君合法评丨开心战“疫”——我们可以来一场线上的Live Aid2020吗？
目
录
一、缘起 （Origin）
二、我们现在有什么？（What do we have now?）
三、我们在路上 （We are on the road）
缘起
（Origin）
1985年，为了倡议和支持消除全球贫困（特别是为了救助非洲埃塞俄比亚北部的连年自然灾害和动荡局势导致的大量贫困人群），一个爱尔兰人Bob Geldof和一个苏格兰人"Midge" Ure（原名James）共同策划了音乐演出史上的经典之作Live Aid1985，在英国伦敦和美国费城有摇滚乐、流行乐的众多明星联袂出演，全球多个国家和地区进行了转播。十几个小时的现场演出通过电视、DVD等音像制品和时至今日的信息网络传播（获得多项奥斯卡奖的音乐传记片《波西米亚狂想曲》还曾以十多分钟的篇幅再现演出现场，表达了创作者的致敬之意），一直深远影响着音乐爱好者以及关心公益慈善事业的人们。
In 1985, an Irish musician called Bob Geldof and a Scottish musician, Midge Ure, planned a massive music event, ‘Live Aid 1985’ in order to advocate for the eradication of the famine in Ethiopia, Africa. In London, UK and Philadelphia, USA, a large number of rock and pop music stars performed in the concert, and this performance was broadcast live in many countries and regions around the world. More than ten hours of the live performance was distributed through TV and audio-visual products such as DVDs. The recent movie "Bohemian Rhapsody", which won four Oscars, reenacted shot by shot Queen’s performance at the concert. The event was watched by over 1.9 billion people around the world, almost 40% of the global population, had a profound impact on music fans and raised funds and awareness of the famine.
细看历史，两位发起策划人在1984年末就曾经通过组建一个临时大型音乐团体Band Aid并发行音乐专辑的方式，开启了他们的音乐慈善实践。这个过程创意、创作、策划执行和营销推广都不能少。"Midge" Ure 的贡献在于他谱写了” Do They Know It's Christmas？”这首汇集众多摇滚大咖演出的单曲，也为Lionel Richie和Michael Jackson创作和演绎” We Are The World”树立了绝好的样板。这些作品和演绎形式也直接影响了我们华语世界的《明天会更好》和《让世界充满爱》。Bob Geldof在联动音乐明星演出，借助电台、唱片店造势及走到非洲灾区一线加强公益影响力和公益执行等多个重要环节发挥了至关重要的作用。在发展音乐公益演出品牌和形式创新方面，Bob Geldof也一直没有放弃努力，从Live Aid到Live 8到开始借助互联网影响力的Net Aid。
In this initiative, the two men proved their ability to collaborate creatively and they worked on the planning, execution and marketing of the concert. Midge Ure wrote the song " Do They Know It's Christmas?" which was performed by many high profile rock stars, such as Lionel Richie and Michael Jackson, who later led the performance of "We Are The World". These songs had a direct influence on popular songs such as "Tomorrow Will Be Better" and "Let the World Be Full of Love" in China. Bob Geldof played an important role in gathering the performers, building momentum with different radio stations and record stores, and strengthened public influence and welfare implementation in the front line of fighting the African famine. In terms of developing a brand and forming an innovative public music performance, Bob Geldof continued his efforts, from Live Aid to Live 8 to Net Aid, which used the internet.
Live Aid1985给我们的启示是什么？音乐，没有国界。一个朋克摇滚乐手，寻求创作和社会实践的突破，更加具有先锋性，也同样具有人文关怀。音乐演出，数万人在场，当皇后乐队的牙叔在伦敦唱出We are the champion of the world..，当David Bowie像一个小驻唱站在弹钢琴的Paul McCartney背后一起唱出Let it be!当群星在费城一起唱出We are the world, we are the children，We are the ones who make a brighter day……，旋律中大家齐唱的共鸣，歌词开启的广泛的心的共鸣有着多么强大的感召力。虽然是电视电台时代的产物，但是当所有当年的流量媒体都被这一音乐慈善事件所占据，它所产生的影响力和转化力同样是无与伦比的。
What was the over-riding inspiration that shone through from Live Aid 1985? It was that music has no borders. A punk rock musician, seeking a breakthrough in how things were done, was persistent and he also cared about humanity. The musical performances, with tens of thousands of people present, were unforgettable. The band Queen sang ‘We Are The Champions’ in London, David Bowie stood behind a piano-playing Paul McCartney and sang “Let it be” together, and the stars all sang “We are the world, we are the children, We are the ones who make a brighter day” in Philadelphia. The emotion of everyone singing together and the wide resonance of hearts opened by the meaningful lyrics, showed the great power of music. Live Aid was a product of the television and radio era, and the media was occupied by this charity music event. Its influence and transformative power were unique.
