by: MuMu

我喜欢朴树，从很早之前，有很多人知道。

所以大家晚自习偷看**金曲颁奖典礼他出来唱歌的时候他们会喊我抬头看；所以他来济南的时候他们会问我要不要去；所以生如夏花刚出时候茄子同学在音像店看到他的大海报会帮我留着

05年北邮50年校庆同一首歌的时候他也出来唱歌，我从B区第四排踩着凳子跳到t台下——我本是要从路上走的但那彪悍的保安把我拎了回来——我就只好从凳子上过去了，朴同学离我大概一米多远，我看到他和下面的人们握手和握不到手的人们说对不起，很有礼貌。但是我到底还只是个伪迷，所以也只站在那里看着这个家伙…

我是伪迷因为我只贪恋《我去2000年》对于《生如夏花》却从没有完整的听完过

我记得在我还是个小朋友的时候和另外一个一心要做个军事家的小朋友讨论过《我去2000年》里面的每一首歌，如数家珍，一一列出自己的感受，好像每一支都刻骨铭心的，但是现在再也没有那份心境，再听起来真的只像老朋友，也让我想念

我记得上面文案里的一句话“不说话 只沉默 这不快乐的生活 我的9w台灯”

于是拿他做签名，但是又不确定，所以就百度了一下（可见我是多么的无聊），竟发现一篇写他的文，署名是木木

这个“木木”明显比我这个伪迷要真的多，写的不错，于是就转过来，懒得看的话就点回上一页吧

一边怀念，一边等待——朴树

木木

朴树是个敏感的孩子。正是因为这些敏感，他可以将生活的细微之处写进歌里，进而打动我们的心房。朴树是个任性的孩子。正是因为这些任性，他可以出道这么多年只发行了两张唱片。同时朴树又是个有梦想和坚持的孩子。正因为这些梦想和坚持，我们才可以从他那里听到好的音乐。

朴树这样的孩子，通常会在不经意的时候给我们惊喜，尽管等待的时间可能会很漫长。可这又有什么关系？就是有一些人可以让我们一边怀念，一边等待。因为我们相信。

带着那些花儿去2000年

1996年是朴树最灰暗的时候。那阵子，他退学了，整天在家鼓捣音乐，可音乐不能当饭吃，他写的歌没人认，朴树又不好意思向家里要钱。这时候，他认识了高晓松，高晓松听完朴树的Demo，凭着一个音乐制作人的敏感，预感到朴树将会成为下一个“老狼”。所以后来，朴树出现在高晓松执导的电影《那时花开》中，扮演男一号。这部电影不光捧红了周迅、朴树，同时还有朴树为这部电影所唱的电影片尾曲——《那些花儿》。这是1999年的事情。

1999年，对于朴树来讲是至关重要的一年。在这一年，他推出了自己的首张个人专辑——《我去2000年》，他出演了高晓松的第一部青春电影——《那时花开》，他与世界五大唱片公司之一的华纳唱片签约，成为其亚太区旗下的第一位内地歌手，其首张专辑《我去2000年》由华纳重新混录和拍摄最新单曲录影带后，于2000年上半年在海外隆重上市。

至今犹记第一次听到《我去2000年》时的震撼，“不说话/只沉默/这平淡的生活/这不快乐的生活/我的9W台灯”。歌词里的第一张图片是一幢老旧的房子，朴树是不是就在这楼房的一个阴暗房间里，在他的9W台灯下，安静地写他的歌，安静地释放他的思想，安静地诠释他的孤独。他的嗓音带一点点沙哑，他用这略带沙哑的声音唱《New Boy》，唱《妈妈，我》，唱《那些花儿》，唱《旅途》，唱《别，千万别》……还有《召唤》和《在希望的田野》上。在那个青春躁郁的高中时代，他唱出了我们的心声，尽管这心声如此悲伤。

