polymorphism

The Chinese in the Mainland, Taiwan, and Hong Kong have lived a very different life. So has their music.

Even though Hong Kong does have many serious musicians, the music in the 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 an equivalence of Mandarin.

Unlike Hong Kong, Taiwan’s culture is actually not a local culture. When 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 1980s, both Taiwan and Hong Kong had experienced unprecedented economic development. Cultures burgeoned. The Mainland 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 and made their voices first. The rock music.

In 1987, Cui Jian published his first album “The Rock on the New Long March Road”. It was primary, straightforward, and full of strength. His music was very heretical at that time, but meanwhile very Chinese, using a mix of traditional instruments. It was not only the first Chinese rock album, but also one of the best ever.

At the time, Cui Jian was a synonym of 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 supports. 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 by all mean astonishing and awe-inspiring.

In 1990s, a respected Taiwanese company Rock Record, the largest independent music company in Asia, sent their agents into the Mainland. 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 producing expertise of the Taiwanese company was extremely successful and won the hearts of a generation. This was called the New Music movement.

It was surprising that youth in the Mainland showed so much enthusiasm for rock music. But if we think through it, the phenomenon makes a lot of sense.

First, the political movements 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 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 their lives 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.

The Mainland 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 time when we could find several inspiriting 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.