Recently, Ma Jiahui's essay collection "Uncle: We Can Finally Talk About the Road" was published. Ma Jiahui said on Weibo: "When this book was published, I was about to turn fifty-nine years old, and the small prose included in the book was written between thirty-five and fifty-six years old. At that time, it was true It's Uncle. "Uncle" was supposed to be published at the age of fifty-seven, but due to various reasons, it was postponed to this year, and it was printed just before my birthday. Taste. Then, God said: 'After eating, wipe your mouth, I will take you to 60. Instead of being an uncle, you will become an uncle. Trust me, it's not a good taste.'" 
Ma Jiahui shared the most unforgettable experience in his heart. One year, a family - Ma Jiahui, his parents and sisters, his wife and children, traveled to Bangkok together, and lived together in one place for a week. … The beautiful and ordinary family gatherings of those days became his most memorable experience.
Ma Jiahui wrote in the book that there is a so-called "Spirit under the Lion Rock" in Hong Kong, which means a hard-working and hard-working spirit, and know how to be flexible. housekeeping".
Over the years, many of Ma Jiahui's themes have been life, his own life, and the lives of others. He recorded his own times in the form of prose.
Ma Jiahui was born in Wanchai, Hong Kong in 1963. In "Uncle", Ma Jiahui repeatedly emphasized the influence of Hong Kong on him.
He said that since 1841, generations of Hong Kongers have moved here from all over the world for different reasons. In "borrowed time, borrowed space" to survive and find a way to survive. Therefore, the hard work of Hong Kong people has contributed to Hong Kong's economic and social achievements. In addition to these prosperity, Ma Jiahui said that the spirit of Hong Kong lies in enjoying the ordinary. He said that if looking for a "son of Hong Kong" from the entertainment industry, the first choice is Chow Yun-fat. Although Chow Yun-fat is already a shining star, but in daily life, he takes the subway to walk everywhere, squatting in the food stalls to fight the stove, wearing slippers to buy food in Kowloon City, queuing for medical treatment, etc., and lives the same life as ordinary people. He said, "Hong Kong is a city that can accommodate ordinary people. The prosperity is not over, but it has enjoyed the ordinary. Such as Chow Yun-fat, it is the best reflection of the spirit of Hong Kong."
"Uncle" is a collection of essays written by Ma Jiahui in his middle age, and it is also a long memory about home and walking. The themes of life, love, travel, and personal reviews run through the writing. In the last part of "Uncle", "Screen Memories", he also left "character profiles" for Leslie Cheung, Yang Dechang, Chow Yun-fat, Ang Lee, and Hu Jinquan. April 1st of this year is the 19th anniversary of Leslie Cheung's death. In "Uncle", with the title of "Leslie Cheung of Healing Department", Ma Jiahui wrote about Leslie Cheung in his eyes.
miss
Two days ago, in Hong Kong, "April Fool's Day" almost became "Brother's Day". The overwhelming Leslie Cheung, photos, videos, texts, heartbreaks and nightmares more than ten years ago still sting and frighten many people today. . What is a classic? Classics are a kind of vacuum state that exists apart from time, as if floating on the surface of the moon, looking ahead, suddenly behind, anytime, anywhere. Leslie Cheung's jump was not a fall from the building, but a leap into the classic Milky Way, fixed in it for us to look up to infinitely.
Among the photos, one is the cover of "Outside the Number" 30 years ago. Liu Tianlan was responsible for the styling design. Leslie Cheung sat sideways and looked into the distance. The pure white background looked like a wingless angel. There are many photos in this album, mainly in nostalgic style, many of them are black and white and yellowed, one of them is a close-up photo of his half body, looking back at the camera, it looks very familiar.
Liu Tianlan caught his handsome appearance, and through modeling and photos, let the two meet strangely through time and space, not only joking with him, but also making fun of the time when he never looked back.
Yes, time. The atmosphere of mourning Leslie Cheung this year seems to be particularly strong. Of course, it is a tribute to him, but it may also be related to everyone's eagerness to look back and remember those good years.
