KMT membership increased. On the other side of the political spectrum, dissidents became more daring. "Xiangtu wenxue" literature 鄉土文學 (referred to by many scholars abroad as Taiwan Nativist Literature) began to flower. It was sharply attacked by most scholars and journalists close to the KMT from the beginning. The reason was that like the works of writers connected with the May Fourth Movement, it was considered as subversive. The books of May Fourth authors like Zhang Ailing (Eileen Chang張愛玲), Qian Zhongshu(錢鍾書), Xiao Hong(蕭紅), Lao She (老舍), Cao Yu (曹禺), Mao Dun (茅盾) and especially, Lu Xun (魯迅) were banned in Taiwan throughout the martial law period. During the 1970s, it was mentioned on campus that books by these authors were available only to loyal professors at Chengchi (Political) University in Mucha (Muzha) for research purposes. The books were kept in a "poison cabinet" reserved for "dangerous literature" to which only "dependable" persons with a proven academic interest had access. But otherwise, it was forbidden to possess such books. They could not be published and should not be read by average citizens in Taiwan. The mid-1970s were also a period when the "Campus Folk Song Movement" (xiaoyuan minge yundong 校園民歌運動) gathered speed. From its start, singer-songwriters like Hu Defu (胡德夫), "Yang Xian, Li Shuangze, Wu Chuchu and Yang Zujun" were involved in this movement. Hu Defu and Li Shuangze (李雙澤) had both been singing American folk songs at the Scarecrow, opposite Taida, in the early 1970s. They met at this place and became friends. By the mid- and late 1970s, the "Campus Folk Song movement" became commercially successful, though only as segment of the market controlled by the local "music industry." A typical "Campus Folk Song" or "School campus song (Chinese)" in Taiwan was partly akin to American folk rock, partly more soft and sentimental. Campus Folk singer/songwriters would stick exclusively to Lyrics in English, at least in the early years.