时间终于到了2000年，我们如此期待2000年，似乎2000年就可以“穿新衣吧／剪新发型吧／轻松一下／windows98／打扮漂亮／十八岁是天堂／我们的生活天天像糖。”2000年2月朴树受邀参演CCTV龙年春节联欢晚会，演绎其早已在各大电台热播过的《白桦林》。一夜爆红。虽然之前他的歌曲已经在全国各大电台获奖无数，但是春节联欢晚会的号召力和影响力无疑给朴树的发展注入了兴奋剂，春节过后的那个春天，满大街都是朴树的《白桦林》。一夜之间多处了那么多的“New Boy”，我们开始怀念“那些花儿”。

“那片笑声让我想起我的那些花／在我生命每个角落静静为我开着／我曾以为我会永远守在她身旁／今天我们已经离去在人海茫茫／她们都老了吧／她们在哪里呀，幸运的是我／曾陪她们开放……”

在阳光下，献给你，我最好的年华

转眼2000年过去了好久。朴树在经历了成名以及其心态上的跌宕起伏后，终于浴火重生。在2003年的11月，朴树推出他的《生如夏花》。差不多四年的时间，如果放在别的歌手身上，恐怕早已被大家遗忘，但是朴树不会。他有一种让大家为他等待为他守候的魔力。因为《我去2000年》的花开不败。

《生如夏花》的旋律一出来，我们就知道这种等待是值得的。当Windows98早已过时，我们也已不再18岁的时候，他开始唱《傻子才悲伤》，这时的朴树已经不再少年习气，不再轻浮莽撞，不再拒绝人情世故。用他自己的话说：“现在我就是块泥巴，任别人怎么捏就怎么捏，只要还有那个坚硬的核在，那个核是别人始终也改变不了的。或许这就是成长！”

成长的代价就是朴树在音乐中的挣扎，他用一种近乎苦行僧的迷狂，试图渐抵印度大师泰戈尔“使之生如夏花之绚烂，死若秋叶之静美”的纯然之境。专辑中的词曲依旧由朴树一手打造，他用绝对充盈的内在，追求那种近乎缥缈和绝望的唯美，他用他惊人的爆发力和控制力，给我们呈现出让我们无比惊艳的《生如夏花》。

还好，他成功了。凭借着《生如夏花》专辑，他问鼎了乐坛各大颁奖礼的相关奖项，成为2004年名副其实的得奖专业户，也登上了内地歌坛当家一哥的宝座。尽管朴树是一位脱俗的歌手，他厌恶宣传，厌恶交际，厌恶虚假。他只想做自己的音乐，他从来不在乎自己是否能走红，他只是要做他自己，告诉大家一个真实的朴树，没有任何包装的朴树，没有任何虚假的朴树。

当朴树的音乐直面扑来的时候，我们忽然发现他的悲伤没有那么强烈了。正如《我爱你，再见》里唱的那样：“像命中注定一般／如火一般的那个夏天／撩人的夏日舞会／你跳向我身边……”。这首歌所描述的那种对感情的豁然态度，深深吸引了郑秀文。郑秀文用粤语唱：“让故事再发生吧／让我的人生充满遗憾／生活在继续／舞会从来不曾停止／一错再错的／这故事才会精彩……”。

舞会从来不会停止，可朴树却又开始沉寂了。直到2007年他出现在湖南卫视《名声大震》的舞台上，在喧哗里他静静地唱《Sunny》、《Why》、《Rock DJ》等，不禁让人想到返璞归真。

在《名声大震》的最后一场比赛里，他说他要唱一首他妈妈最喜欢的歌。《那些花儿》的音乐响起，朴树站在钢琴边说：“弹钢琴的是小玲姐”。台下是如雷般的掌声。熟悉的旋律响起，那些过往的时光就像电影胶片一样在脑海里倒流，尽管我们回不去了，但是身边依旧有朴树的音乐陪伴。他拿到了那场比赛的冠军。

后来听说朴树去西藏和尼泊尔采风了，回京后朴树长时间沉浸在西藏那圣洁纯真的情境中不能自拔，于6月份再次进藏。采风归来的朴树，脸上荡漾着洗礼过来的纯净笑容。相信这一次我们等待的时间不会太长了。

AI-generated translation.

I’ve liked Pu Shu for a very long time. A lot of people know that.

