Both the Lin Sheng-xiang led Jiaogong Band and Black Hand Nakasi Workers' Band grew up in the tumultuous post-martial law Taiwanese climate of the 1990s. Choosing songs as their weapons and music as their mode of social intervention to speak for the weak and helpless in society, each band left an indelible mark on the era. With respect to the aesthetics of music, both bands possess a high level of awareness and clear goals in the practice of both forms and techniques. The journey taken by these musicians over the past twenty years provides us with a precious map to social and cultural changes in Taiwan.