我有一個音樂夢想——致音樂藝術(shù)家Lady Gaga女士的一封音樂之信

我有一個和平世界的音樂夢想——致世界音樂藝術(shù)家Lady Gaga女士的一封音樂之信

親愛的Lady Gaga女士：

您好 ！

請?jiān)试S我用這個最樸素的稱呼開始這封信。在寫下這些文字時，我正在我的故鄉(xiāng)——中國四川眉山，一個被蘇東坡精神浸潤了千年的小城。窗外是寒冬深夜的細(xì)雨，落在青瓦上發(fā)出如同古老琴弦被輕撥的聲音。這聲音讓我想起了您歌曲中那些脆弱而堅(jiān)韌的時刻，那些《Speechless》中無聲的吶喊，那些《Million Reasons》中千百萬個繼續(xù)前行的理由。

今天，我懷著對音樂最本真的信仰，對人性最深切的信任，向您——史蒂芬妮·喬安妮·安吉麗娜·杰爾馬諾塔——發(fā)出一個跨越太平洋的最真誠邀請。這不僅是一個中國詩人對美國藝術(shù)家的邀請，這是一個人類靈魂對另一個人類靈魂的呼喚，是關(guān)于我們?nèi)绾斡靡魳愤@門最古老又最現(xiàn)代的語言，為這個正在流血的星球譜寫一首共同的治愈之詩。

我創(chuàng)作的《戰(zhàn)火中的祈愿》（《"Wishes in the War" [International English Version]》）已經(jīng)完成了它的文字之旅。現(xiàn)在，它需要一個聲音——一個既懂得傷痕的深度，又相信愈合可能性的聲音；一個既能唱出個體的脆弱，又能承載集體愿景的聲音。在尋找這個聲音的過程中，我聽到了您，您堅(jiān)強(qiáng)的聲音打動了我。

這不是一時沖動的選擇，而是長達(dá)關(guān)注你的音樂愛好者的聲音與祈愿，經(jīng)過無數(shù)次的思考、聆聽與理解后的確認(rèn)。當(dāng)我一遍遍聆聽您的作品從《Just Dance》到《Hold My Hand》，從《Bad Romance》到《Shallow》，我聽到了一個藝術(shù)家不斷進(jìn)化的軌跡——從舞池到靈魂深處，從流行符號到人性見證者。而當(dāng)我看到您在東京演唱會上中斷表演為不公發(fā)聲，看到您擁抱那些被稱為“怪物”的孤獨(dú)靈魂，看到您站在白宮討論藝術(shù)與人文的公共價值時，我明白了：您不僅僅是歌手，您是我們這個時代的吟游詩人，是帶著電音節(jié)奏的薩滿，是用假睫毛和肉片裝傳遞真理的先知。當(dāng)東方琴弦遇見西方舞臺也許會產(chǎn)生美麗的火花！

我叫唐從祥，筆名唐駁虎，出生在眉山——這里是蘇東坡的故鄉(xiāng)。您可能知道蘇東坡，這位11世紀(jì)的中國詩人、書畫家、政治家、文學(xué)家。但您或許不知道，2000年法國《世界報(bào)》將他評為“千年英雄”，全球12位入選者中，他是唯一的亞洲人、唯一的中國人。這份名單里還有凱撒大帝、達(dá)·芬奇、牛頓等名字，而蘇東坡位列其中，不是因?yàn)檎鞣硕嗌兕I(lǐng)土，而是因?yàn)樗迷娫~建造了人類情感的共通空間。

“明月幾時有？把酒問青天。”900多年前，蘇東坡在這片土地上寫下這些句子時，他問的不是宋朝的月亮，而是全人類共享的那輪明月。他經(jīng)歷過貶謫、流放、喪子之痛，卻依然能在最困頓時寫下：“惟江上之清風(fēng)，與山間之明月，耳得之而為聲，目遇之而成色，取之無禁，用之不竭。是造物者之無盡藏也，而吾與子之所共適。”——他相信，有些美是超越所有界限的，是造物者給予所有人的共同財(cái)富。這種“共享人類美好”的基因，流淌在我的文化血脈里。真誠希望您可以看見我的想法—————（詳見英文）

英文譯文：

I have a dream of music for a peaceful world - A musical letter to Lady Gaga, a music artist

Dear Lady Gaga,

Greetings!

