The China Rock Midi Awards are set to be handed out this weekend, stepping up the proceedings by having the event at M-Space, the club attached to Beijing’s MasterCard Center, the arena formerly known as Wukesong and kitted out post-Olympics by international massive sports and entertainment presenters AEG. Big ups to Rock in China for their breakdown of the details, and history of the event and its producer. In Red Rock and here on this blog, I’ve moaned about the Awards in the past, but I’m optimistic, as I mentioned in my first post in this two-part series.
Alas, let’s turn to the nominees, which, you’ll note, line up almost exactly nothing like my picks. Almost. So I’m re-picking the folks I’d like to see win…
As year-end lists are compiled, yaogun gets its own list, thanks to China’s newest and rockiest awards to be handed out. From the people that brought us the Midi School of Music and then festivals across the country, the folks at Midi Productions have, three times, issued awards for the best yaogun in the country. The shortlist for the Fourth Annual China Rock Midi Awards (中国摇滚迷笛奖) has just been announced, yet again inspiring, erm, feelings across a wide spectrum…
This time of year, folks make lists. One list to which Chinese-rock-watchers will be paying special attention is the list drawn up by Midi Productions, hander-outer of the Midi Music Awards. This year marks the third time bricks will be bestowed upon the “top” artists across several categories of yaogun.
Midi, you’ll perhaps recall, began as a music school in 1993, drawing those about to rock from the four corners of the Middle Kingdom. In 2000, the school hosted what was less a festival than a showcase for the bands formed by students. Four years later, it outgrew its campus quad moving into a huge park; by the Olympic year, ‘festival’ and ‘Midi’ were synonyms and the festival expanded to other cities.
I’ll pause here to say that in addition to having played at and worked on several years’ worth of Midi Festivals as well as having worked with Midi on getting several artists on their stages, I have, since 2009, been one of the awards’ hundred-plus judges.
The Midi Awards are like the Festival itself: On the surface, all is fantastic. But a look deeper reveals a state of affairs not so much sad as it is disheartening; sad and disheartening in the way that awards generally are, but also in other ways. First, the standard awards narrative: One bemoans the exclusion of the ones one deems worthy of inclusion, damming the spectacle as a result. Until, that is, one’s personal favourites are included, in which case there’s the short-term celebration, sometimes skipped over completely, in the face of the bittersweet experience of the effects of that attention: That morning-after feeling that defines the way many watch their favourite movies, bands, authors cross over in the mainstream. Of course, there’s no risk of pop-co-optation resulting from the Midi Awards, but it’s a feeling with which, I think, anyone who’s felt like they’ve discovered something is familiar.
There is, though, a disheartening element of the awards that goes beyond the standard awards-are-bunk experience. If Midi is yaogun’s judge, Midi needs to be up to snuff, or else yaogun suffers from their mistakes. The short-lists tend to look like the line-ups of just about every Midi Festival since day one: AK47, who won the first Metal award, appeared at all but one of the Midi Festivals; ditto for Miserable Faith, who swept four of the eleven categories at the Awards’ first instalment. Categories are messy as well: XTX and Miserable Faith were nominated, in 2009, for both Rock and Hard Rock band of the year; in 2010, Miserable Faith was nominated in Rock and Hard Rock; 2011 sees Ordnance and Yaksa nominated in Hard Rock and Metal categories. And though I’m jazzed that Omnipotent Youth Society is back on the list again this year, how does a song qualify for Best Song two years’ running?
I was convinced by the argument of influential critic, and one of the eight members of the awards’ Standing Committee that oversees the awards, Hao Fang, that these awards were something Midi ought to do. Movies, he said, weren’t taken seriously until the industry started the Oscars. “Eventually,” he says, “they got respect as a form. After you’ve respected your own form enough, others will too.” But then, the Midi Awards have given many reasons for others to hold off on that respect, the most blatant of which was bestowing upon themselves, in 2010, the award for biggest contribution to Chinese rock. Have they contributed greatly to yaogun? Most definitely. Is handing themselves an award for their work the way to get the rest of the world to notice, care or, well, not point and laugh?
This year, judges were sent upwards of thirty albums, and given thirteen category options. That new categories over the years have opened up – folk, album art – are treated as news that the awards are getting more inclusive. I’d argue they’re like the rush to add stages at the festival: Just because you have them doesn’t mean they represent a collection of artists that should be celebrated. Am I saying that there are no worthy folk acts or album art? No, I am not. But the rush to expansion is made at the expense of examining what one has.
It hasn’t all been bad news: I was personally glad to see Perdel, the Gar and Wang Wei get noinatd in 2009. 2010’s acknowledgement of Omnipotent Youth Society also brought joy. This year, Zhaoze, a mesmorizing post-rock band, and Long Shen Dao (LSD), a reggae/dub collective, are highlights; they stand far above the pack of upwards of thirty albums judges were sent (I found very few worthy of even a full listen). But my picks didn’t make the cut. Judges don’t vote on the short-list, their votes help create it. A Standing Committee of eight makes the final decision, announced at a concert on December 10.
I haven’t given up hope that the Midi Awards will live up to yaogun’s potential, but I also recognize that, like the festival, it’s going to be a long time until that happens. Fortunately, nobody’s making music just to please the Midi judges, so I think that yaogun will do just fine – even if the Midi Awards don’t notice.
Here are my picks:
(First: A note on the translation, which was done by Midi. “performance” doesn’t refer to a particular show; it refers, rather, to a band or musician. So Best Metal Performance is actually Best Metal Band)