The legendary live venues and the changing music scenesit was shutting down in early July (Feola 2015). As Maybe Mars was winding down its live busi-
ness, the company recruited Yang Hai Song from P.K. 14 as CEO, to reorganize the company
and focus on maintaining the professional quality the music label was celebrated for.
Conclusion: Meanings of the legendary music venues
Underworld and D22 were respected as legendary stalwarts of the music scenes in Taipei and
Beijing. The music styles they presented were both alternative, experimental, and were only
attractive to certain audiences. The participants in these two scenes were not lacking in renowned
musicians and fans with distinctive characteristics. Naturally, when it comes to rock, as in less
advanced countries, these venues were often praised as their local CBGB. The audiences and musi-
cians often recalled the good times and had fond memories of had happened to them in the scene.
This feeling of belonging made these venues the “home” or “classroom” of the participants, rather
than a business place. Meanwhile, as they gathered the most emerging bands with fringe music
styles, both venues released collective live albums. These included “Welcome to the Underworld
Live Recording” (《歡迎來到地下社會現場合輯》, 2010), “Let’s Make a compilation CD about
Underworld” 《來作一張( 地社合輯吧！》, 2012), and “Welcome to the Underworld Vol. 2 ”
(《歡迎來到地下社會vol. 2》, 2013), released by Underworld; and “Zoomin’ Night Live Record-
ing Vol. 1” 《燥眠夜－現( 場錄音第一輯》, 2010), and “The XP Sound” (《小萍之聲》, 2014),
released by D22 and XP. These live recording albums are the key to understanding the specific
indie music style of these two cities in 2010. They are also an important historic docu ment worthy
of preserving. When bands from the two cities visited each other’s country, Underworld and D22
were the places where foreign bands loved to perform and hangout (Figure 8b.1).
Figure 8b.1 Carsick Cars playing in Underworld, February 8, 2011 (photo by the author)