Table Of Content

i Made in Hong Kong Made in Hong Kong: Studies in Popular Music serves as a comprehensive and thorough introduction to the history, sociology, and musicology of twentieth- and twenty- first- century popular music in Hong Kong. The volume consists of essays by leading scholars in the field, and it covers the major figures, styles, and social contexts of popular music in Hong Kong. Each essay provides adequate context to allow readers to understand why the figure or genre under discussion is of lasting significance. The book is organized into four thematic sections: Cantopop, History, and Legacy; Genres, Format, and Identity; Significant Artists; and Contemporary Cantopop. Anthony Fung is Professor in the School of Journalism and Communication, and Co-D irector of the Institute of Asia- Pacific Studies at The Chinese University of Hong Kong. He also holds an appointment as Professor in the School of Arts and Communication at Beijing Normal University, China. Alice Chik is Senior Lecturer in the Department of Educational Studies and a core member of the Faculty of Human Sciences Multilingualism Research Centre at Macquarie University in Sydney, Australia. ii Routledge Global Popular Music Series Series Editors: Franco Fabbri, Conservatorio di Musica Arrigo Boito di Parma, Italy, and Goffredo Plastino, Newcastle University, UK The Routledge Global Popular Music Series provides popular music scholars, teachers, students, and musicologists with a well- informed and up- to- date introduction to different world popular music scenes. The series of volumes can be used for academic teaching in popular music studies, or as a collection of reference works. Written by those living and working in the countries about which they write, this series is devoted to popular music largely unknown to Anglo-A merican readers. Made in Japan: Studies in Popular Music Edited by Tōru Mitsui Made in Brazil: Studies in Popular Music Edited by Martha Tupinambá de Ulhôa, Cláudia Azevedo and Felipe Trotta Made in Latin America: Studies in Popular Music Edited by Julio Mendívil and Christian Spencer Espinosa Made in Korea: Studies in Popular Music Edited by Hyunjoon Shin and Seung-Ah Lee Made in Sweden: Studies in Popular Music Edited by Alf Björnberg and Thomas Bossius Made in Hungary: Studies in Popular Music Edited by Emília Barna and Tamás Tófalvy Made in France: Studies in Popular Music Edited by Gérôme Guibert and Catherine Rudent Made in the Low Countries: Studies in Popular Music Edited by Lutgard Mutsaers and Gert Keunen Made in Turkey: Studies in Popular Music Edited by Ali C. Gedik Made in Australia and Aotearoa/ New Zealand: Studies in Popular Music Edited by Shelley Brunt and Geoff Stahl Made in Greece: Studies in Popular Music Edited by Dafni Tragaki Made in Taiwan: Studies in Popular Music Edited by Eva Tsai, Tung- Hung Ho, and Miaoju Jian Made in Poland: Studies in Popular Music Edited by Patryk Galuszka Made in Hong Kong: Studies in Popular Music Edited by Anthony Fung and Alice Chik iii Made in Hong Kong Studies in Popular Music Edited by Anthony Fung and Alice Chik iv First published 2020 by Routledge 52 Vanderbilt Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2020 Taylor & Francis The right of Anthony Fung and Alice Chik to be identified as the authors of the editorial material, and of the authors for their individual chapters, has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging- in- Publication Data Names: Fung, Anthony Y. H. editor. | Chik, Alice, editor. Title: Made in Hong Kong : studies in popular music / edited by Anthony Fung and Alice Chik. Description: New York : Routledge, 2020. | Series: Routledge global popular music series | Includes bibliographical references and index. Identifiers: LCCN 2019057013 (print) | LCCN 2019057014 (ebook) | ISBN 9780367226978 (hardback) | ISBN 9780367226985 (paperback) | ISBN 9780429276439 (ebook) Subjects: LCSH: Popular music–China–Hong Kong–History and criticism. Classification: LCC ML3502.H85 M3 2020 (print) | LCC ML3502.H85 (ebook) | DDC 781.63095125–dc23 LC record available at https://lccn.loc.gov/2019057013 LC ebook record available at https://lccn.loc.gov/2019057014 ISBN: 978- 0- 367- 22697- 8 (hbk) ISBN: 978- 0- 367- 22698- 5 (pbk) ISBN: 978- 0- 429- 27643- 9 (ebk) Typeset in Minion Pro by Newgen Publishing UK v Contents List of figures vii Series Foreword viii Acknowledgments ix Introduction: Mainstreaming Hong Kong Popular Music 1 ANTHONY FUNG AND ALICE CHIK Part I: Cantopop, History, and Legacy 5 1 Mapping Sociopolitical and Cultural Changes through “The Daughters of Hong Kong”: From Anita Mui to Denise Ho 10 VICKY HO AND MIRANDA MA 2 Once upon a Time in Hong Kong Cantopop: 1984 21 YIU- WAI CHU 3 Pax Musica and Mnets: Cantopop– Kpop Convergences and Inter- Asia Cultural Mobilities 33 KAI KHIUN LIEW AND MEICHENG SUN 4 Voices Shaped by the People and for the People: Cantopop and Political Crisis from the Colonial to Postcolonial Era 44 STELLA LAU AND IVY MAN Part II: Genres, Format, and Identity 53 5 The Symbolic Sound of Cantopop: Relistening to “The Fatal Irony” (1974) 59 TING YIU WONG 6 Rethinking Chineseness in