So when everyone secretly watched the Top Chinese Music Awards and he came out to sing during evening study hall, they’d call out for me to look up; when he came to Jinan, they’d ask whether I wanted to go; when Life Like Summer Flowers had just come out, classmate Qiezi saw his huge poster in a music store and saved it for me.

During the “Same Song” event for the 50th anniversary of BUPT in 2005, he came out to sing too. I jumped from the fourth row of Section B onto the platform runway by stepping on chairs—I had originally meant to walk there from the aisle, but that fierce security guard dragged me back—so I had no choice but to go over the chairs. Pu Shu was only a little over a meter away from me. I saw him shake hands with people below the stage, and say sorry to the ones he couldn’t reach. Very polite. But in the end I was only a fake fan, so I just stood there watching this guy…

I’m a fake fan because I’m only obsessed with I Go to 2000, while I’ve never even listened all the way through to Life Like Summer Flowers.

I remember that when I was still a kid, I once discussed every song in I Go to 2000 with another kid who was determined to grow up to be a military strategist. We went through them one by one like treasured family possessions, listing our feelings about each track, as if every single one had been engraved into us. But now I no longer have that state of mind. Hearing them again, they really do feel only like old friends, and they make me miss things.

I remember one line from the sleeve text: “Not speaking / only silent / this unhappy life / my 9-watt desk lamp.”

So I used it as my signature, but then I wasn’t sure about it, so I Baidu’d it (which shows just how bored I was), and unexpectedly found an essay about him, signed by MuMu.

This “MuMu” was obviously a much realer fan than fake-fan me, and wrote quite well, so I’m reposting it here. If you’re too lazy to read it, just click back to the previous page.

Remembering while waiting — Pu Shu

MuMu

Pu Shu is a sensitive child. It is precisely because of that sensitivity that he can write the subtleties of life into his songs and move our hearts. Pu Shu is also a willful child. It is precisely because of that willfulness that after all these years he has released only two albums. At the same time, he is a child with dreams and persistence. It is precisely because of those dreams and that persistence that we are able to hear good music from him.

A child like Pu Shu usually surprises us when we least expect it, even if the waiting can be very long. But what does that matter? Some people simply make it possible for us to remember while waiting. Because we believe.

Taking Those Flowers into the year 2000

1996 was Pu Shu’s darkest year. Around that time, he dropped out of school and spent his days tinkering with music at home. But music couldn’t put food on the table; nobody recognized the songs he wrote, and Pu Shu was too embarrassed to ask his family for money. It was then that he met Gao Xiaosong. After listening to Pu Shu’s demo, Gao, with the instinct of a music producer, sensed that Pu Shu would become the next “Lao Lang.” Later, Pu Shu appeared in Gao Xiaosong’s film When Flowers Bloom, playing the male lead. The movie not only helped make Zhou Xun and Pu Shu famous, but also featured the song Pu Shu sang for its ending theme—Those Flowers. That was in 1999.

For Pu Shu, 1999 was a crucial year. In that year, he released his first solo album, I Go to 2000; he acted in Gao Xiaosong’s first youth film, When Flowers Bloom; and he signed with Warner Music, one of the world’s five major record companies, becoming its first mainland Chinese singer in the Asia-Pacific region. After being remixed and accompanied by a newly filmed music video for the latest single, I Go to 2000 was grandly released overseas in the first half of 2000.

I still vividly remember the shock of hearing I Go to 2000 for the first time: “Not speaking / only silent / this ordinary life / this unhappy life / my 9W desk lamp.” The first image the lyrics call up is an old, shabby building. Was Pu Shu in some dim room of that building, beneath his 9-watt lamp, quietly writing songs, quietly releasing his thoughts, quietly giving voice to his loneliness? His voice carried a slight rasp. With that slightly husky voice he sang New Boy, Mama, Me, Those Flowers, Journey, Don’t, Please Don’t… and also Call and In the Fields of Hope. In that high-school era of youthful restlessness and gloom, he sang out our own feelings, even if those feelings were so sad.

