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【專訪】策展人DJ QuestionMark：「英語金曲復興運動」發起人，看台灣派對圈的樂觀與隱憂 - TNL The News Lens 關鍵評論網
DJ QuestionMark不僅拿過全球DJ大賽DMC台灣冠軍、代表參與巴黎奧運，還做過許多別出心裁的策劃，如「英語金曲復興運動」等。他擁有劇場配樂背景，強調「策展式派對」與創作管理間的平衡，推崇專業創作需保持高輸出狀態。他認為AI可輔助創作，並鼓勵新世代創作者明確定位音樂是興趣還是職涯。 文：蔡若君 DJ QuestionMark不僅拿過全球DJ大賽DMC台灣冠軍、代表參與巴黎奧運，還做過許多別出心裁的策劃：組「告野家樂團」為《魔獸世界》寫了多首高傳唱度的惡搞歌曲；推出音樂頻道《橘牆》系列節目，舉辦線上結合線下的「橘牆拍賣會」，使音樂派對升級為一場大型互動實驗。 音樂之於DJ QuestionMark，從來不只是單一形式的表達。他擅長跨領域合作、翻玩曲風，他的名字幾乎成為「創新」的代名詞。2023年他發起「英語金曲復興運動」，打造屬於台灣人共同記憶的英語金曲派對，「英文補習班」、「千禧嘻哈之夜」以及「婚友社」等各種結合台灣語境與文化的主題，讓派對不只是派對，更像是久別重逢的同樂會。 共感，即為DJ QuestionMark的發想核心，「我們從小到大，對許多英文歌曲都有獨特的『共感』，」他說，「我就是把這份共感抓出來，再包裝成企劃。派對本身其實就是一種共感的體現，參加這個活動的人，一定是因為裡頭有他們感興趣的論述。當大家找到共感，活動自然變得有趣起來。」 在2020年疫情前，他在英國待了五年，期間發現所謂「英語金曲」的定義在不同文化中各有所異。相較於在英國，新好男孩（Backstreet Boys）的歌曲在台灣有更高共鳴度；約翰藍儂雖舉世聞名，但在台灣的流行程度卻未必具備「金曲」的普遍共識，「因為我們成長過程中，某些關鍵時刻會遇到特定歌曲，可能因為廣告的大量播放，慢慢累積起屬於自己的音樂脈絡。」 換言之，「英語金曲復興運動」是以「懷舊」為底色的文化回溯，那些屬於台灣人共同記憶的英語金曲，映照出的是西洋音樂強勢襲來、揉和本土音樂及娛樂文化的光輝年代。 Photo Credit: 五樓製作提供 「英語金曲復興運動」自2023年開辦，2025年計畫辦理兩場盛大活動 Photo Credit: 五樓製作提供 「英語金曲復興運動」涵蓋多元主題，包括「英文補習班」、「千禧嘻哈之夜」、「婚友社」等主題策劃 策展思維加持，燃翻派對每一秒 許多參與過DJ QuestionMark策劃的音樂派對觀眾大概都曾說：「這派對好怪！怪得好有趣！」他經常在全場氛圍達到最高潮時，忽然將音樂關掉，讓大家原地平躺，進行三分鐘的冥想；「婚友社」主題派對找來公司法律顧問，教導大家如何辨識並尊重他人身體界線，「我就是想透過一個大家容易參與，也能夠接受的媒介，悄悄地把我想傳遞的訊息帶出去。」 社會大眾對派對的既定印象大多是吵鬧、危險，甚至是被無理搭訕。DJ QuestionMark認為不需要將標籤撕下，而是能將之分開看待，「標籤是認識一件事情的媒介，所以應該將它分開來，讓大家有能力去分辨。」 他巧妙地在派對裡加入新意，以逆向操作的方式跳脫窠臼，反倒使整場派對變得更好玩，讓人與人、人與音樂之間的互動更像一場即興行為藝術，「我是用策展的脈絡在玩派對，對我來說，最重要的原則是讓人有一點Take away。」 看起來很鬧的派對實際上是他和團隊精心策劃與嚴密計算的結果，確保每一分「胡鬧」都在意料之內，失控的狂歡其實是有意識的操控，「我們現在的工作系統蠻像劇場的運作模式，劇場的製作流程比較嚴謹繁瑣。」 他曾在劇場擔任配樂長達五年，這段經歷深深影響他後來的音樂路，亦成為創作的契機，「大學時期接觸劇場，那時候劇場裡剛好缺音樂人，大家就找我，所以一切的起頭就是：『我看你好像會！』」熱愛挑戰的他不會就學，只要事情不是完全不行就會去試試看，如同高中臨危授命，替DJ老師在政大放人生第一場DJ秀。許多「第一次」都是這樣不期而遇，卻又像命中注定。 Photo Credit: 五樓製作提供 DJ QuestionMark早期參與劇場與時尚秀場音樂製作的經驗是他重要的養分 進入「心流」，平衡商業與創意 「有時候，你想把自己推到下一個Level，就必須再做更多的事，勇敢直前。」2020年從英國返台後，DJ QuestionMark帶著這股動力，將出國前為Spinbox傻瓜黑膠唱機品牌建立的公司「五樓製作」系統化，從單打獨鬥升級成有規模的團隊，意味著他不再只專注於音樂和表演，還涉及派對策劃、劇場展演、跨界策展等以音樂為基底的項目，使他從創作者轉變為管理者。 「一個人做事彈性大、執行快，但量能有限。人多力量大，但管理卻變成挑戰，」他坦言，「最大的挑戰就是學著成為一位好的管理者，如何分配量能、平衡創作與表演。」 這兩者間的平衡是永無止盡的輪迴，「有個名詞『心流』，就是要進入一種極度專注的狀態，創作才會有效率。」他將專業創作人和非專業創作人的差別定義在隨時保持80％以上的輸出，後者則是被動等待靈感，「我一直很努力想讓自己成為一個『真正』專業的創作人。」 「嚴以律己」是DJ QuestionMark身上最鮮明的體現，也使他在創作與管理的天秤兩端更加全力以赴，「當創作成為工作時，一定會犧牲一部分的快樂，雖然依然快樂，但是不可能沒有壓力，因為這就是工作。」 他形容創作過程是持續的拉扯，而拉扯是痛苦的，「是不是不夠好？如何能再更好？」的質疑經常在心底盤旋，但完成專案的成就感足以掩蓋，甚至消弭那些痛苦，「我相信大多數藝術家、創作者都是這樣想的。」 Photo Credit: 五樓製作提供 2015年DJ QuestionMark創立「五樓製作」，作為整合音樂、派對策展與創意企劃的基地 創造與AI共舞的節奏 曾走遍Glastonbury、Midem、SXSW等國際音樂節，DJ QuestionMark印象最深刻的並非舞台表演本身，反倒是背後的策劃理念、思維模式與執行邏輯等軟性概念。 他舉例，在Glastonbury曾見過為工作人員設置的Crew Bar和Crew Club，不論是演出者、驗票員還是保安人員，全都能自由進入專屬場域，享受只屬於「幕後人員」的表演，「這對我來說是前所未有的撼動，原來我們不只是個勞工，也可以被這樣尊重。我在那個場合的身份，居然也值得被娛樂！」 這些大型音樂活動歷經多年演進，淬煉自西洋音樂與娛樂文化的深厚底蘊，其規模源於蓬勃的產業發展，而蓬勃必然會帶來競爭，甚至是惡性競爭。DJ QuestionMark認為這正是國內外音樂圈最大的差異，「惡性競爭會磨出越來越高的標準，台灣的競爭還沒到那個強度，反而容易出現『吃不飽也餓不死』的狀態。」 DJ QuestionMark對台灣DJ產業依然抱持樂觀的態度，他觀察這是尚未飽和、仍有極大發展潛力的領域。但同時，他也不諱言其中的隱憂。 「台灣的音樂發展長期以來都圍繞著高傳唱度的情歌，那是一種獨特的環境荷爾蒙，很像是某種華人的音樂娛樂基因。」他指出，相較起其他曲風，情歌比較有機會獲得穩定的版權被動收入；大廠偏好傳唱度高，容易入口的音樂 ; 堅持獨特口味的創作人常因為苦求資源而奔波。相比之下的『平凡』與『獨特』常常呈現一種雞生蛋蛋生雞的循環。」 不過，隨著網路時代來臨，音樂創作者也開闢出新的路徑，「現在從事音樂的門檻不像以往那麼高，只要找到屬於自己的觀眾就行。」曾經數位發展重創實體唱片銷量，如今卻使創作形式走向多元。AI技術即是最鮮明的例子，「這就是趨勢！你卡關的時候它幫你解決難題，你擁有更多時間在『創』上，AI則處理『作』的部分。」 