過K就知，啲完全唔識廣東話嘅女都會識唱，甚至去到越南啲女一句中文都唔識都會識唱，十分痴線）

係架，其實睇到好多嘢的。預告定，不日就同你講流行音樂另外一個大轉變—就係，而家啲歌好快入正題，即係chorus．你可以估下點解，唔難估。

我比較想知，係咪而家啲鹹片（首先要定義鹹片）都更加快入正題？我相信都係。

經濟學人原文在此：Best-selling albums are spending less time on top（https://econ.st/32ha2kr）

<<冒用亞裔姓名而獲詩作入選所引發的軒然大波
A White Poet Borrows a Chinese Name and Sets Off Fireworks>>

New York Times, Sept. 8th (by Jeniifer Schuessler) -- This year’s edition of the anthology “Best American Poetry” has come under criticism for including a poem by a white poet writing under a Chinese pseudonym, touching off intense online debate about diversity, inclusion and racial entitlement in the poetry world.
在收錄了一名用中文筆名寫作的白人詩人的作品後，今年的《美國最佳詩作》選集受到不少責難。此事在網路上引發了詩壇中關於多樣性、包容性和種族特權的熱烈討論。

“The Bees, the Flowers, Jesus, Ancient Tigers, Poseidon, Adam and Eve” was submitted to the anthology, published on Tuesday by Scribner, by a little-known poet named Michael Derrick Hudson, under the pseudonym Yi-Fen Chou. After the poem’s selection, Mr. Hudson revealed his identity to the volume’s editor, Sherman Alexie, who decided to include it anyway, along with a note explaining the use of the pseudonym.
默默無聞的詩人Michael Derrick Hudson用周一峰(Yi-Fen Chou)作為筆名，向《美國最佳詩作》投稿了自己的作品《蜜蜂、鮮花、耶穌、古代的老虎、波塞頓、亞當和夏娃》。詩選由出版社Scribner於週二刊出。作品入選後，Hudson對《美國最佳詩作》主編Sherman Alexie表明了自己的真實身份，並附上對使用這一筆名的相關解釋。結果Alexie依然決定收錄這首詩。

In an essay on the Best American Anthology blog on Monday, Mr. Alexie, a Native American, defended his decision, saying he had paid closer attention to the poem because of the author’s name — a kind of “racial nepotism,” he said — but ultimately chose it because he liked it.
週一，身為土生土長美洲人的Alexie在《美國最佳詩作》部落格上發文為自己的決定辯護，他聲稱因為作者的名字，他給與了這首詩更多關注─他表示，這是一種「種族裙帶行為」─但選擇那首詩的最終原因是自己喜歡。

When Mr. Hudson revealed his use of a pseudonym, Mr. Alexie wrote, he debated how to deal with this instance of “colonial theft,” but decided that dropping the poem “would have cast doubt on every poem I have chosen” and “implied that I chose poems based only on identity.”
Alexie寫道，當Hudson表明自己用的是筆名時，他考慮過該如何處理這起「殖民盜用」事件，但後來下定決心，認為放棄這首詩「會讓我對選出來的每首詩產生懷疑」，並「意味著我只是根據作者的身份來選詩。」

“I hadn’t been fooled by its ‘Chinese-ness’ because it contained nothing that I recognized as being inherently Chinese or Asian,” Mr. Alexie wrote.
「我並沒有被它的『華人元素』給欺騙，因為它並沒有包含在我看來是華人或亞裔固有特色的成分，」 Alexie如此表示。

Mr. Hudson, who works as an indexer at the Allen County Public Library in Fort Wayne, Ind., did not answer messages requesting comment. But in the biographical note in “Best American Poetry,” he explained that he often sent poems out under the name Yi-Fen Chou.
Hudson在印第安那州韋恩堡的艾倫縣公共圖書館當索引編輯員，而他並沒有對於被提出的要求做任何回覆及評論。但在《美國最佳詩作》的簡介中，他解釋自己經常用周一峰的筆名投稿其詩歌創作。

