China with a Cut: Globalisation, Urban Youth and Popular by Jeroen de Kloet PDF

By Jeroen de Kloet

ISBN-10: 9089641629

ISBN-13: 9789089641625

Throughout the Nineties illegally imported compact discs, referred to as dakou CDs, flooded into China, beginning up the song global to chinese language adolescence and encouraging them to scan with new sounds and new life. quick, dakou turned the label for a brand new new release of chinese language, a colourful iteration not tied to the Maoist prior. in accordance with fifteen years of fieldwork in Beijing, Shanghai, and Hong Kong, China with a lower surveys the tune that emerged in Nineties China and makes a case for its involvement within the upward thrust of China as a cultural and fiscal international energy.

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Such a historicising narrative is likely to reify and essentialise rock, and runs the danger of silencing the older, still active, bands and musicians, such as Tang Dynasty and Zhang Chu. I consider it more fruitful not to distinguish fixed periods, but to explore various fluid music scenes. These will provide me with a better anchor point from which to understand the boundaries within rock culture, and between rock and related cultural domains. 40 CHINA WITH A CUT Musicians share my observation that the rock culture has become increasingly fragmented.

In chapter two, I move on to discuss what I term the ‘hyphenated’ scenes, the scenes that are, indeed, less ‘hard,’ or softer, and hence less conspicuously drenched in the rock mythology. The music scenes discussed here are folk-rock, pop-rock, pop-punk and the fashionable bands. In chapter three, I move on to the sounds that are generally marginalised in rock discourse: those coming from bands outside the perceived centre of rock, Beijing, those from the female bands and, most notably, the opaque sound of pop.

Zi Yue is heralded as the first successful sonic translator: Rock music is an imported product from overseas and the most commonly mentioned weakness of Chinese rock is that Chinese people with no rock culture foundation cannot really truly fulfil this Western music style with authentic local content. In other words, the Sinification of rock music hasn’t stopped ever since the first day it entered China. So, some people added guzheng and some people added pipa, some people added some Asian- HARD SCENES 53 style lyrics, but no matter what they do, it all feels awkward and unnatural.

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China with a Cut: Globalisation, Urban Youth and Popular Music by Jeroen de Kloet

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