Down-to-earth, Jiang Kun has made contributions in recent years, especially in the past ten years as a music assistant. Although he is not liked by most audiences, he has exerted great influence on phonology in China with his own efforts. In 2004, Jiang Kun began to hold a guiding position in China Music Association. At that time, he served as party secretary and vice chairman. At 20 1 1, Jiang Kun ceased to be the party secretary. When people thought that he would retire from the Music Association, who knew that he took over the post of Chairman of the Music Association from Liu Lanfang the following year. Up to now, Jiang Kun is 7 1 year old, so it's time to retire. Looking horizontally, Sun, the former chairman of the All-China Federation of Literary and Art Circles, became the chairman of the All-China Federation of Literary and Art Circles only after he left the post of Minister of Culture. At that time, he was 72 years old.

In the past thirty years, whether as an actor or as a director of the Music Association, Jiang Kun has made great contributions to the music industry in many aspects. The first is to cultivate talents. Jiang Kun has a high position in the field of phonology, not only because he is a disciple of teacher Ma Ji, but also because he has trained many talents. We know that one of Jiang Kun's disciples is a foreigner's disciple, namely Dashan. Today's Dashan once disappeared from people's sight, but it was well known at that time, and he could be seen in many programs at that time. Dashan has also contributed to the friendly exchanges between China and Canada. His disciples are: Liu Hui, Dashan, Quanhe Liu, Li Daonan, Xu Yong, Xia, Qi Liqiang, Qi, Xu Wen, Guo Dan, Cao Shuguang, Zhou Wei, Anton and Tian Ye. Among them, Tang Aiguo is a great apprentice, and besides Dashan, Zhou Wei should be the most famous.

As a crosstalk performer, he has created many excellent works. Ma Ji, our master, is extremely talented, and is taught by three masters, Hou, Guo Qiru, which determines that Ma Ji must have extremely high crosstalk skills. Ma Ji can speak both traditional crosstalk and new crosstalk. In contrast, Jiang Kun became a monk halfway and didn't practice traditional crosstalk. Many of Jiang Kun's cross talks actually rely on scripts, but he is not as good as Ma Ji himself. In the early days of Jiang Kun, thanks to Liang Zuo, a talented great god, the quality of his cross talk jokes was significantly higher than that of his peers, which was also the key for him to stand out. For example, Liang Zuo created many famous cross talks, such as "A Dream in the Tiger's Mouth", "Anxiety", "Breaking News" and "Elevator Adventure". Unfortunately, Liang Zuo died young. Without the blessing of a powerful script, Jiang Kun and Ying Da seem to have lost their luster, and the quality of Jiang Kun's cross talk has also declined to a great extent, losing its former glory. It was also after this that the development focus of Jiang Kun began to move closer to the direction of the Music Association.

Help many talented actors break into the famous places. As we all know, Peisi Chen and Zhu Shimao were introduced to the Spring Festival Gala by Jiang Kun. After the Spring Festival Gala, they became an instant hit. Although there are contradictions between Peisi Chen and CCTV in the future and they quit the CCTV stage for a long time, Jiang Kun's recommendation still has some merits. There is another person I have to mention, and that is Zhao Benshan. As a sketch master who has been on the stage of the Spring Festival Evening for many years, Zhao Benshan was also introduced to the Spring Festival Evening by Jiang Kun. After that, Zhao Benshan became famous all over the country and became the absolute shoulder of the Spring Festival Evening speech program. His sketch is the most anticipated program for the audience every year. And all this is closely related to Jiang Kun.

During his tenure as the director of Quxie, Jiang Kun made great innovations in China Quyi, and it was during this period that Jiang Kun's actions were beyond many people's understanding. In 2006, some crosstalk predecessors, led by Jiang Kun and Li Jindou, put forward the requirements of "anti-three customs" in view of some chaos in the crosstalk industry. Three customs, namely, vulgarity, vulgarity and kitsch. At that time, teachers in Jiang Kun took Degang Guo as an example and seriously despised the crosstalk industry for using these vulgar jokes as a burden. In the face of the market at that time, who said this sentence is well known. In 2007, Jiang Kun took the lead in drafting a proposal, calling on people from all walks of life to participate in cross talk and jointly resist the three customs.

In 2008, Jiang Kun made a proposal to fight against the three customs. The overall significance is that the crosstalk industry has moved from a small theater to a stage, a big screen and a party step by step, which is the progress of the crosstalk industry. If you want to continue cross talk, you should get rid of it. At present, the management of some small theaters is chaotic, and the performance in the form of small theaters is the dross of cross talk progress and the retrogression of development. Crosstalk should be held at big parties and on the big screen, so it is suggested to close the National Crosstalk Theater and get rid of these unhealthy things. You know, closing the small theater has touched the lifeblood of Degang Guo, which is the survival of Deyun Society. Lao Guo quit on the spot, with great resistance and later face. But in the end, the arm couldn't twist the thigh, and Deyun Society briefly fell down. The departure of a large number of crosstalk performers, including Deyun Sishao, made Deyun Society lose its vitality, and most of the separated actors also fell into the embrace of mainstream phonological societies.

After that, Mr. Jiang Kun did not criticize some actors' moral problems by name, but kept his mouth shut on the stage as a "son and grandson" to win glory for the crosstalk industry. An artistic actor should have the temperament of a scholar, not like a hooligan. No one needs to say these words. Later, in order to save the depression of TV crosstalk industry and the copyright issue, for the prosperity of Quyi, and for the legitimate rights and interests of crosstalk artists themselves, Teacher Jiang Kun once suggested that TV stations or radio stations should charge by the minute when playing programs such as Quyi crosstalk, which really affected the broadcast of TV dramas. We can't see such a big drama series as The Legend of Mi Yue now.

At that time, Jiang Kun, a crosstalk enthusiast and actor, injected vitality into crosstalk very early. Although many of Li Wenhua's works are task-oriented, they can still invent new burdens according to the rules of cross talk. Working with Tang Jiezhong, he was lucky enough to meet Liang Zuo again, which started his golden age. Later, he became a music assistant and actively made suggestions, hoping to make cross talk develop into what he thought was a good lunch. Every step of the way, Jiang Kun is actually trying to go in a good direction and develop in the direction he thinks is good.

We acknowledge Jiang Kun's outstanding contribution to China Quyi, but we should also look at this issue from a double perspective. Jiang Kun's talent in cross talk is really limited, especially compared with his master Ma Ji. As for Jiang Kun's advocacy against the three customs, I think it should be guided correctly, not killed with a stick. After all, cross talk is for the audience, and what the audience likes is the best.