The more chaotic the times, the more unavoidable the desire to find solace in the defined past. In those years, it seems that even if all ideals have not yet been achieved, they must be waiting ahead, waiting for us to chase, wait for us to hope, and wait for us to grope towards the goal faster or slower. Our wind continues to blow, our unruly wind, handsome men, beauties, and gold and jade are full of houses, like glittering jewels resting and dangling in the night sky of Hong Kong.
Mourning Leslie Cheung and everyone or things is more and more healing. When you are anxious, you can only imagine the little stars in the past, otherwise, how can you survive?
contemporaries
Missing Leslie Cheung must have very different meanings for different age groups. People over the age of 65 look at Mr. Zhang, after a generation, the memory and feelings of Leslie Cheung's passing away are not so much mourning, but rather deep regret and emotion: "Seeing him build a tall building, seeing his building collapse." . The rise and fall of a star is a metaphor for the impermanence of life, there is no eternal splendor, there is no eternal immortality, life is like this, whether it is self-abuse or not, death is ahead, and everyone is the same. Leslie Cheung's glory and hard work are separated from them by a layer, not in their idol list, so at best there is only sadness and no grief.
As for people under the age of 35, Leslie Cheung is indeed an idol to them, and it can only be an idol, because it is also a generation apart. In the journey of growth, Mr. Zhang is already a dazzling star in the sky. , From a distance, like the legends in weekly magazines, newspapers and fairy tales, what you can read and hear are the stories on the other side, even history. Since they were sensible, Leslie Cheung has been Leslie Cheung, nothing else, but in 2003, the existing Leslie Cheung became the non-existent Leslie Cheung, a star died, and a name was lost in the celebrity list. They are sad and sad, but they are still only equal to the sadness and sadness of the disasters of the world.
As for the group in the middle of these two age groups, that is, the group of good men and good women who are about the same age as Mr. Zhang, because they spent the glorious years of Hong Kong with him, grew up together, worked hard together, and witnessed the road together. With all kinds of injustices and setbacks, struggles and achievements on the way, Leslie Cheung's death was like his own disintegration. The kind of shock and panic, although not really "skin", was definitely painful. How did that happen? It shouldn't be like this. When the news of his suicide by jumping off the building came and was confirmed, suddenly, the usual order of life was disrupted, as if one of the travelers who set out together suddenly lost one person, got off the bus, or got lost, and could not be summoned back, like A very familiar friend has completely lost contact, leaving suspense and worry. The only thing the living can do is to accept the fact as soon as possible, and then slowly get used to the fact, admit it, but miss him.
For this group of people, Leslie Cheung's becoming "Leslie Cheung" is a slow process of development, from obscurity to great popularity, from the "underdog" behind Chen Baiqiang to the representative of Hong Kong's performing arts spirit. , which reflects the optimistic beliefs of this group of people in a specific and subtle way. He is beautiful, he loves beauty, he understands beauty, he is kind, he praises kindness, this group of people watch him become a star and accompany him to become a star, he is a dream that can be approached, and in him, condensed contemporaries memories of the years, as well as laughter and tears.
And after all he said he would go. Abandoning his contemporaries behind, making his contemporaries cry in astonishment, and cry for his own death. There is no going back, Leslie Cheung, and the poor world of his generation.
Surfer
Mainland media asked, in the "post Leslie Cheung era", what is the scene of Hong Kong's music scene?
It is a bit serious to say, as if Leslie Cheung was the leader in that era, creating and controlling the rise and fall of the music scene, and became a dignified representative of his years.
Of course not. It is difficult for one person to monopolize the right of representation in an era. At best, the so-called spirit of the times can only be manifested or indexed through a group. Individual individuals in a group have their own positions, hills, and characteristics, but they are also vaguely interconnected. The characteristics of being close to each other, all people can observe together, and then we can get a glimpse of the general outline of a feast of the times.