我们现在有什么？
（What do we have now?）
2020年的开年，我们有什么？一个叫“新冠”（CONVID-19）的寄生于人类和动物细胞中的病毒微生物，成为了全世界的头条，而且连续霸屏。不管是在中国，还是世界的任何一个其他国家或地区，我们都不再忽视这个在显微镜下都可能被忽视的微小存在。因为它，在中国百分之九十以上的人都渡过了前所未有的超长假期。因为它，我们自觉自愿的居家隔离，更多的陪伴手机和电视机。因为它，我们的电影院空无一人，但是却有超级赞助人买单全网免费看一部春节档电影。因为它，我们数以亿计的人（包括大量的未成年学生们）都学会了下载和使用某一款直播App（包括带有直播功能的各种互联网文字、图片、音视频等内容集成转发App）或者被拉入直播场景，而且我们已经看到知名的夜经济操盘人运作起了视频连线蹦迪，也已经看到了很多歌手的线上演唱会海报在朋友圈和微信群广为传播。因为它，我们几乎所有的公益机构（无论是否以救灾为公益宗旨），还有大量的非公益机构都加入到了募捐、捐款、捐赠物资和帮助物资到达疫情一线的事业中。
What do we have at the beginning of 2020? A coronavirus called COVID-19, which lives in human and animal cells, and continues to dominate the world's headlines. In China and in any other country or region in the world, we can no longer ignore this virus that can only be seen microscopically. Because of COVID-19, more than 90% of people in China have had unprecedented amount of time off work. We voluntarily isolated ourselves at home, accompanied by our mobile phones and televisions. O All our cinemas were empty, but happily there was a major sponsor who provided a free online viewing of a new blockbuster film that was originally scheduled to premiere during the Spring Festival. Hundreds of millions of us (including a large number of underage students) learned to download and use live apps (including a variety of Internet text, picture, audio and video integration files and other apps with live functions) or have been pulled into online live scenes. Moreover, we have seen well-known personalities operate online video connections for discos and parties, and we have also seen online concert posters from many singers that were widely spread in our friends circles and Wechat group chats. Due to this, almost all charities (whether or not disaster relief is within their charity missions) and a large number of non-charitable institutions have joined in the cause of fund raising, giving donations, donating goods and materials and helping materials reach the front line of this “war” pandemic.
如果没有经历这一场由新冠病毒发起的国际战“疫”，相比于Live Aid1985，我们还具备了什么科技、产业和生活方式的变革呢？换言之，如果今天有一场Live Aid2020（在中文语境下，我们可以不限于理解为Live Aid1985的“生命援助”的原意，也可以理解为就是“现场援助”），我们可能创造一种什么的理想场景呢？我们这个时代，仍然有伟大的歌手和音乐作品，我们这个时代还产生了初音未来，Michael Jackson和邓丽君也仍然可以被影像科技从天堂邀请到舞台。我们这个时代，Live Aid1985相似影响力的事件也许是2018年世界杯决赛，当时的全球直播观赛人数已经超过了4000万人，而且这个数据可能还无法完全包括通过信息网络等多元渠道和多种内容传播形式所覆盖的人群（2019年女足世界杯期间，通过各种平台参与的累计人数是10亿级别的）。每一个通过提升的技术手段实时“在场”的观众，我们有个性化直播间支持的UPGC、弹幕、打赏、线上捐助、下单、转发传播等等丰富的内容、商业和公益互动、病毒传播模式支持一个伟大的IP内核产生不断叠加的影响力、商业和社会价值。具体而言，当Live Aid2020可以发生的时候，即使我们因为疫情并不能一起挤在温布利球场或者哪个最棒的演出场馆，我们既可以连线现场主视频画面（如果还有一些表演者是可以同台的话），也可以进入每一个表演者的直播间、粉丝或模仿者（在获得授权的情况下）的应援平台（直播间、贴吧、微信群），表演者和表演者的连麦，表演者和观众的互动是多种多样的，而且会形成自发衍生的丰富的内容矩阵和传播矩阵。一首歌曲、一个Logo、一个口号、一个二次元形象，可能在一股神奇流量的带动下，瞬间变成头条、热搜榜首，也能够以三十多年前无法想象的供应链响应速度变成粉丝周边衍生品并送到观众手中。也因为神奇的内容传播和内容营销矩阵带来的商业价值，我们可以有Live Aid2020的冠名赞助商，像皇后乐队牙叔的钢琴上摆着的饮料等产品和品牌的联合赞助商。而且，可能一些网络世界的新贵可以拿出他们的宝贵的精准流量作为赞助对价，用于推广他们丰富的虚拟世界消费品也同样推广这样一个音乐慈善活动。最后，我们要感谢公益理念和公益运行机制的进化和深入人心。基于企业社会责任的践行和网络公益募资平台的有效支持，我们可以预期在B端和C端都获得成规模的公益资金支持一场音乐公益盛典，并最终公正、透明、有效地支持疫情一线。