the Cantopop of Sam Hui 66 BRENDA CHAN 7 Alternative Music, Language, and “Hong Kong” Identity: The Use of Metaphor in the English Lyrics of Hong Kong Independent Music 78 LOK MING ERIC CHEUNG v vi vi • Contents 8 Covers and “One Melody, Two Lyrics” Songs 91 JOHNSON LEOW Part III: Significant Artists 101 9 Love Songs from an Island with Blurred Boundaries: Teresa Teng’s Anchoring and Wandering in Hong Kong 107 CHEN- CHING CHENG 10 Remembering Hong Kong as a Queer Metaphor: Leslie Cheung’s Queer Performativity and Posthumous Networked Fandom 115 HONG- CHI SHIAU 11 Hong Kong is (No Longer) My Home: From Sam Hui to My Little Airport 124 MILAN ISMANGIL 12 MC Yan and his Cantonese Conscious Rap 132 ANGEL M. Y. LIN Part IV: Contemporary Cantopop 143 13 Snapshots of Multilingualism in Hong Kong Popular Music 147 PHIL BENSON AND ALICE CHIK 14 Our Little Twins Stars: Conglomerate- Catalyzed Cross- Media Stardom in the New Millennium 157 KLAVIER J. WANG AND STEPHANIE NG 15 Performing the Political: Reflections on Tatming Meeting George Orwell in 2017 168 YIU FAI CHOW, JEROEN DE KLOET, AND LEONIE SCHMIDT 16 The Politicization of Music through Nostalgic Mediation: The Memory in “Boundless Oceans, Vast Skies” 181 JESSICA KONG AND ANTHONY FUNG Coda 191 17 The Globo- Regional and the Local in Hong Kong Popular Music 193 C. J. W.- L. WEE Afterword 203 Cantopop Is Always Hybrid: A Conversation with Serina Ha 205 Notes on Contributors 214 Index 217 vii Figures 14.1 A YES! card with the stars’ faces on the front and the lyrics of a song on the back 162 14.2 Bundled gifts and coupons included in Twins album boxes 163 15.1 The 2017 Tatming concert 170 15.2 The 1Q84 moon 174 15.3 Video image of Tobias Gremmler during the show 175 vii viii Series Foreword Popular music studies have progressed from the initial focus on methodologies to exploring a variety of genres, scenes, works, and performers. British and North American music have been privileged and studied first, not only for their geographic and generational proximity to scholars, but also for their tremendous impact. Everything else has been often relegated to the dubious “world music” category, with a “folk” (or “roots” or “authentic”) label attached. However, world popular music is no less popular than rock ’n’ roll, R&B, disco, rap, singer- songwriters, punk, grunge, Britpop, or nu- gaze. It is no less full of history and passion, no less danceable, socially relevant, and commercialized. Argentinian tango, Brazilian bossa nova, Mexican reggaeton, Cuban son and timba, Spanish and Latin American cantautores, French auteurs- compositeurs- interprètes, Italian cantautori and electronic dance music, J- pop, German cosmic music and Schlager, Neapolitan song, Greek entechno, Algerian raï, Ghanaian highlife, Portuguese fado, Nigerian jùjú, Egyptian and Lebanese Arabic pop, Israeli mizrahit, and Indian filmi are just a few examples of locally and transnationally successful genres that, with millions of records sold, are an immensely precious key to understanding different cultures, societies, and economies. More than in the past, there is now a widespread awareness of the “other” popular music; however, we still lack access to the original sources, or to texts to rely on. The Routledge Global Popular Music Series has been devised to offer scholars, teachers, students, and general readers worldwide a direct access to scenes, works, and performers that have not been much, if at all, considered in the current literature, and at the same time to provide a better understanding of the different approaches in the field of non- Anglophone scholarship. Uncovering the wealth of studies flourishing in so many countries, inaccessible to those who do not speak the local language, is now no less urgent than considering the music itself. The series website (www.globalpopularmusic.net) includes hundreds of audiovisual examples which complement the volumes. The interaction with the website is intended to give a well- informed introduction to the world’s popular music from entirely new perspectives and at the same time to provide updated resources for academic teaching. The Routledge Global Popular Music Series aims ultimately to establish a truly international arena for a democratic musicology through authoritative and accessible books. We hope that our work will help the creation of a different polyphony of critical approaches and that you will enjoy listening to and being part of it. Franco Fabbri Conservatorio di Musica Arrigo Boito di Parma, Italy Goffredo Plastino Newcastle University, UK Series Editors viii newgenprepdf ix Acknowledgments We are thankful to all local and overseas scholars who have contributed to this volume, the series editors, Franco Fabbri and Goffredo Plastino, and our research assistant and PhD graduate from The Chinese University of Hong Kong, Yiyi Yin, who has made the publication of Made in Hong Kong possible. We also would like to express our sincere gratitude to all musicians, artists, produ- cers, and audiences who have supported and valued our Hong Kong popular music or Cantopop in all these years. Anthony Fung & Alice Chik November 2019 ix