時代不可逆，新世代創作者必須學會妥善運用工具，並在多元的創作形式中打磨出獨特性，才能精準抓住受眾的目光。對於夢想走上音樂路的新一代，DJ QuestionMark給出誠懇的建議，「先想好要把它當作Job還是Career，這會影響到你人生接下來所有的決定。」 選擇成為職業勢必將迎接更多挑戰，得額外學習很多可能與音樂無關的事情，但只要你有心理準備，那就別留遺憾、走下去。 Photo Credit: 五樓製作提供 VJ feiiic和DJ QuestionMark一起登上巴黎奧運的舞台，攜手演出 kaochishunPhoto Credit: 五樓製作提供 DJ QuestionMark登上國際音樂節 Clockenflap舞台，將來自台灣的英語金曲派對帶到現場 本文經台北文創授權轉載，原文 刊載於此 原文標題：DJ QuestionMark 派對是人和音樂互動的行為藝術 延伸閱讀 【加入關鍵評論網會員】每天精彩好文直送你的信箱，每週獨享編輯精選、時事精選、藝文週報等特製電子報。還可留言與作者、記者、編輯討論文章內容。立刻點擊免費加入會員！ 責任編輯：王祖鵬 核稿編輯：丁肇九
Vogue Singapore
6 days ago
- Entertainment
- Vogue Singapore
High jewellery encounters Singapore's cultural heritage
Emily, that famed matriarch of Emerald Hill, is one of Singapore's great literary and stage icons. The Stella Kon play has been staged many times, and is an iconic expression of Peranakan culture and identity. An indelible part of the nyonya expression is the sarong kebaya, a style of clothing that conjures a sense of heritage and tradition. Here, a sarong kebaya created by Raymond Wong, the designer at Rumah Kim Choo who also contributed bespoke costumes for this year's hit television series Emerald Hill – The Little Nyonya Story. That series features, as it happens, the dual cover stars of Vogue Singapore's 'Home' issue: television legend Zoe Tay, and ingenue of the moment Tasha Low. This costume was commissioned by Ivan Heng, a luminary of Singapore theatre, who has stepped into the beaded shoes of the play's titular Emily Gan over 100 times. Its meanings are subtly coded: peony and phoenix motifs, as well as a vibrant palette, that allude to rebirth and blossoming in spring. Sarong kebaya costume by Raymond Wong. Cotton, batik; 2019; Singapore. Collection of the Peranakan Museum, gift of Ivan Heng, founder and artistic director of Wild Rice and Cultural Medallion 2013 honouree. Courtesy of the Peranakan Museum The Parisian jeweller Frédéric Boucheron was a maverick in his time. While his contemporaries thought of jewels as standalone objects, he was thinking of them as part of a complete stylistic message. Hence his invention in 1879 of the Question Mark necklace, a liberated jewel without a clasp that could be worn without assistance. That expression and philosophy evolved by 1883 into peacock feather, or plume de paon , designs that aimed to evoke the fluttery lightness of its inspiration. Most recently, the house's creative director Claire Choisne has taken the feather motif and given it brilliant chromatic life, by fusing white gold with coloured titanium to give her peacock feathers even more nuanced gradations of colour. Boucheron Plume de Paon earrings. Titanium, white gold, white diamonds, brown diamonds, tanzanites, sapphires, tsavorites; 21st century; Paris, France. Ching Lee Function and flair Traditional Peranakan terrace houses tend to feature pintu pagar , a Baba Malay term for which the literal English translation is 'fence door'. Constructed at half height, these doors are meant to provide ventilation, as well as a little privacy and security during the day when they are left open. This one from the Asian Civilisations Museum's collection is a rare and unusually ornate example. Fine carving and gilt work are present on both sides, as opposed to the usual one, and it features an eclectic mix of Chinese and European motifs—a symbol of status, displayed to visitors, for what was perhaps a wealthy Peranakan family. Outer gates (pintu pagar). Teak, gilt paint, glass; late 19th to early 20th centuries; Singapore. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Van Cleef & Arpels is deeply feminine and romantic, but some of its most inventive and enduring creations were born out of functional, industrial advances. In 1934, amid burgeoning serialised production and the Bauhaus school's design philosophy of replicability, the Parisian maison embarked on a creative quest. It designed the Ludo (a nickname of Louis Arpels), inspired ostensibly by the wraparound function of a belt, with a supple, new-at-the-time gold mesh technique. It has endured as a Van Cleef & Arpels signature, taking on stylistic evolutions in keeping with its time. This modern example is crafted with classic details: hexagonal briquette links, star-set round rubies and a functional twisting jewelled clasp. Van Cleef & Arpels Ludo bracelet. Rose gold, rubies, diamonds, coral; 21st century; Paris, France. Ching Lee Artistic roads Tiles are one of the more unassuming but vibrant expressions of a culture's artistic heritage. Geometric motifs, for instance, are one of the core modes of artistic expression in the Islamic world. Some scholars posit that the repeatable infinity of geometric designs connects with the infinite nature of the divine. Twelve-pointed stars, arabesques and diamond-shaped motifs, which feature on these tiles, are elements of this rich visual canon which has had a wide and lasting influence. Pair of geometric tiles. Ceramic; 15th century; Multan, Pakistan. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Hexagonal tile with central quatrefoil motif. Ceramic; late 16th to early 17th centuries; Bijapur, India. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Hexagonal tile with central diamond motif. Ceramic; late 16th to early 17th centuries; Bijapur, India. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum The simplest of design motifs has also a way of travelling across cultures, escaping boundaries and finding its way into artistic heritages the world over. Rosettes, which are a graphical representation of the leaves of a flower, can be found as far back as ancient Mesopotamia. This motif travelled and was adopted in Renaissance Italy, where it featured as a decorative architectural element. The Milanese jeweller Buccellati, which has an abiding love for Renaissance-era craftsmanship and an ornate, old-world look, uses these in many of its designs. In these Tulle watches, the rosette compositions on the dial, as well as the articulated bracelets, are filled with coloured enamel for a stained-glass effect. Buccellati Tulle watches. White gold, diamonds, enamel; 21st century; Milan, Italy. Ching Lee Summer Splendour The auspicious, blooming colours and motifs of flora and fauna on this circa 1920s beaded tablecloth are thought to be part of the 'spring table' of a Peranakan wedding chamber. Crafted so that it can be appreciated from all sides, the designs draw inspiration and influence from the colours and compositions