What other technical, industrial and lifestyle changes do we have compared now with the time of Live Aid in 1985? In other words, if there was a Live Aid 2020 now (in the Chinese context, we can understand the meaning of Live Aid 1985 as not just “saving lives” but also providing "immediate aid"), what kind of ideal scenario can we create? In our era, there are still great singers and musical works, and our era has also produced Hatsune Miku. Michael Jackson and Teresa Deng can still be invited to the stage through video technology. In this era, live events with a comparable influence to that of Live Aid 1985 may be the 2018 World Cup final, when the live audience exceeded 40 million world-wide. This data may not fully include the number of people covered by multiple channels and multiple content dissemination forms such as information networks (during the 2019 Women's World Cup, the cumulative number of participants through various platforms was one billion). For every single real-time "on-the-spot" audience member, through improved technical means, we can have rich content, as well as business and public welfare interaction. Other modes, such as UPGC, bullet screens, rewards, online donations, order placements and forwarding for promotion, which can be supported by personalized live broadcasts, can facilitate a huge core of IP, to generate ever-increasing influence, business and social value. When Live Aid 2020 happens, even if performers can't squeeze together in Wembley Stadium or other performance venue because of the pandemic, we could connect the main live video screen (if there were still performers who can be on the same stage), and also have access to each performer's live broadcasting stage. When authorized, we could access the fans response platform (also in live mode). The interaction between performers and performers, and performers and their audience could have various modes, and form a rich content and communication matrix. Immediately, a song, a logo, a slogan or a 2D image could become the top headline and hot search topic, and also become available in all forms of a fan’s derivatives to an audience at a breakneck speed, unimaginable more than 30 years ago. Also, because of the commercial value brought by the content, communication and marketing matrix, we could offer the title sponsorship of Live Aid 2020, and the co-sponsorship of products and brands, such as the soft drink placed on the piano during the band Queen’s performance in 1985. Moreover, it is possible that some new startups in the online world could use valuable traffic as a sponsorship consideration to promote various consumer goods for the virtual world, together with such a charity music event. Based on the practice of corporate social responsibility and the effective support of online welfare fund-raising platforms, we can expect to obtain large-scale public welfare funds to support a charitable music ceremony at both the B-end and C-end, which should be able to eventually support the fight on the pandemic’s front line fairly, transparently and effectively.
如果说“传染性病毒像一艘隐形战舰，加入威胁全球化的阵营。既得利益者渐行渐远，失望情绪开始推动可能导致自毁的免疫机制……”，相信去开发和推广一剂救治失望乃至挥之不去的恐慌的“开心良药”将是世界的“新安全”1格局中的一个重要策略。而且，这一剂“开心良药”还是开启和燃爆上述神奇的内容矩阵的最最重要的引线。
As we have been told: "An infectious virus is like an invisible warship, joining the camp to threaten globalization. As vested interests move further away, disappointment begins to drive immune mechanisms that may lead to self-destruction……" It is believed that developing and promoting a "positive medicine" to cure the disappointment and even the lingering panic of this virus, will be an important strategy in the world’s "new security"1. Moreover, this "positive medicine" is the most important lead to open and explode the above magic content matrix.
