在今天,只要你坐进出租车,你一定会听到车里在播放《纤夫的爱》、《天不下雨天上有太阳》等带有强烈民歌色彩的流行歌曲。当这些歌曲传遍大街小巷的时候,作为一个流行音乐的传播者不禁有一点悲哀。不是对流行歌曲揉入民歌色彩有偏见,而是对其中的某些做法感到不安。这一热潮的引爆点似乎可追溯到《花心》和《新鸳鸯蝴蝶梦》,辅之以《回到拉萨》、《我的灰姑娘》、罗大佑与王洛宾的版权纠葛、《恋曲2000》,其问还有不少如《又见荣莉花》等作品的遥相呼应,最后在《纤夫的爱》、《天不下雨天不刮风天 Today, as long as you get in a taxi, you will surely hear pop songs with strong folk songs, such as “Love in the Temptress” and “There Is the Sun in a Rainy Day” in the car. As these songs spread all over the streets, as a pop music communicator can not help but a little sad. Rather than prejudging the color of pop songs, pop music is disturbed by some of these practices. It seems that the tipping point of this craze can be traced back to “Faith” and “The New Butterfly Dream” supplemented by “Back to Lhasa,” “My Cinderella”, copyright disputes between Luo Youyou and Wang Luobin, “Lianqu 2000” There are quite a few questions to ask, such as “see you Rongli Flower” and other echoes. Finally, in “Love of the Trackers”, "Rainy Days Do not Windy Days