Therefore, the "post-Leslie Cheung era" has a purely temporal meaning, that is, "after the death of Leslie Cheung", that is, after 2003. In fact, if the times are to change, whether he is here or not, it will be the same, and it will change, not because After losing Mr. Zhang, the mountains and rivers dried up.
In the more than 20 years between his debut and his death, Leslie Cheung has experienced two localization stages in the Hong Kong music scene. First, diversity and then looking north are the key characteristics of the times. The first wave of localization led by Xu Guanjie was completed in the late 1970s. Cantonese songs officially replaced English songs as the mainstream, facing the ups and downs of local life without taboos, laying a solid foundation for local recognition.
Then, Hong Kong society took off, and the Hong Kong music scene also took off. Together, they entered the splendid years of professional division of labor. The pop culture industry began an all-round marketing strategy to create stars, and film and television songs developed across the board to build different brilliant images for different artists. Before that, the singers only sang and sang, and the charm of singing was greater than everything. After that, the singers were composite idols. Although singing was their own profession, they were also outstandingly added by the achievements of other performing arts industries, such as sugar and sugar. White milk is melted into the coffee powder, and it is impossible to tell which proportion of the contribution of voice acting is more important.
Leslie Cheung has all the necessary conditions to become an idol and is a treasure of the pop culture industry. The industry masters have also successfully promoted him to the Asian music scene. He has upgraded the local Hong Kong, "rushing out of Hong Kong", and the Hong Kong music scene suddenly "matches the world". In line with the standard", do not let Taiwan's Teresa Teng and Weng Qianyu specialize in beauty.
Going further down is to connect with northern fans and big names. Participating in Chen Kaige's film is a key step. It is the first time that a native Hong Kong singer has taken on such a serious and important role in a Chinese film. The idol went north, and he represented Hong Kong at the forefront, but this is still an inevitable trend in the big era. , he stood on the top of the wave, and he was in full bloom. Although he performed well, he was never the creator or inventor of the wave. Even if it was not him at the time, there would be other him or her, living in the background of the world, he is an extra-large surfers, not mythical heroes who make waves.
Don't forget that there were still others in the idol group at that time. Everyone has a piece of sky above their heads, and no one can occupy it.
Ma Jiahui
The writing of the whole book starts from "home". In the opening chapter of "Uncle", Ma Jiahui shared the "war of quarrels" between his parents when he was a child, which caused his mother to run away from home and confessed that he was a child of his grandparents and uncles. Confusion at home. And the understanding and value of "home" in adulthood.Ma Jiahui shared the most unforgettable experience in his heart. One year, a family - Ma Jiahui, his parents and sisters, his wife and children, traveled to Bangkok together, and lived together in one place for a week. … The beautiful and ordinary family gatherings of those days became his most memorable experience.
Ma Jiahui wrote in the book that there is a so-called "Spirit under the Lion Rock" in Hong Kong, which means a hard-working and hard-working spirit, and know how to be flexible. housekeeping".
Over the years, many of Ma Jiahui's themes have been life, his own life, and the lives of others. He recorded his own times in the form of prose.
Ma Jiahui was born in Wanchai, Hong Kong in 1963. In "Uncle", Ma Jiahui repeatedly emphasized the influence of Hong Kong on him.
He said that since 1841, generations of Hong Kongers have moved here from all over the world for different reasons. In "borrowed time, borrowed space" to survive and find a way to survive. Therefore, the hard work of Hong Kong people has contributed to Hong Kong's economic and social achievements. In addition to these prosperity, Ma Jiahui said that the spirit of Hong Kong lies in enjoying the ordinary. He said that if looking for a "son of Hong Kong" from the entertainment industry, the first choice is Chow Yun-fat. Although Chow Yun-fat is already a shining star, but in daily life, he takes the subway to walk everywhere, squatting in the food stalls to fight the stove, wearing slippers to buy food in Kowloon City, queuing for medical treatment, etc., and lives the same life as ordinary people. He said, "Hong Kong is a city that can accommodate ordinary people. The prosperity is not over, but it has enjoyed the ordinary. Such as Chow Yun-fat, it is the best reflection of the spirit of Hong Kong."