我们在路上
（We are on the road）
疫情发展到现在，已经过去了两个多月，国际战“疫”还在不断升级。为什么我们并没有看到一场Live Aid2020在线上发生呢？我们知道，《互联网直播服务管理规定》已于去年出台，《网络信息内容生态治理规定》也刚刚在3月1日开始实施。我们相信，中国政府正在建设起更加清晰、可预期和可有效沟通的网络内容监管环境。但是，由于存在互联网领域市场准入监管部门（例如文网文和信息网络传播视听节目等经营许可的发放部门）和内容生态监管部门平行存在的客观情况，我们的内容生态中也逐渐形成了有限的成规模的内容平台，中国的Bob Geldof或是"Midge" Ure还需要和这些产业中更核心的参与方形成有效的联动，并提出真正有国际影响力、举国影响力的正能量、开心策划。进一步而言，对于有限的、掌握巨大流量资源的内容平台，其核心团队也还需要时间来理解线上音乐演出整体内容矩阵的建设规则以及内容营销、公益营销、公益事业本身这些不同维度的综合运行规则和管理负面影响和突发事件的核心方法。
It has been more than two months since the pandemic began to expand, and the “international war” against the pandemic continues to escalate. Why haven’t we seen a Live Aid 2020 happen online? As we know, the Measures on the Management of Internet Live Broadcasting Service were issued last year, and the Regulations on the Administration of Network Information Content Ecosystem were just implemented on March 1. We believe that the Chinese government is building a clearer, more predictable and effective regulatory environment for online content. However, there are market access regulatory authorities in the Internet field (such as the issuing authorities of Internet culture operation licenses and licenses for the transmission of audio-visual programs through information networks) who play regulatory roles in parallel with the administration of the content ecosystem. Also our content ecosystem has gradually developed with only a limited number of scale-up platforms, China's Bob Geldof or Midge Ure still needs to form an effective interaction with core players in these industries, and propose large-scale plans with positive energy and real international and national influence. Furthermore, for a limited number of content platforms with huge traffic resources, core teams also need time to understand the construction rules of the overall content matrix of online music performances, as well as the comprehensive operational rules of content marketing, charity marketing, public welfare establishments, and also the core methods of managing negative impacts and emergencies.
当我们回顾中国开放市场，坚定地执行外商投资国民待遇这一核心原则的发展历程，在演出和互联网领域，我们看到了演出经纪的放开，再到线下娱乐场所和演出经营机构的逐渐放开。在互联网领域，不论是中央层面还是各地的自贸区层面，虽然总体上互联网文化经营还是禁止外商投资的领域，但是“音乐除外”这一特别原则已经存在了一段时间。我们再去看产业和市场监管的实践领域，似乎还没有外资互联网文化经营许可证（互联网音乐演出方向）的审批先例，以及在互联网音乐演出领域出现顶级的外资娱乐企业参与的绿地投资、并购和头部项目运作。换言之，我们还没有清晰地看到是否可以迎来线上音乐演出中的国际玩家和国际策划人。
When we look at the development of China's opening up of markets and the implementation of core principles of national treatment for foreign investment, in the fields of performance and the Internet, we see the opening up of talent management, and the gradual opening up of offline entertainment venues and performance institutions. In the field of the Internet, no matter at the central level or in free trade zones, Internet culture is still the field where foreign investment is prohibited, while the special principle of "excluding music" has existed for some time. When we look at the field of industry and market administration, it seems that there is no precedent for the approval of foreign-invested Internet cultural operation licenses (Internet music performance direction) being granted. And no top-tier international entertainment enterprises have conducted green field investment, merger & acquisition or operation of headline projects in the field of Internet music performances. In other words, we haven't clearly seen whether we can welcome international players and international planners in online music performances.
但是，路在脚下，总要有坚定前行的实践者去带领大家走出来。打一场漂亮的开心战“疫”，也许一切的一切就从我们的创作人带来一首新时代的“We Are The World”开始！
However, there must be practitioners who are determined to lead us forward. To fight a “war” against the pandemic, everything should probably start from a creative powerhouse who can provide us with another "We Are The World" moment for this new era.
*感谢李思俣对本文翻译工作的支持
（此文首刊于“北京大学社会化媒体研究中心”公众号）
1.“新安全”概念和体系思考是由原Newsweek中文版原执行主编陈序先生首先提出和阐释的。具体可以参考《2020，我们需要‘新安全’》。
The concept of ”new security” and related systematic thinking originated from Mr. Xu CHEN, former chief editor of Newsweek China, see https://mp.weixin.qq.com/s/5_iXRJnrdLXpRMzEqxSTSg for more details on concept of “new security”.
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