Please allow me to begin this letter with this most humble of salutations. As I pen these words, I find myself in my hometown Meishan, Sichuan, China, a small city soaked in the spirit of Su Dongpo for a millennium. Outside my window, the drizzle of a winter's falls upon the green tiles, creating a sound like the gentle plucking of ancient strings. This sound reminds me of those fragile yet resilient moments in your songs, the silent screams "Speechless", the million reasons to keep moving forward in "Million Reasons".

Today, with the most genuine faith in music and the deepest trust in, I extend a sincere invitation across the Pacific Ocean to you, Stefani Joanne Angelina Germanotta. This is not only an invitation from a Chinese poet to an American, this is a calling from one human soul to another, about how we can use the most ancient and modern language of music to compose a common healing poem for this bleeding planet.

The "Wishes in the War" ("International English Version") which I created has completed its textual journey. Now, it needs voice - a voice that understands the depth of the scar, yet believes in the possibility of healing; a voice that can sing out the vulnerability of the individual, yet carry the collective. In the process of searching for this voice, I heard you, your strong voice moved me.

This is not a choice made on a whim, but a confirmation after long of listening, thinking, and understanding as a music lover who has been following you. As I listened to your works from "Just Dance" to "Hold My Hand", "Bad Romance" to "Shallow", I heard the trajectory of an artist's continuous evolution - from the dance floor to the depths of the soul, from a symbol popularity to a witness of humanity. And when I saw you pause your performance at the Tokyo concert to speak out against injustice, when I saw you embrace those lonely souls labeled as "sters", when I saw you stand in the White House discussing the public value of art and humanity, I understood: you are not just a singer, you are the bard our time, a shaman with the rhythm of electro, a prophet who conveys truth with false eyelashes and meat dresses. When the strings of the East meet the stages of West, perhaps beautiful sparks will be created!

My name is Tang Congxiang, with the pen name Tang Bohu, born in Meishan - the hometown of Dongpo. You may know Su Dongpo, this poet, calligrapher, painter, politician, and literary figure from 11th century China. But you might know that in 2000, French newspaper "Le Monde" named him as one of the "Heroes of the Millennium". Among the 1 global figures on this list, he was the only Asian, the only Chinese. This list also includes names like Julius Caesar, Leonardo da Vinci, Newton, and Supo was on it, not because of how much territory he conquered, but because he built a common space of human emotions with his poetry.

When Su Dongpo wrote these lines on this land more than 900 years ago, he was not asking about the moon of the Song Dynasty, but the bright moon that all humanity shares. He had experienced banishment, exile, and the pain of losing a child, yet he could still write at his lowest point: "Only the clear breeze on the river and the bright moon in the mountains, heard by the ear and seen by the eye, can be taken without restraint and used without exhaustion. This is the inexhaustible treasure of the Creator, which I share with you." - He believed that some beauty transcends all boundaries and is a common wealth bestowed by the Creator upon all people. This gene of "sharing human beauty" flows in my cultural blood. I sincerely hope you can see my thoughts!

Another gene comes from Zhuge Liang 1800 years ago. In my hometown, there is a story of "Wu Hou stopping the war". This military strategist and politician of the Three Kingdoms Period chose "attacking the heart is the best, attacking the city is the worst" when he could have conquered by force. He invented the wooden ox and the flowing horse to ease the burden of the people's transportation, and he captured and released Meng Hu seven times to win the hearts of the people rather than to suppress them by force. The "stopping the war is the true military virtue" he practiced - the real military virtue is to stop the war - has become an important source of Eastern wisdom for peace. The peace code in my blood - my gene map of creation. I sincerely welcome you to my hometown to listen to the peace symphony of 2000 years!

