洪通50歲開始閉門自學研究繪畫，1972年一次南鯤鯓代天府廟前攝影比賽機緣，意外獲得漢聲雜誌報道，70年代掀起一股「洪通狂潮」，1976年洪通在台北美國新聞處林肯中心舉辦首次個人的畫展，震撼台灣藝壇。 Hung Tung began teaching himself to paint in his fifties. A 1972 feature in Echo Magazine brought him unexpected attention, sparking a 'Hung Tung craze' in the 1970s. In 1976, his first solo exhibition at the Lincoln Center of the American Institute in Taipei shook the Taiwanese art world.
1976年（民國65年）12月3日，李雙澤在淡江文理學院舉辦的一場西洋民謠與熱門音樂演唱會上，登高一呼「我們應該要唱自己的歌」，註記下了校園民歌運動的轉捩點。 On December 3, 1976, at a Western folk and pop music concert held at Tamkang College, Li Shuang-ze stepped forward and declared, 'We should be singing our own songs' — marking a turning point in the campus folk song movement.
在1976、1977年間，陳達至「稻草人」駐唱，吸引大群聽民謠、聽搖滾的文青、嬉皮前來「朝聖」，蔚為奇觀。 In 1976 and 1977, Chen Da held a performance residency at the Scarecrow restaurant, drawing crowds of folk-music and rock-loving intellectuals and counterculture youth who came as if on pilgrimage — a remarkable cultural phenomenon.
《島嶼邊緣》雜誌由王浩威、姚立群等人發行，大體而言投入者都有「超越狹隘的統獨國族論述，進行全面的激進民主鬥爭」的基本共識。 Island Margin magazine, published by Wang Hao-wei, Yao Li-chun, and others, united contributors around a shared commitment to 'transcending narrow unification/independence nationalist discourse and pursuing an all-encompassing radical democratic struggle.'
對台灣本土意識的反思促使了水晶唱片去探索、紀錄能夠深刻反應臺灣本土全貌的聲響，收集了具有民間特色民俗音樂的《來自台灣底層的聲音》即為一例。 Reflection on Taiwan's local identity drove Crystal Records to explore and document sounds that authentically captured Taiwan's grassroots culture. Sounds from the Depths of Taiwan — a collection of folk and indigenous music — was one such document.
「電音三太子」源自台灣民間信仰中的「哪吒」，大約自2006年起，北港太子會、朴子太子團等團體將電子音樂、流行音樂搭配陣頭演出，親民又有活力的特色逐漸被視為台灣本土文化的重要象徵。 Electronic Nezha (電音三太子) is rooted in the folk deity Nezha. Beginning around 2006, groups like Beigang Taizi Hui and Puzih Taizi Tuan began pairing electronic and pop music with traditional temple parade performances. Their approachable, energetic style gradually became recognized as an important symbol of Taiwanese grassroots culture.
台語由滾歌手伍佰指出，台灣一直沒有超越語言、族群的文化，自2006首次舉辦的「台客搖滾嘉年華」演唱會就是由伍佰等眾多音樂人推動台客流行文化活動之一。 Taiwan rock musician Wu Bai has observed that Taiwan has never had a culture that transcends language and ethnicity. The Taikè Rock Carnival, first held in 2006, was one of the events promoted by Wu Bai and many other musicians to popularize taikè (台客) cultural identity.
2005年8月，由於電視媒體大量炒作「台客文化」一詞，引發學界與文化界的論戰，雙方爭執不下，甚至驚動當時的總統陳水扁出面緩頰。 In August 2005, television media's saturation coverage of 'taikè culture' ignited an intense debate between academics and cultural commentators. The controversy escalated to the point that then-President Chen Shui-bian personally intervened to try to defuse tensions.
《台灣音計畫》深入全台計畫性的聲音採集，以主題整合的方式、地域特殊性挑選全台八十至一百個定點，透過聲音採集循線將在地文化觀點與議題和自然、 環境、經濟、社會、人文等相關議題結合。 The Taiwan Sound Project conducted systematic field recordings across the island, selecting eighty to one hundred sites across Taiwan through thematic and regionally specific criteria, using sound to connect local cultural perspectives with issues in nature, environment, economics, society, and the humanities.
國片《海角七號》上映於2008年，其中對於日本殖民時代的情感得到廣大迴響，而其中以樂團為主題的劇情也掀起一波樂團電影、電視劇風潮。 The Taiwanese film Cape No. 7 was released in 2008. Its treatment of emotions from the Japanese colonial era resonated widely with audiences, while its band-centered storyline sparked a wave of band-themed films and television dramas.
澎葉生 （Yannick Dauby）和許雁婷在嘉義縣共同合作建置聲音資料庫─嘉義聲音計畫，他們走訪田野、採集嘉義縣地方之聲，並建置聲音資料庫。 Yannick Dauby and Hsu Yen-ting collaborated in Chiayi County to build a sound database — the Chiayi Sound Project. They traveled through the countryside recording the local sounds of Chiayi County and constructing an archive.