“As a strategy for ‘placing’ poems this has been quite successful for me,” he said, noting that “The Bees” had been rejected 40 times under his own name but only nine times under the pseudonym before it was printed by the journal Prairie Schooner.
他認為「作為一種讓詩作『入眼』的策略，這個辦法對我來說相當成功，」，並指出自己用真實姓名寄出《蜜蜂》後被拒絕了40次，用筆名只被拒絕了九次，然後就在期刊《草原篷車》上被刊登了。

“If indeed this is one of the best American poems of 2015, it took quite a bit of effort to get it into print,” Mr. Hudson wrote. (Poems under his own name have appeared in numerous journals, including Poetry, this year.)
Hudson還這麼寫著「如果說這真的是美國2015年最好的詩作之一，那為了要刊登它還真是費了些功夫，」。（今年，以他真名署名的詩作出現在了包括《詩歌》[Poetry]在內的眾多期刊上。）

Mr. Hudson’s blunt explanation drew outrage and ridicule online. “Never thought I’d see poets using yellowface to get published in 2015 but here we are,” Saeed Jones, a poet and the literary editor of Buzzfeed, said on Twitter. Jezebel ran a post under the headline “If You’re a White Man Who Can’t Get Published Under Your Own Name, Take the Hint.”
Hudson這般露骨的解釋在網路上引發了憤怒和嘲諷兼有的一陣論戰。「從來沒想過，到了2015年居然會看到詩人為了能發表作品而假裝自己是黃種人，但現在還真就看到了，」本身也是詩人的Buzzfeed文學主編Saeed Jones在Twitter上如此表示。Twitter上的另一個帳號Jezebel也發表了一篇文章，標題是《如果你是用真名發表不了作品的白人，看這裡》。

Ken Chen, a poet and executive director of the Asian American Writers Workshop, said Mr. Hudson was guilty of “cynical mischief” in the service of a “reactionary fantasy.”
同樣身為詩人的亞裔美國作家工作坊行政總監陳聖為(Ken Chen)表示，Hudson利用「反動幻想」的做法是犯了「虛偽惡作劇」的錯誤。

“He believes that he’s being cheated, and things will only improve if writers of color are virtualized away,” Mr. Chen said in an interview. “If only they didn’t really exist, and were just white guys with pseudonyms.”
「他以為別人在作弊，只有當有色人種作家被虛化掉，情況才會有所改善，」陳聖為在接受採訪時說。「他們其實並不存在，都是用了筆名的白人就好了。」

Rigoberto González, a poet who teaches at Rutgers University, Newark, said that Mr. Hudson had inadvertently “given a language to the anxiety that’s out there” among nonwhite writers: that they are included as tokens.
在紐華克羅格斯大學任教的詩人Rigoberto González認為，Hudson無意之間讓非白人作家「本已存在的焦慮具現化了」：他們是作為一種象徵被接納的。

“He’s buying into this notion of ‘I’ll be noticed because I have this ethnic name,’ ” Mr. González said. “But that’s what many writers of color are trying to avoid. We just happen to have ethnic names. But we are getting published because we are also good poets.”
「他相信『我會因為用了這個有種族特色的名字而被注意到』的觀念，」岡薩雷斯說。「但這正是很多有色人種作家在努力避免的。我們只是碰巧擁有了有種族特色的名字。我們的作品能發表是因為我們也是優秀的詩人。」

On Twitter on Monday, Mr. Alexie found a silver lining, writing, “I’m exhausted by the Best American Poetry mess, but wow, how cool that so many people are crazy-passionate about poems.”
週一的時候，Alexie還從這件事上發現了亮點。他在Twitter上寫道，「被《美國最佳詩作》的爛攤子搞得精疲力盡，不過話說回來，哇，有這麼多人對詩歌有著瘋狂的熱情真是太酷了。」

Mr. González, however, said that including Mr. Hudson had distracted from the anthology.
然而，González表示，收錄Hudson作品這件事轉移了人們對《美國最佳詩作》本身的注意力。

“There are good poems and other new names in the anthology, but all we’ve been hearing about is this guy,” Mr. González said. “It’s really a shame.”
González說「選集中有不少優秀的詩歌和其他一些新秀，但我們聽到的所有討論都是關於這一個人的，」他認為這樣「真的很遺憾。」

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