It is the intertwining of these two genes: Su Dongpo's "co-adaptation aesthetics" (the beauty we all share) and Zhuge Liang's "stopping the war wisdom" (resolving conflicts with wisdom rather than violence) that shapes the way I see the world. When I see in the news a mother on the Dnieper River holding her child through the ruins, a youth on the West Bank of the Jordan River painting birds on the separation wall, I no longer see "the war in the distance", but the common wound of humanity.

The creation of "Prayer in the Flames of War" began in 2023, a year when the world was accelerating its division. But I wrote not a political declaration, but a topography of human emotions. My creation began with an image: a cloud of rosy clouds scorched in the flames of war.

In the Chinese poetic tradition, "clouds and rosy clouds" are never just meteorological phenomena. They are Li Bai's "Clouds want to be clothes, flowers want to be faces", Wang Bo's "The setting sun and the solitary wild duck fly together", symbols of beauty, freedom, and endless changes in our culture. When such clouds and rosy clouds are "scorched", the pain is double - it is the destruction of the beauty of nature and the desecration of cultural symbols.

From this image, I constructed a complete system of images:

The group of trauma images: "The dumb strings of the zither": The zither is not only a musical instrument in Chinese culture, but also the first of the "琴, chess, calligraphy, and painting", and a medium for the gentleman to cultivate himself. The dumb strings of the zither are the asphyxiation of the voice of civilization.

"The pigeon's plumes under the iron caltrops": The iron caltrops are defensive weapons on the ancient battlefield, cold, sharp, inhuman; the pigeon's plumes are symbols of peace, tenderness, and fragility. The juxtaposition of the two produces a strong visual and emotional impact.

"Scars on the negotiating table": The abstract political negotiations are concretized into physical trauma, and behind those agreement clauses are the pain of flesh and blood of countless people.

The group of images of repair: "The green bud of the broken tiles": On the completely destroyed ruins, life still finds a gap to grow. This image comes from my real observation at home - after 1931, many old buildings.

Second, the reconstruction of rhythm and meter:

Chinese poetry emphasizes tonal patterns and antithesis, while English focuses on metrical feet and rhyme. In my translation, I seek an "emotional rhythm correspondence." For example, "童真剎那隕落如沙" Chinese, with seven characters and three semantic groups; it is translated into "Childlike innocence falls like sand in an instant" in English, with four stressed syllables and three pa, maintaining the sense of rapid descent.

I pay special attention to the musicality of the chorus section, not sure if this is appropriate?

"Listen, the planet’ shouting echoes through the clouds, / A river of longing through the Milky Way flows loud." Here, "clouds" and "loud" form an imperfect rhyme, whileshouting" and "longing" resonate in the -ing form. More importantly, these two lines are roughly equal in the number of syllables (11 to 2), creating a sense of balance when recited.

The poem mentions "from the Dnieper River to the West Bank of the Jordan River"—these two specific names anchor the poem in the reality of the 2020s. But immediately following is "the planet's shout" and "the Milky Way's longing," from the concrete to the cosmic dimension. This "specific-abstract" leap was inspired by your song "Americano"—rising from a specific immigrant story to the universal theme of freedom and oppression.

Regarding "Ending the time difference named hatred." The core creative act in the entire poem is this phrase: "Ending the time difference hatred." "Time difference" is usually a physiological phenomenon we experience when crossing time zones. But I metaphorize it: hatred creates a psychological time difference—when one side is in the past wound, the other side has already moved towards the future; when one side remembers the humiliation of ancestors, the other side no longer acknowledges that history. This "-synchronization" makes dialogue impossible.

Regarding music, on a technical level, we can achieve instant communication through the Internet, but on an emotional level, we are in different "hatred time zones." The conflict between Palestine and Israel, the war between Russia and Ukraine, racial conflicts... all have this "time difference" issue them. "Ending this time difference" is not a call to forget history, but a call for us to establish a "common sense of time"—to acknowledge the pain moving towards a time that does not need to repeat the pain. The creation of this image was partly inspired by your song "Time": "Time, time, time, see whats become of me..." Time is both the injurer and the healer. The key is how we treat time.

