Chapter 73: "Best Lyricist"

After the Best New Singer Award, the next to be presented was the Best Lyricist Award.

By coincidence, Zhou Ran was also nominated for this award, and according to predictions from online users, his chances of winning were quite high. Zhou Ran's nomination rested on his song "A Thousand Degrees," whose lyrics were universally recognized as exceptional. Combined with its Chinese-style elements and the addition of the poem "Green Jade Table: Lantern Festival Night," it was considered almost a sure win.

Tonight, the guest invited to announce the Best Lyricist was Ma Yan, last year's winner of the same award.

Ma Yan herself was something of a prodigy, best known for her bold and unrestrained lyrics—a rarity, especially among female lyricists. Most women in the field tend to favor subtle and narrative-driven lyrics, but Ma Yan preferred to write fierce, iron-blooded verses.

Her appearance was entirely at odds with her writing style. Anyone hearing of Ma Yan for the first time would never imagine her aesthetic leaned toward a masculine edge. She looked every bit the gentle, delicate type—petite, soft, and fragile, with a voice to match. This striking contrast only won her more fans.

“Hello, everyone, I’m Ma Yan. I’m delighted to present this award tonight.” As Ma Yan stepped onto the stage and spoke, the audience erupted in shrieks.

“Ma Yan, you’re my idol!”

“This contrast! I can’t take it!”

“Who would have thought such a dainty girl could write lyrics like ‘Iron and Blood, Painted Glory’!”

“Every time I hear her speak, I’m amazed and utterly captivated!”

Ma Yan’s first words startled many, Zhou Ran included—he had only known her through her lyrics, which struck him as resolutely bold, powerfully grand. Hearing her speak in person was a shock.

It was as if a cute, bubbly pop song turned out to have been written by a burly man with eight-pack abs over six feet tall—the contrast was just that stark.

As Ma Yan formally began her introduction, the giant screen behind her lit up, displaying the four nominated lyricists of the year.

Ren Hao, for "Cinnabar Mole"
This song was quite popular this year, but it was clear even to casual listeners that it drew significant inspiration from Zhou Ran’s "A Thousand Degrees." It wasn’t plagiarism, exactly, but the feeling was much the same.

Peng Ting, for "The Sea"
A female lyricist known for her delicate touch, her works in recent years had been widely acclaimed and even adopted by several pop divas.

Ma Le, for "Goodbye"
A rising star in the industry, Ma Le had transitioned from poetry to lyric writing, bringing a certain classical flavor to his songs. In an era when Chinese-style music was on the rise, this made his work especially popular.

Zhou Ran, for "A Thousand Degrees"
When Zhou Ran’s name appeared, the hall rang with cheers, a testament to his popularity. He could have been nominated for Best Lyricist with numerous works, but there were simply too many to choose from. The organizers of the Golden Melody Awards had selected "A Thousand Degrees" as his representative piece, as it was the first to truly introduce the concept of Chinese-style music. Moreover, its companion poem, "Green Jade Table: Lantern Festival Night," had even been included in the latest educational textbooks.

This was nothing short of historic—over the years, almost no song lyrics had ever made their way into textbooks. Thanks to this, Zhou Ran’s name would remain prominent for years to come, even if he never wrote another song. The mere presence of "Green Jade Table: Lantern Festival Night" would ensure his enduring fame. Zhou Ran’s accomplishment was a shot in the arm for the entire Chinese music industry.

Who said Chinese pop songs were all shallow? Could lyrics with no substance ever make it into textbooks? Zhou Ran’s achievement was a resounding slap in the face to such critics. If these naysayers wanted to keep complaining, they should first try to produce a work worthy of being taught in schools.

“Alright, everyone’s seen the list of nominees. Now let me announce that this year’s Best Lyricist Award goes to Zhou Ran!” Ma Yan was direct and forthright by nature, never one to draw out suspense unnecessarily—a trait that matched her songwriting style perfectly.

Her actions proved the old adage true: a person’s work reflects their character. If someone with a sunny disposition tries to write something dark and gloomy, no matter how hard they try, it will always ring false.

As Ma Yan finished announcing the winner, Zhou Ran’s song filled the hall again—this time, the award-winning "A Thousand Degrees":

"Beyond the pass, a lonely inn, smoke and fire gone,
How can travelers sleep?
In winter’s chill, who adds a coat for me?
Through three or four night watches, the snow and wind never cease,
Only the poor thin horse finds no rest,
Wistful, I dream—how many months, how many years before I wake?"

As the song played, Ma Yan began to hum along softly. She had a little secret: she was actually a devoted fan of Zhou Ran.

What she admired most was Zhou Ran’s astonishing versatility as a lyricist. There’s a saying, “Amateurs watch the spectacle, professionals watch the technique.” It fit Zhou Ran perfectly—only those with true expertise could grasp the full extent of his creative power. He could master any style, and every lyric he wrote was nothing less than a classic.