"Uncle" is a collection of essays written by Ma Jiahui in his middle age, and it is also a long memory about home and walking. The themes of life, love, travel, and personal reviews run through the writing. In the last part of "Uncle", "Screen Memories", he also left "character profiles" for Leslie Cheung, Yang Dechang, Chow Yun-fat, Ang Lee, and Hu Jinquan. April 1st of this year is the 19th anniversary of Leslie Cheung's death. In "Uncle", with the title of "Leslie Cheung of Healing Department", Ma Jiahui wrote about Leslie Cheung in his eyes.
Leslie Cheung under the lens of photographer Xia Yongkang
"Leslie Cheung of Healing"miss
Two days ago, in Hong Kong, "April Fool's Day" almost became "Brother's Day". The overwhelming Leslie Cheung, photos, videos, texts, heartbreaks and nightmares more than ten years ago still sting and frighten many people today. . What is a classic? Classics are a kind of vacuum state that exists apart from time, as if floating on the surface of the moon, looking ahead, suddenly behind, anytime, anywhere. Leslie Cheung's jump was not a fall from the building, but a leap into the classic Milky Way, fixed in it for us to look up to infinitely.
Among the photos, one is the cover of "Outside the Number" 30 years ago. Liu Tianlan was responsible for the styling design. Leslie Cheung sat sideways and looked into the distance. The pure white background looked like a wingless angel. There are many photos in this album, mainly in nostalgic style, many of them are black and white and yellowed, one of them is a close-up photo of his half body, looking back at the camera, it looks very familiar.
Liu Tianlan caught his handsome appearance, and through modeling and photos, let the two meet strangely through time and space, not only joking with him, but also making fun of the time when he never looked back.
Yes, time. The atmosphere of mourning Leslie Cheung this year seems to be particularly strong. Of course, it is a tribute to him, but it may also be related to everyone's eagerness to look back and remember those good years.
The more chaotic the times, the more unavoidable the desire to find solace in the defined past. In those years, it seems that even if all ideals have not yet been achieved, they must be waiting ahead, waiting for us to chase, wait for us to hope, and wait for us to grope towards the goal faster or slower. Our wind continues to blow, our unruly wind, handsome men, beauties, and gold and jade are full of houses, like glittering jewels resting and dangling in the night sky of Hong Kong.
Mourning Leslie Cheung and everyone or things is more and more healing. When you are anxious, you can only imagine the little stars in the past, otherwise, how can you survive?
contemporaries
Missing Leslie Cheung must have very different meanings for different age groups. People over the age of 65 look at Mr. Zhang, after a generation, the memory and feelings of Leslie Cheung's passing away are not so much mourning, but rather deep regret and emotion: "Seeing him build a tall building, seeing his building collapse." . The rise and fall of a star is a metaphor for the impermanence of life, there is no eternal splendor, there is no eternal immortality, life is like this, whether it is self-abuse or not, death is ahead, and everyone is the same. Leslie Cheung's glory and hard work are separated from them by a layer, not in their idol list, so at best there is only sadness and no grief.
As for people under the age of 35, Leslie Cheung is indeed an idol to them, and it can only be an idol, because it is also a generation apart. In the journey of growth, Mr. Zhang is already a dazzling star in the sky. , From a distance, like the legends in weekly magazines, newspapers and fairy tales, what you can read and hear are the stories on the other side, even history. Since they were sensible, Leslie Cheung has been Leslie Cheung, nothing else, but in 2003, the existing Leslie Cheung became the non-existent Leslie Cheung, a star died, and a name was lost in the celebrity list. They are sad and sad, but they are still only equal to the sadness and sadness of the disasters of the world.