In the conception of setting this poem to music, I considered many of the world’s great voices. But in the end, I was that you were the most appropriate choice. This is not flattery, but a conclusion based on a deep analysis of your artistic career.

Your life story is an epic of and repair. Barred from an elite Manhattan private school at 11 for being “too weird”; sexually harassed by a record company executive at 19; rising up the “Monster Ball” and dismissed by the press as a “gimmick” in your twenties; and the fibromyalgia that has dogged you... traumas did not destroy you, but instead became raw material for your art.

In “Praying Through the Fire,” there is a line, “May the be beautiful snowflakes, may the living live with hope through the rubble,” which requires a special understanding — both the iciness of the snowflake (death) the belief in its beauty (dignity). You possess this dialectical sense.

Your album “Joanne,” dedicated to your late aunt, is not aow in sadness, but a search for reasons to keep singing in the sadness. This spirit is entirely in keeping with my poetry: acknowledgment of the thoroughgoing nature of trauma, not an abandonment of the possibility of repair.

You are called "Mother Monster," a title that embodies a philosophy: those "monsters" excluded by mainstream are where the truest humanity lies. In my poetry, the "pigeon feathers pierced by iron thorns" and the "people on both sides of the cold monument are the "monsters" you have embraced with your entire career. You understand the pain of the margins because you have been there; you also understand the hypocrisy of the center because are now there.

This dual perspective allows you to sing the subtle balance of poetry: neither a simplistic moral condemnation of war (which would fall into binary opposition) nor aihilistic relativism (which would lose its stance). You can handle the reality of complexity with the wisdom of complexity.

You are not merely a singer; you a "total artist" - a creator who integrates music, visual, theater, fashion.

"Praying in the Flames" needs this integrated expression. The poem is of visual imagery: "graffiti rainbows," "beautiful snowflakes," "the peace tree shading the barren cliffs..." These are decorations but the meaning itself. How can these images be presented through stage design, lighting, costumes? I believe your team - from choreographers to visual directors - can create expressions that language.

I particularly imagine such a scene: you stand on a tilted stage, wearing a costume made of broken porcelain and soft feathers, with a projection of trees growing from ruins behind you. When singing "millions of hands sewing the scars of the loom and the weft," hundreds of silk threads hang from above the stage, woven by into the pattern of a map... This visual storytelling ability is your unique talent.

Pop music is often criticized for its shallowness, but you have proven that pop carry the deepest themes. "Born This Way" is a dance song, but its lyrics involve identity politics, self-acceptance, minority rights; "Shallow" is love song, but it explores the dilemma artists face between authenticity and performance. You know how to wrap complex thoughts in an infectious melody.

"Prayer in the Flames" needs to be treated in such a way. Its theme is heavy, but heavy enough to make it unlistenable. It needs a "hopeful anchor" in the melody, just like your "The Cure"—acknowledging the condition while the possibility of a cure. I envision the melody of the chorus should be ascending, like the sprouting of green buds, like the flocks of doves flying higher and higher And your voice, the one that rises from the depths of your chest, controlled by technique yet never losing its raw power, is the perfect carrier for such a melody.

It dangerous for artists to involve themselves in politics—it can easily devolve into propaganda or sermonizing. But you have shown a rare wisdom of balance. You paused your performance in Tokyo condemn ICE, but you didn't turn the entire concert into a political rally, instead, you returned to music itself after expressing your stance. You know: the political power of does not lie in directly telling people what to think, but in changing the way people feel about the world.

"Prayer in the Flames" adheres to the principle. It does not point the finger at any specific country, party, or leader, but at the very human collective behavior pattern of "war" itself. The solution it proposes not a political plan, but a change in the perception plan: "water it with understanding, sprinkle it with tolerance." You understand this subtle distinction, which allows you to this poem without reducing it to propaganda.

