| The origins of Chinese rock music by Shang Zuo |
| Unlike Hong Kong, Taiwan's culture has evolved from a mix of cultures. When the Kuomintang (KMT) retreated from the mainland to Taiwan after the civil war, a large number of populations from all regions of China migrated to the island, including refugees, soldiers, and intellectual elites. Taiwan's culture is like a melting pot of Chinese culture on a smaller scale. In the 1980s, both Taiwan and Hong Kong experienced unprecedented economic development. Cultures burgeoned. Mainland China started economic reforms and opened its door to the outside world. People absorbed a lot of fresh ideas from Taiwan and Hong Kong. A natural progress would be that people would copy the music from Taiwan and Hong Kong, maybe awkwardly in the first step, and then gradually develop music of similar style. But to many people's surprise, a small group of underground musicians chose a very different path -- rock music. In 1987, Cui Jian published his first album "The Rock on the New Long March Road." It was primarily straightforward and forceful. His music was considered heretical at that time, but was also very Chinese, using a mix of traditional instruments. It was not only the first Chinese rock album, but also considered one of the best. At the time, Cui Jian was synonymous to rock music. He was rock and rock was him. But more people started their own "Long March," the pilgrimage to their dreams. Youth moved to Beijing, the capital city, with a guitar, and formed their communities. The unemployed youth rarely had income or financial support. Some were homeless and lived on the streets. The music resources they could find and learn from were very limited, but they chewed every bit of it. The outcome, as people later found out, was astonishing and awe-inspiring. In the 1990s, a respected Taiwanese company Rock Record, the largest independent music company in Asia, sent their agents to mainland China. They were overwhelmed by their discovery. When these underground singers and bands in Beijing were introduced to the public, their music -- combined with marketing and production expertise of the Taiwanese company -- became extremely successful and won the hearts of a generation. This was called the New Music movement. It was surprising that youth in mainland China showed so much enthusiasm for rock music. But if we think through it, the phenomenon makes a lot of sense. First, the political movement in the country planted rebellious spirits, which are very compatible with rock music. Second, the sheer geographic size and long history of the country make the youth think big and aim high. They are less interested in writing soft love songs. Lastly, the lack of a commercial environment and education in their lives makes them less sensitive to market needs and the idea of exchanging their talents for money. Is it a success story? Unfortunately not. Many of these bands couldn't adjust from underground bar bands to professional musical groups. After their successful debut albums, many released lackluster second albums in a relatively short time. Their supporters were mostly disappointed. Taiwan and Hong Kong music still dominated. Many people regarded rock as a marginal music that was good to try but was fundamentally unpleasant. After the first wave of the New Music movement, people didn't find enough exciting new bands to sustain their interests. The market cooled down. Mainland China got back on the track of what we predicted: copy from Taiwan and Hong Kong, and then create their own popular music. That's indeed what happened. But rock music didn't die. It will never die. Seeds have been planted and they will grow and bloom. To many older as well as younger musicians, rock is their life. They won't give up due to market fluctuations. Not like in the early times when we could find several inspiring albums every year, they do produce a steady number of releases with various styles. Their popularity is growing slowly and gradually. The market shall prevail. Artists shall persist. I am a listener. I am with them, and I will always support them. Questions or feedback on this article can be sent to Shang Zuo at shang_zuo@yahoo.com. |
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| The Chinese in mainland China, Taiwan, and Hong Kong have lived very different lives. Likewise, their music is different./ Even though Hong Kong has many serious musicians, the music in this commercial hub city is more like products rather than art works. Influenced by Hong Kong's economic might and its successful movie and music industry, Cantonese culture has become one of the most recognizable Chinese cultures. To many, Cantonese language is equivalent to Mandarin. |
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