In the early years, the dispute over the first brother of Tianjin dialect crosstalk was between Hou and Chang, and Master Ma was not wrong. what do you think?

In the early years, the dispute over the first brother of Tianjin dialect crosstalk was between Hou and Chang, and Master Ma was not wrong. what do you think?

Zhang Hehou may have been more popular in the 1940s, but that doesn't mean that Tianjin's phonograph world is their world. After all, Master Ma was also a famous figure in Tianjin at that time. Although his ancestral home is not Tianjin, he was born in a crosstalk family. His grandfather was Enxu, a second-generation crosstalk performer, and his father was Ma Delu, one of the famous "Eight Virtues of Mutual Sound". Regardless of his life experience or qualifications, he is one head ahead of Hou Hechang.

In 1930s and 1940s, crosstalk was still a folk art in small theaters and flyovers. At that time, without powerful information technology, it was very difficult for crosstalk performers to become famous. Basically, they have to rely on their own strength and audience reputation. So who is more popular is relative, and the so-called "one brother" of cross talk does not represent real strength.

Chang Bao Kun, who became popular when he was a teenager, has been very popular with children. 1936, when he was only 14 years old, he was able to perform on the same stage as Xiaocaiwu and Liankuo, and then he became popular until liberation. Secondly, Chang's performance venues are relatively high-end and easily attracted attention. Gardens in Tianjin are also divided into high, middle and low grades. For example, the small pear garden and the grand view garden opened by the same boss are divided into high and low grades. Most of the frequent performances are high-grade gardens like Xiaoli Garden.

More importantly, he is often concerned by the media, his name is often seen in newspapers, his popularity is very good, and there is almost no negative reputation.

Compared with Chang, Hou and Hou also have his advantages. First of all, I saved money and got my salary. Before him, only Li Deyang and Zhang Shouchen saved money, but they still got a second salary. At this point, Hou has no competitors.

Secondly, Hou is more favored by the upper class. His crosstalk works are civilized and elegant, with pure singing and good voice, which has been highly recognized by many cultural and opera circles.

There is indeed a gap between Ma's artistic achievements and Hou's, but he has a fight with Hou. There is a main reason for this, that is, after the founding of People's Republic of China (PRC), horses were not as popular as that at the foot of the emperor in Beijing. Besides, during the Cultural Revolution, Ma was the right time for him to produce his works, but he was sent down. When he was still farming, Hou was already a member. The thirties and forties should be the golden age of cross talk art, and their works are still supporting a large number of people decades later.

The so-called letting a hundred schools of thought contend, letting a hundred flowers blossom and abandoning factional induction are all part of Quyi! People's comments on who is long and who is short. All three are everyone. As an important part of Quyi, cross talk has made great contributions to the development of Quyi. Ordinary horses are second. As for seniority, that's an internal matter. The people only remember to curse the shortcomings of the times with a smile, and it will be beneficial to the ideological realm after it is good. For example, private Feng Gong in Hou Yuewen and Jiang Kun in Ma Ji.

It doesn't matter how much the phonograph circle is different, but its influence on the national audience is the first! All forms of Quyi should obey the demand. We should take it as our duty to guide the cultural trend.