At last the year 2000 arrived. We had awaited 2000 with such anticipation, as if in 2000 we really could “put on new clothes / cut a new hairstyle / relax a little / Windows 98 / dress up beautifully / eighteen is heaven / our lives are sweet as candy every day.” In February 2000, Pu Shu was invited to appear on CCTV’s Spring Festival Gala for the Year of the Dragon, performing the already much-played Birch Forest. He became an overnight sensation. His songs had already won countless awards on radio stations around the country, but the reach and influence of the Spring Festival Gala undoubtedly gave his career a huge boost. That spring after the New Year, Pu Shu’s Birch Forest was everywhere on the streets. Overnight there were so many more “New Boys,” and we began to miss “Those Flowers.”

“That laughter makes me think of my flowers / quietly blooming for me in every corner of my life / I once thought I would stay by their side forever / today we have drifted away into the vast sea of people / they’ve all grown old, haven’t they / where are they now? Luckily, I / was once there when they bloomed…”

In the sunlight, for you, my best years

In the blink of an eye, 2000 had been gone for a long time. After experiencing both fame and emotional upheaval, Pu Shu was finally reborn through fire. In November 2003, he released Life Like Summer Flowers. If nearly four years had passed for some other singer, people might long have forgotten them. But not Pu Shu. He has a magic that makes people wait for him and keep watch for him. Because the blossoms of I Go to 2000 never faded.

The moment the melody of Life Like Summer Flowers began, we knew the wait had been worthwhile. By then Windows 98 was already obsolete, and we were no longer eighteen either, and he began to sing Only Fools Are Sad. By this point Pu Shu no longer carried the impulsiveness of youth. No longer frivolous, no longer reckless, no longer rejecting the realities of the world. In his own words: “Now I’m just a lump of clay—people can shape me however they want, as long as that hard core is still there, that core is something no one can ever change. Maybe that is what growing up is!”

The price of growing up was the struggle inside Pu Shu’s music. With something close to an ascetic kind of fervor, he tried to approach the pure realm described by Tagore: “Let life be as splendid as summer flowers and death as tranquil as autumn leaves.” The lyrics and melodies on the album were still all written and composed by Pu Shu himself. With utterly abundant inner force, he pursued a beauty that was almost ethereal and desperate, and with his astonishing explosiveness and control, he gave us the dazzling Life Like Summer Flowers.

Thankfully, he succeeded. With Life Like Summer Flowers, he swept the major music awards and became, in 2004, a true trophy magnet, taking his place as the top male singer in mainland pop. And yet Pu Shu is still a singer set apart from the ordinary. He hates publicity, hates socializing, hates falseness. He only wants to make his own music. He has never cared whether he becomes popular. He only wants to be himself, to show everyone a real Pu Shu—without packaging, without pretension.

When Pu Shu’s music comes straight at us, we suddenly realize that his sadness is no longer so overwhelming. Just as he sings in I Love You, Goodbye: “As if it were fated / that summer burning like fire / that alluring summer dance / you danced toward my side…” The open-hearted attitude toward love described in that song deeply attracted Sammi Cheng. In Cantonese she sang: “Let the story happen again / let my life be filled with regrets / life goes on / the dance never truly stops / only by making mistake after mistake / can the story become wonderful…”

The dance never stops, but Pu Shu fell silent once more. Not until 2007 did he appear on the stage of Hunan TV’s Mingsheng Dazhen, quietly singing Sunny, Why, Rock DJ amid all the noise, making people think of a return to simplicity.

In the final round of Mingsheng Dazhen, he said he wanted to sing a song his mother loved most. The music of Those Flowers began, and Pu Shu stood by the piano and said, “The one playing piano is Sister Xiaoling.” Thunderous applause rose from the audience. As the familiar melody sounded, all those past years flowed backward in the mind like film strips. Even though we can never go back, Pu Shu’s music is still here beside us. He won the championship that night.

Later I heard that Pu Shu went to Tibet and Nepal for inspiration. After returning to Beijing, he remained immersed for a long time in that sacred and innocent Tibetan atmosphere and couldn’t pull himself free, so in June he went into Tibet again. After returning from that trip, his face carried the pure smile of someone newly washed and blessed. I believe this time our wait won’t be too long.