of Chinese embroidery as well as bird and flower elements from Europe. It is crafted with over a million glass beads, some of them faceted, and said to be one of the largest and most important pieces of Peranakan beadwork in existence. Table cover. Cotton needlepoint canvas and European glass seed beads; around 1920; Penang. Collection of the Asian Civilisations Museum, restoration sponsored by BNP Paribas Foundation and BNP Paribas Singapore Branch. Courtesy of the Asian Civilisations Museum Tablecloth. Beadwork; early 20th century; Penang. Collection of the Asian Civilisations Museum. Courtesy of the Asian Civilisations Museum Cartier's Anansi necklace is named after a trickster deity from African folklore who is often portrayed as a spider. This creation comes from the Parisian jeweller's [Sur]naturel high jewellery collection, which is themed around creative abstractions of nature. It is set with a rare sequence of eight hexagonal peridots, composed with fine diamond and platinum lines and faceted peridot beads to resemble light glistening off a spider's web—perhaps after a summer rain. Cartier Anansi earrings and necklace. Platinum, peridots, diamonds; 21st century; Paris, France. Ching Lee Treasures of the old world One of the more remarkable qualities of jewellery, viewed historically, is that it lasts. Metal and stones are hardy materials, and surviving jewels can tell us a lot about the tastes and styles of a different time. That much is obvious in this magnificent 1900s jewelled peacock belt, one of the Peranakan Museum's prized artefacts. It is made of 18 linked panels of gold, set with a central diamond weighing over five carats. Each of these panels features peacock designs, decorated with white, yellow, brown and orange-pink diamonds. Peacock belt. Gold, diamonds; early 20th century; Singapore or Straits Settlements. Collection of the Peranakan Museum, Peacock belt, gift of Edmond Chin. Courtesy of the Peranakan Museum Tiffany & Co. is relishing the legacy of Jean Schlumberger, the talented midcentury designer whose works for the New York jeweller helped advance and define a modern look of jewellery. With time, Schlumberger's design codes have acquired the lustrous patina of an older, rarer and more refined world. Glamour, after all, is often more tantalising when it's just out of reach. The Fringe necklace, based on a celebrated 1956 design, references Schlumberger's origins in a family of Alsatian textile merchants. Each 'fringe' of hand-twisted gold rope is articulated, and dotted with diamonds set on platinum so it looks as though they are floating. The paillonné enamel Croisillon bracelet, first introduced in 1962, is meanwhile one of the jewellery world's icons of design history. The ancient technique of enamelling is enhanced with sheets of gold foil, laid in layers, to create colours that are deep, vibrant and luminous. Schlumberger by Tiffany & Co. Fringe necklace and Croisillon bracelet. Yellow gold, platinum, diamonds; 21st century, New York, the US. Yellow gold, paillonné enamel; 21st century; New York, the US. Ching Lee Photography Ching Lee Styling Lance Aeron Vogue Singapore's July/August 'Home' issue is available on newsstands and online.