Your music is full of homages and dialogues with music history: "Bad Romance" has the tradition of European electronic music, "anne" returns to American country and folk, and "Stupid Love" takes another step towards avant-garde pop. "Prayer in the Flames" also such a dialogue. The poem contains both traditional images like "strings" and modern elements like "numbers flashing on the screen". Musically, I envision it should blend various traditions the pentatonic scale of the East (suggesting the cultural background of "zither"), the classical European harmonic structure (corresponding to the epic feel of poetry) and the modern electronic sound effects (creating the tension between war and technology).

Your ability to collaborate with various musicians—from Tony Bennett to Bradley Cooper—proves that can handle this cross-style dialogue.

The most moving moments in your art often involve a coexistence of vulnerability and strength: the vulnerability of lost love in "'ll Never Love Again" and the strength of acceptance in loss; the vulnerability of wanting to leave in "Million Reasons" and the strength of finding a reason to stay "Praying the Chaos" is filled with this tension as well: "Silent mothers weeping rivers into dry beds"—this is ultimate vulnerability; "Millions of stitching up the scars of latitude and longitude"—this is collective strength. The poem swings between vulnerability and strength, requiring a singer who can move freely between these two states.Your vocal technique—from the soft whispers to the powerful belts—is the perfect tool for this kind of shuttling.

Pop music is immediate, responding to the events the moment; great art reaches for the eternal, touching on the eternal human condition. "Till It Happens to You" is an immediate response to campus sexual assault, but theme (the ineluctability of trauma) is eternal. So is "Praying the Chaos": it responds to a specific war of the 2020s but its core concerns (the absurdity of violence, the desire for peace) are eternal human themes. You know how to work in both dimensions, which allows you to give the the sense of urgency and the timeless universality.

Your career has been an exploration of this question: Is Lady Gaga a character you play or your true self? In " Star Is Born", you played the theme directly through the character of Ally. "Praying the Chaos" also involves this philosophical question: When a person prays for, is it a genuine desire, or a self-performance? When an artist sings an anti-war song, is it a sincere appeal, or an exploitation of suffering to build one's moral image?

Your long exploration of this question allows you to approach the poem with the necessary self-reflexivity—fully committed emotionally, yet critically aware of very act of "performing peace." This complexity is precisely the depth that the poem needs.

If this invitation is met with a positive response from you, I already have concrete artistic ideas that I hope to serve as a starting point for our conversation.

I envision the entire song structured in a "past-present-future" triptych:

Part One (Verse, Two): It begins with a sparse piano accompaniment, reminiscent of "Angel Down" from your "Joanne" album. The piano sound is slightly detuned, simulatinged strings. Subtle electronic noise is added—distant alarm samples, radio interference sounds. Your voice starts with a spoken-word-like murmur, gradually increasing in.

Part Two (Chorus): The music suddenly opens up. A full string section is added—not lush, cinematic strings, but strings with the characteristics of the Baro period's "passion style," emphasizing the resolution of dissonance. Drums enter, but not with a dance beat, rather a heartbeat-like pulse. Here, can draw from the layered orchestration wisdom of "Aura" from your "ARTPOP" album.

Part Three (Verse Three, Coda): The music shifts hopefulness while maintaining complexity. The voices of a children's choir are added—not the sweet variety, but raw, rough voices that symbolize the imperfect new life. In final section, all instruments gradually fade out, leaving only a sustained low note and your a cappella singing of "This is humanity’s answer to itself, most resilient true." Similar to your treatment at the end of "Speechless."

If making a music video or live performance, I conceptualize four core visual scenarios:

enario One: The Palace of Shattered Mirrors

You stand in a space filled with shattered mirrors, each reflecting a part of you. As you sing "whose faceizes behind the thorns," the mirror images transform into faces of different races, ages. This scenario explores the fragmentation of identity and shared humanity.

