The Rolling 30 concert held on the last day of September marked the return of Cui Jian to Workers’ Stadium, exactly 30 years following the original performance of his classic hit "Nothing to My Name."

　　九月最后一天举行的滚动三十音乐会，标志着崔健重回工人体育馆，这距离他演出经典曲目《一无所有》恰好相隔30年。

　　At the age of 25, Cui single-handedly opened Chinese audiences to the genre of rock’n’roll music, unknowingly creating the benchmarks for what has become a modern artistic tradition that continues to evolve and build upon the foundation set by the legendary rocker. "Nothing to My Name" set a precedent for Chinese rock music, inciting political symbolism in the form of youth rebellion.

　　25岁的崔健独自将摇滚音乐类型带到中国观众面前，在不知不觉间，为不断演化的现代音乐传统创造了标准，这位传奇的摇滚人是现代音乐传统的奠基者。《一无所有》是中国摇滚音乐的鼻祖，它以反叛青年的形式，煽动政治象征主义。

　　Cui’s performance at the concert, unlike 30 years ago, cannot be viewed in isolation; it now must be seen in the context of a music scene that has evolved beyond the formulaic construction of its origins. In the wake of Cui’s return to the forefront of mainstream consciousness, the underground live-halls and smoky hutong bars of Beijing have reignited discussion about Chinese rock, its history and future potential.

　　和30年前不同，崔健在音乐会的表演不能被割裂地看待。如今，应该超越起先的刻板化结构，在不断演化的音乐环境里看待崔健的表演。在意识到崔健摇滚已经再次回到主流意识前沿后，北京的地下歌厅和烟熏火燎的胡同酒吧重燃起对中国摇滚以往历史和未来潜能的讨论。

　　A once uniform community, the rock scene has disseminated into a variety of subgenres, many of which have risen beyond the status of underground and have even expanded internationally, touring in the US and Europe. Foreign run organizations such as Maybe Mars, an independent label and now a veteran of Beijing rock, has fostered contemporary idols that have catapulted Beijing’s underground scene to international recognition from media.

　　摇滚乐类型曾经很统一，但是如今已经散布为各种各样的类型，其中的很多类型早已浮出地面，向世界扩展，在欧美国家进行巡回演出。诸如兵马司这种在国外演出的组织，是一种独立的标签，如今成为北京摇滚界的资深公司，它培育了遍布北京地下酒吧到获得国际媒体认可的当代偶像和音乐家。

　　Commenting on this split, Chang Liu, a former officer of musical affairs at the French Embassy in Beijing, once said, "Chinese rock music itself has developed into various scenes, and each of them may have their own agendas... I would suggest, there is a shift towards entertainment in Chinese rock music. Even Cui Jian himself has been tellingly devoted to televised singing competitions."

　　谈到这种分裂，前法国驻中国大使馆音乐事物官员刘畅曾说，“中国摇滚乐自身已经发展成了各种各样的场景，每个都有自己的诉求。我想说，中国摇滚乐在向娱乐方向转变。就连崔健自己也一直投身于电视歌唱比赛。

（编辑：何莹莹）