Vogue Singapore
21-05-2025
- Entertainment
- Vogue Singapore
Cannes Film Festival 2025: The best jewellery on the red carpet
The Cannes Film Festival, held in the French Riviera, is the most prestigious film festival in the world. Which, unsurprisingly, makes it prime viewing for new films—sure—but also the stars and celebrities in the orbit of cinema. The 2025 edition of Cannes is proving just as glamorous on the jewellery front, one area of styling that's perhaps least affected by a newly instituted ban on naked dressing on the red carpet. Some of the most spectacular, standout jewels are, unsurprisingly, creations by Chopard, which has been an official partner of the Cannes Film Festival since 1998. French actress Pom Klementieff had on a pair of incredible Chopard haute joaillerie pink kunzite briolette earrings to the première of Mission Impossible: The Final Reckoning . At the red carpet for Wes Anderson's The Phoenician Scheme , Eva Longoria with 479 carats of kunzite briolettes on her neck courtesy of a design from Chopard's (aptly named) Red Carpet collection, and model Alex Consani wearing over 21 carats of the house's new Insofu emeralds. And, of course, brand ambassador Bella Hadid—always one to watch at Cannes—drew eyes on the festival's opening night in a pair of positively massive earrings set with a pair of emeralds weighing 118.68 carats in total. Some other standout jewellers and maisons on the red carpet so far: Boucheron, which is finding fabulous occasion for a number of its Untamed Nature high jewellery pieces, and which seems to have lit up Cannes with its fabulous Question Mark necklaces. Pomellato, meanwhile, previewed some pieces from its upcoming new high jewellery line, set to debut in June in Milan, on brand ambassador Philippine Leroy-Beaulieu. Here, a look at the sparkling, standout jewels so far on the 2025 Cannes Film Festival red carpets. Getty 1 / 18 Bella Hadid Wearing Chopard high jewellery. Getty 2 / 18 Kim Go-eun Wearing Chanel Comète earring. Getty 3 / 18 Mina Wearing Boucheron Rosier earrings and Question Mark necklace from the Histoire de Style, Untamed Nature high jewellery collection. Getty 4 / 18 Zhou Ye Wearing Tasaki Harmonie necklace from the Nouvelle ère high jewellery collection, and earrings. Getty 5 / 18 Gao Yuanyuan Wearing Chaumet Joséphine Valse Impériale high jewellery necklace. Getty 6 / 18 Alexa Chung Wearing Boucheron Serpent Bohème Vintage earrings, ring and bracelet, and archival bangle. Getty 7 / 18 Pom Klementieff Wearing Chopard high jewellery. Getty 8 / 18 Julianne Moore Wearing Boucheron Goutte de Cristal high jewellery earrings. Getty 9 / 18 Natalie Portman Wearing Tiffany & Co. high jewellery earrings and necklace from the 2025 Blue Book Collection. Getty 10 / 18 Eva Longoria Wearing Chopard high jewellery. Getty 11 / 18 Alessandra Ambrosio Wearing Pomellato Fortezza high jewellery earrings and necklace. Getty 12 / 18 Araya Hargate Araya Hargate wearing Boucheron Airelles necklace from the Histoire de Style, Untamed Nature high jewellery collection; and Lierre de Paris earrings. Getty 13 / 18 Rihanna Wearing Boucheron Rosier earrings from the Histoire de Style, Untamed Nature high jewellery collection. Getty 14 / 18 Araya Hargate Wearing Boucheron Plume de Paon Question Mark necklace and earrings. Getty 15 / 18 Rosie Huntington-Whiteley Wearing Tiffany & Co. high jewellery earrings and necklace from the 2024 Blue Book Collection. Getty 16 / 18 Amal Clooney Wearing Caresse d'orchidées par Cartier earrings from the Cartier Collection and Cartier Libre Polymorph ring. Getty 17 / 18 Veena Praveenar Singh Wearing La Marquise jewellery. Getty 18 / 18 Leila Slimani Wearing Cartier Collection Honeymoon earrings and necklace.