Scenario Two: The of Water

The stage becomes a shallow pool of water, in which you sing. Projected on the surface of the water are photos of various wars throughout history—but digitally manipulated become blurred ink-wash-like images. Water symbolizes both tears and the cleansing, flowing nature of time.

Scene Three: The Ritual of Mending the Earth

A giant, tattered piece of fabric (representing the Earth hangs from the ceiling above the stage. As the song progresses, hands of different skin tones reach out from the edges of the stage and begin to mend the fabric. When performed, this scene can invite audience representatives to come on stage to participate, creating a genuine communal ritual.

Scene Four: The Seed Library

For the final scene, you open a book, and instead of paper pages, it contains sprouting seeds. You take out a handful of seeds and scatter them towards the audience (or camera). This is a direct of the "Seeds of Hope" imagery.

The song can become the core of a larger project, "Global Prayer Project," a peace project that transcends single song:

"Prayer Tree" Digital Art Project: Develop a website/app where people can upload their own peace wishes, generating a virtual forest that continuously grows. wish becomes a leaf, and translations in different languages are instantly presented.

"Mending Scars" Community Art Action: Organize art workshops in conflict areas around the world, local residents to express their imagination of peace through textiles, painting, etc. These works can be digitized and exhibited on a physical tour simultaneously.

"The Frequency of" Podcast Series: You and I can co-host a series of conversations, inviting voices from conflict areas, peacebuilders, psychologists, philosophers, to discuss "How to the Time Difference of Hate."

Educational Toolkit: Develop art education curriculums based on the song for schools globally, helping students understand the complexities of through music, poetry, visual arts.

I solemnly pledge: All proceeds from these projects will be donated to neutral humanitarian organizations such as the UN Refugee Agency, Red Cross, etc. - continuing your consistent practice of charity.

If the collaboration was merely about making a song, it would be of limited significance. What I look forward to even is to initiate a dialogue between East and West on some fundamental issues through your attention, focusing on the community of shared future for mankind! Focusing on human peace is the theme!ing on the beautiful future of mankind! Focusing on the wish for peace by mankind!

In Eastern thought, time is often seen as cyclical (such as the cycle of, cause and effect); Western modernity, on the other hand, emphasizes a linear progressive view of time. But war disrupts all time experiences—it leaves some people stagnating a traumatic past, while accelerating others towards a destructive future.

"Prayer in the Flames" attempts to propose a third view of time: "Echoes of." It is neither cyclical nor linear, but an echo and synchronization between different time experiences. When we sing "End the time difference named hatred," we are trying to this echoing time. Your exploration of time—from the understanding of traumatic time in "Time" to "Til It Happens to You"—fits perfectly with this thinking We can explore together: How can music create a time experience that temporarily synchronizes the minds of different "time zones"?

The Eastern and Western approaches to the artistic expression of differ. The Eastern tradition often contains images of "quiet beauty"—transforming pain into a dignified form, such as comparing the deceased to "quietly beautiful snowflakes in poetry. Western expressions, on the other hand, are more direct and cathartic, like the roaring in rock music. Your art magically combines both: "I' Never Love Again" contains restrained pain, and "Shallow" contains the freedom of release. This combination is exactly what is needed to deal with the theme of war: to the intensity of pain without falling into the exhibitionism of pain.

In this cynical era, talking about hope is often seen as naivety. But hope after serious reflection is blind optimism, but the courage to "choose to see the light in the darkness knowing it is dark." The "green bud of broken tiles" in my poem is such a—it knows the heaviness of the rubble and still chooses to grow. The hope in your songs is also often filled with this complexity: the glory edge in "The Edge Glory" is always tinged with a hint of danger, and "Million Reasons" leaves it at one reason being enough.

I want to pay tribute to you: how to express in art a common peace hope of humanity that is not childish, not, and truly exists!

