Samson Wong’s Murder Most Foul, his articulation of contemporary HK’s stagnancy, alludes to US pop and youth culture contemporaneous with the assassination of US President Kennedy (1963), which is the subject matter of Bob Dylan’s new song, released in March 2020 after eight gap years. JFK’s murder has admittedly changed American society as well as Dylan’s attitude of life. It fuelled the on-going literary movement Beat Generation, popularized through the 1950s, as the catalyst to the “hippie” youth culture of the late 1960s and early 1970s. 
“Our current generation resembles a Beat Generation more than any other time. In the '60s, people complained about life’s absurdity; they looked for self-redemption and spiritual growth. Eastern Zen or existentialism became a refuge. However, now we are completely beaten, displaced between work and entertainment, only political issues salvage for some a little bit of meaning. But what is political life? -- A large crowd on streets for demonstrations speaks of everyone’s rights, at the same time embeds individual ego and the quest for self-identity in collective actions … Are the drastic global changes in 2020 the end of an era and the beginning of another? Are we to become another Beat Generation for the future world?”

三⽉時，Bob Dylan發佈了他⼋年來第⼀⾸新歌 ‘Murder Most Foul’，全長⼗七分鐘，曲中講述六⼗年代⽢迺迪總統的謀殺案，同時如數家珍地道出當年流⾏⾦曲，審視當時的流⾏⽂化。這場謀殺似乎改變了當時美國社會氛圍，也改變了Dylan對世界的看法。這一切的背景氛圍是風行整個1950年代的「垮掉⼀代」（Beat Generation）以至及後的民間文化。
沒有如當今的一代比「垮掉的一代」更「垮掉」。六⼗年代，⼈們都控訴著荒謬，尋找⾃我救贖，靈性增長，投靠東⽅的禪，或存在主義，但如今我們的垮掉卻是徹底的垮掉，在勞役和娛樂之間流離失所，唯有政治⽣活才讓⼈挽回⼀點點意義。但政治⽣活是甚麼？⼀起示威擠滿⼀條⼤街，代表了每⼀個⼈的權益，亦隱埋了每⼀個⼈的⾃我，⾃我認同是在集體認同中找到的 。二零二零年，全球氛圍劇變，而世界沒有變得更好。這是係某個時代的結終，另一個時代的開端，我們可能會成為以後某代人所想像的另一個「垮掉的一代」。