As for the group in the middle of these two age groups, that is, the group of good men and good women who are about the same age as Mr. Zhang, because they spent the glorious years of Hong Kong with him, grew up together, worked hard together, and witnessed the road together. With all kinds of injustices and setbacks, struggles and achievements on the way, Leslie Cheung's death was like his own disintegration. The kind of shock and panic, although not really "skin", was definitely painful. How did that happen? It shouldn't be like this. When the news of his suicide by jumping off the building came and was confirmed, suddenly, the usual order of life was disrupted, as if one of the travelers who set out together suddenly lost one person, got off the bus, or got lost, and could not be summoned back, like A very familiar friend has completely lost contact, leaving suspense and worry. The only thing the living can do is to accept the fact as soon as possible, and then slowly get used to the fact, admit it, but miss him.
For this group of people, Leslie Cheung's becoming "Leslie Cheung" is a slow process of development, from obscurity to great popularity, from the "underdog" behind Chen Baiqiang to the representative of Hong Kong's performing arts spirit. , which reflects the optimistic beliefs of this group of people in a specific and subtle way. He is beautiful, he loves beauty, he understands beauty, he is kind, he praises kindness, this group of people watch him become a star and accompany him to become a star, he is a dream that can be approached, and in him, condensed contemporaries memories of the years, as well as laughter and tears.
And after all he said he would go. Abandoning his contemporaries behind, making his contemporaries cry in astonishment, and cry for his own death. There is no going back, Leslie Cheung, and the poor world of his generation.
Surfer
Mainland media asked, in the "post Leslie Cheung era", what is the scene of Hong Kong's music scene?
It is a bit serious to say, as if Leslie Cheung was the leader in that era, creating and controlling the rise and fall of the music scene, and became a dignified representative of his years.
Of course not. It is difficult for one person to monopolize the right of representation in an era. At best, the so-called spirit of the times can only be manifested or indexed through a group. Individual individuals in a group have their own positions, hills, and characteristics, but they are also vaguely interconnected. The characteristics of being close to each other, all people can observe together, and then we can get a glimpse of the general outline of a feast of the times.
Therefore, the "post-Leslie Cheung era" has a purely temporal meaning, that is, "after the death of Leslie Cheung", that is, after 2003. In fact, if the times are to change, whether he is here or not, it will be the same, and it will change, not because After losing Mr. Zhang, the mountains and rivers dried up.
In the more than 20 years between his debut and his death, Leslie Cheung has experienced two localization stages in the Hong Kong music scene. First, diversity and then looking north are the key characteristics of the times. The first wave of localization led by Xu Guanjie was completed in the late 1970s. Cantonese songs officially replaced English songs as the mainstream, facing the ups and downs of local life without taboos, laying a solid foundation for local recognition.
Then, Hong Kong society took off, and the Hong Kong music scene also took off. Together, they entered the splendid years of professional division of labor. The pop culture industry began an all-round marketing strategy to create stars, and film and television songs developed across the board to build different brilliant images for different artists. Before that, the singers only sang and sang, and the charm of singing was greater than everything. After that, the singers were composite idols. Although singing was their own profession, they were also outstandingly added by the achievements of other performing arts industries, such as sugar and sugar. White milk is melted into the coffee powder, and it is impossible to tell which proportion of the contribution of voice acting is more important.
Leslie Cheung has all the necessary conditions to become an idol and is a treasure of the pop culture industry. The industry masters have also successfully promoted him to the Asian music scene. He has upgraded the local Hong Kong, "rushing out of Hong Kong", and the Hong Kong music scene suddenly "matches the world". In line with the standard", do not let Taiwan's Teresa Teng and Weng Qianyu specialize in beauty.
Going further down is to connect with northern fans and big names. Participating in Chen Kaige's film is a key step. It is the first time that a native Hong Kong singer has taken on such a serious and important role in a Chinese film. The idol went north, and he represented Hong Kong at the forefront, but this is still an inevitable trend in the big era. , he stood on the top of the wave, and he was in full bloom. Although he performed well, he was never the creator or inventor of the wave. Even if it was not him at the time, there would be other him or her, living in the background of the world, he is an extra-large surfers, not mythical heroes who make waves.
Don't forget that there were still others in the idol group at that time. Everyone has a piece of sky above their heads, and no one can occupy it.
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