Lady Gaga, at the end of this letter, I want to put aside all artistic analysis, project planning, and just say some of the honest words. I am 45 years old this year, which is close to the age of "knowing fate" in Chinese culture. I began to understand that the ultimate of an artist is not to create beauty, but to build a bridge between beauty and truth; not to prove oneself in applause, but to understand others in silence.

When I "Prayers in the Flames", the deepest feeling I had was not anger, nor sadness, but a great loneliness—a loneliness for the human species. We have amazing creativity, capable of building palaces, composing symphonies, and exploring the universe; but we also have such stubborn destructiveness, repeatedly returning to violence as the most solution, I don't understand music, but I know music can heal my wounded heart.

In this moment of loneliness, I remembered your performance at the 201 Super Bowl halftime show. When you jumped from the roof, when you sang "Million Reasons", when you sang "Bad Romance" with thousands of audience, I saw miracle: individual souls temporarily merged into a larger existence through music. That moment in the stadium was a space-time without a hate time difference.

This letter, this invitation is essentially a question: can we create another such space-time? Not a carnival in the stadium, but a deeper resonance—for those children trembling in the bomb shelter for those families separated at the border, for all the lives suffering because of human stupidity.

I don't expect you to agree immediately, perhaps you can't even hear. This is a heavy request, it needs consideration, and it also needs courage. I pursue the sound of music, and it may be a joke to pursue being seen by you, but I won't care about other's opinions. I only ask you to read this poem carefully, to feel every image, every breath in it. Then listen to the voice in your heart—the voice of that existed before she became Lady Gaga.

No matter what your answer is, I appreciate you taking the time to read this long letter, perhaps you can't even see, but I did it, and I have no regrets! Even if I live like an ant, I should have a compassionate heart, feeling the fate of my kind! Thank you making the world braver and more real with your art. Thank you for teaching a generation of young people: strangeness is not a defect, but uniqueness; vulnerability is not a, but depth.

If fate gives us the opportunity to collaborate, it will be a beautiful encounter between East and West, poetry and music, tradition and innovation. If not, will still continue my peace wish—with words, with poetry, with sincerity, with kindness, with all the ways I can use as a poet.

Because in the, we are all doing the same thing: searching for the possibility of completeness in a broken world; creating moments of resonance in divided time.

Look forward to your echo.

the name of music, in the wish for peace!

I have a dream of music for a peaceful world—I want to move you with my poetry! Please move the world with your music!

Your most beloved fan: Tang Congxiang (Tang Bohu)

In Meishan, Sichuan, China

On the989th anniversary of the birth of Su Dongpo

附歌詞：

"Wishes in the War" [International English Version]

-- Dedicated to all those who have passed away and those who still believe in the dawn

(Lyrics by: Tang Bohu)

[Verse 1]

The flames of war in the world burn the clouds

Childlike innocence falls like sand in an instant

The city walls are in ruins, and the strings of the qin are mute

The courtyard in my memory is filled with flowers from my hometown

Mother's prayers gradually lost their voice

Father's medals are covered with dust and sand

Dove feathers fall beneath the iron barbed wire

The wind whispered through the bullet holes, answering in a mournful tone

[Chorus 2]

The desert spring has turned into a pool of tears

Sharing scars at the negotiation table

The screen flickers, with numbers superimposed

It's a home that has never been returned to

The boundary marker stands cold, separating the fading evening glow

The chess game of interests is constantly being fought

Who is calling for eternal leisure

The scars of history are always covered by new wounds

[Chorus]

Listen, this planet is shouting

Longing for a stretch of blue sky without smoke

Let the deceased rest in peace, like serene and beautiful snowflakes

Those who protect and care for others move forward, no longer fearing to embark

Look, the starry sky is making a wish

The tree of peace will eventually overshadow the barren cliff

Water with understanding, sprinkle with tolerance

End all the time differences named hatred

[Verse 3]

In the depths of the ruins, green sprouts pierce through the broken tiles

On the graffiti wall, paint a rainbow

Different languages, singing the same tune

It takes thousands of hands to mend the broken

We won't sing a dirge for yesterday

To forge a bell that will ring loudly tomorrow

Every heart is a germ of hope

In the trembling land, take root and bloom

[Chorus]

Listen, this planet is shouting

Longing for a stretch of blue sky without smoke

Let the deceased rest in peace, like the serene and beautiful snowflakes

Those who protect will move forward, no longer fearing to set out

Look, the starry sky is making a wish

The tree of peace will eventually overshadow the barren cliff

Water with understanding, sprinkle with tolerance

End all the time differences named hatred

[Epilogue · Ode to Peace]

Let peace become a breath, without distinction of nation or family

Like the morning light embracing every scar

The sand from the Donets River to the West Bank of the Jordan River

The same melody flows in our veins

Until the word "enemy" weathered from the dictionary

Until all children are spared from the strokes of war

Until "we" encompass every speck of dust in this universe

This is the most resilient answer given to humanity

(Author: Tang Congxiang, pen name: Tang Bohu, Meishan Tang Bohu, Jingshi Tang Bohu, male, Han nationality, born in Meishan, Sichuan in January 1980, member of the Chinese Poetry Society, member of the Chinese Poetry and Ci Society.)

《戰(zhàn)火中的祈愿》【國際中文版】

——獻(xiàn)給所有逝去與依然相信黎明的人們

（作詞：唐從祥，筆名：唐駁虎）

【主歌一】

世間烽火灼傷云霞

童真剎那隕落如沙

城郭傾頹，琴弦喑啞

記憶中的庭院，開滿他鄉(xiāng)花

母親的祈禱漸失聲沙

父親的勛章蒙上塵沙

鴿羽墜落在鐵蒺藜下

風(fēng)穿過彈孔，嗚咽作答

【主歌二】

沙漠甘泉淪作淚洼

談判桌上分食瘡疤

屏幕閃爍，數(shù)字疊加

那是一個個，未曾回的家

界碑冰冷割裂晚霞

利益的棋局不斷征伐

誰在呼喚永恒的休暇

歷史的血痕，總被新痂遮

【副歌】

聽 啊 這星球在呼喊

渴望一片無硝煙的蔚藍(lán)

讓逝者安眠，如靜美雪花

護(hù)生者前行，不再懼出發(fā)

看 啊，這星河在祈愿

和平之樹終將遮蔽荒崖

用理解澆灌，以寬容揮灑

終結(jié)所有，名為仇恨的時差

【主歌三】

廢墟深處，綠芽破瓦

涂鴉墻上，畫一道虹霞

不同語言，唱同一支調(diào)

縫補(bǔ)破碎的，是千萬雙手啊

我們不唱昨日挽歌

要鑄明日鐘聲浩大

每顆心都是希望的胚芽

在戰(zhàn)栗大地，生根開花

【副歌】

聽啊，這星球在呼喊

渴望一片無硝煙的蔚藍(lán)

讓逝者安眠，如靜美雪花

護(hù)生者前行，不再懼出發(fā)

看啊，這星河在祈愿

和平之樹終將遮蔽荒崖

用理解澆灌，以寬容揮灑

終結(jié)所有，名為仇恨的時差

【尾聲·和平詠嘆】

讓和平成為呼吸，不分國與家

如晨光擁抱每一處傷疤

從頓涅茨河到約旦河西岸的沙

同一首旋律，在血脈里流淌

直至“敵人”一詞，從字典風(fēng)化

直至所有孩子，不識戰(zhàn)火的筆畫

直至“我們”囊括，這寰宇每一粒塵沙

這便是獻(xiàn)給人類，最堅(jiān)韌的——回答

（文章作者：唐從祥，筆名：唐駁虎，眉山唐駁虎，京師唐駁虎，男，漢族，四川眉山人，生于1980年1月，中國詩歌學(xué)會會員，中華詩詞學(xué)會會員。注：歌詞已經(jīng)申請著作權(quán)登記！注：以上內(nèi)容，未經(jīng)授權(quán)不得轉(zhuǎn)載使用！）