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Hong Kong’s Pop Music : Whose sound? Whose identity?

Hong Kong’s Pop Music : Whose sound? Whose identity?. Jack YUE Division of Social Studies City University of HK. Outline. Some common (mis-)conceptions What is pop music The History of HK pop music scene Aporia Foreign Invasions : UK / USA / Japan

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Hong Kong’s Pop Music : Whose sound? Whose identity?

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  1. Hong Kong’s Pop Music : Whose sound? Whose identity? Jack YUE Division of Social Studies City University of HK

  2. Outline • Some common (mis-)conceptions • What is pop music • The History of HK pop music scene • Aporia • Foreign Invasions : UK / USA / Japan • Appreciation & Reflection • Conclusion

  3. (Mis-) conceptions • Void of formal skills • Profitable commercial products • Idol-driven trendy fad • Mere entertainment • Vulgarized performance • De-educational effect

  4. The Themes • Chinese or Cantonese • Creativity or Originality • Seriousness or vulgarization • Art or entertainment

  5. What is pop “music” ? Pop = Youth (-ability) Pop = Rock(-ability)

  6. What makes music “pop” ? words, tempo, skills, ad, MTV, images

  7. Words Music Instrument Composition Dance Image Media Production Propaganda Fans/cult Components of Pop Music

  8. A Critical History of Hong Kong Pop Music

  9. Before/After WWII • Hong Kong undefined • Mainlandese images • 姚蘇容、鄭錦昌etc. • Economics > art/entertainment • Band-sounds on “western road”, but too expensive a hobby and not popular

  10. The Genesis in 1970s • Development of “Canto-pop” • Pop as music + film + profit • e.g.許冠傑hits • TV popularity + living standard raised • 仙杜拉、羅文、汪明荃… etc. • RTHK’s 1st “Ten Golden Songs” Award • CASH set up in 1977 to reap profits

  11. The Flowering Growth in 1980s Music industry: Record companies (WEA; EMI; Polygram, Capital Artists… etc.) Monopoly of singers by TVB Media: TV, radio, movies, MTV, synthesizers 1983 HungHom Concert Hall Japanese/American Invasion Popular “idols” (林子祥、關正傑、譚詠麟、張國榮、梅艷芳etc.)

  12. Hong Kong pop music Cantonese !!! (identity by words ONLY)

  13. Reaction in mid-1980s Local band sounds (the real Cantonese?) BEYOND、達明一派、太極、夢劇院… etc. “Foreign” invasion from Taiwan (e.g. 校園民歌from late 70s’ 齊豫 “橄欖樹” till 80s’ ) blooming 2nd hand markets --- Hollywood /Sino (circularity = popularity)

  14. Raidas 浮世繪 Fundamental

  15. Hong Kong pop music Cantonese !!! (identity by words + originality + creativity)

  16. Hong Kong pop music Identity upon UK/Taiwan invasion

  17. The Anti-Climax in 1990s Karaoke, Home AV, ad, cable/satellite Four “Super-Kings”: sign of plurality? “HK” as best seller overseas (SE Asia, then North America)= international? New records companies entering market (Sony; 滾石; 正東; etc.)

  18. Another reaction in 1990s CR2 upon 俞琤‘s return Taiwan and Mainland invasion (e.g. 羅大佑、竇唯、張惠妹and series from ROCK records, etc) Cantonese/HK-ers singing in Mandarin (e.g.林憶蓮、王菲、張學友etc.) Alternative/Independent surge (e.g. 黑鳥、The Martyr、AMK、阿龍大、Huh! etc. with the support of Music Union、Lan Kwai Fong、Sound Factory、CR2、Monitor、袁智聰etc.) Blooming faked CD markets

  19. 年青人週報 搖滾雙週刊 Monitor Tops music colony bi-weekly

  20. Millennium Prospect : Forward or backward? Economic downturn … profit? Return of “retired” singers Entropy … with MTV, award, TVB, etc. New generation … (too) many idols? New record companies, e.g. 英皇娛樂 “Western” identities = HK identity? Space for a few independent music!!!

  21. The Aporia Too many identities to be of any at all Knowing pop before appreciating music Between “sound” and “noise” … but where and what is the mood

  22. 缺乏本地原創 • 抄襲 • 愛情故事泛濫 • 偶像崇拜 • 欠缺基礎技巧訓練 • 商業化---K • 。。。一無是處？ 問題在那裡？

  23. Appreciation & Comparison

  24. The "foreign" invasions Japan U.K. U.S.A. Japan=K ... USA=skills ... UK=spirit

  25. "American invasion"

  26. "Japanese invasion" 澤田研二 西城秀樹 近真彥 中森明菜

  27. 代表歐美文化，最前衛部分的「搖擺」樂，於香港的定義，很可能只限於留長頭髮，在台上狂叫狂跳，各位已震撼到不得了。當今香港樂壇，比日本晚了近十年，所流行的「四大天王」，其實即如十年前，日本的偶像時代：近藤真彥、田原俊彥、野村義男之類。歌迷一樣瘋狂、傳媒一樣追捧。代表歐美文化，最前衛部分的「搖擺」樂，於香港的定義，很可能只限於留長頭髮，在台上狂叫狂跳，各位已震撼到不得了。當今香港樂壇，比日本晚了近十年，所流行的「四大天王」，其實即如十年前，日本的偶像時代：近藤真彥、田原俊彥、野村義男之類。歌迷一樣瘋狂、傳媒一樣追捧。 漸漸，時間流逝，都市文化愈來愈成熟，人心思變。偶像滿足不到新一代的心靈，九十年代日本，男的雖有「平成御三家」：吉田榮作、加勢大周、織田裕二。女的有「三Ｍ少女」：宮澤里惠、牧瀨里穗、觀月雅麗莎。不過論聲勢與影響力，俱遠不及當年「御三家」第二代（西城秀樹、鄉裕美、野口五郎）；或「花之三人組」（山口百惠、森昌子、櫻田淳子）。 在日本，崇拜偶像的時代，亦一去不復返。二十世紀末，一九九三年，統治全日本人民的心靈，是「Borderless Sound」（無界限聲音）。歌如其名，渾然大成，已不再拘泥於偶像、流行、搖擺、Ballade、Funky、甚至Rap等任何形式。 目前日本流行榜前十名，幾乎全給這類歌手包辦：「B'Z」、「Zard」、「Dreams Come True」、「T-Bolan」、「Wands」、「Baku-Fu Slump」、「Unicorn」、「Lindberg」、「Zoo」、大黑摩季、小野正利……等等。多用外語名字，不用日文，是急切擺脫日本社會桎梏的一種象徵。名目五花八門，受歡迎的因素則如一：高度創作性、對時代、社會、生命等質疑，音樂才華非常全面。 (http://www.beyondmusic.net/kakui/kui004.html)失去靈魂的Beyond何去何從？ -----------(原載於1993年7月8日《東周刊》)

  28. "British invasions"

  29. http://www2.netvigator.com/ente/MCB/vol121/cover_star.html

  30. 流行與 不流行的流行音樂

  31. 香港非主流音樂究竟有甚麼值得我們回憶呢？是香港曾經擁有三大獨立唱片公司：Sound Factory、DIY、獨立時代？還是AMK的歌曾經於商業二台有高播放率？但現在又怎樣呢？獨立唱片公司不是倒閉，便是消聲匿跡；AMK亦已經解散；隨著黃志淙、梁兆輝、陳輝鴻的相繼離開CR2，商業二台的鼓吹聽另類歌年代也應該劃上句號。香港非主流音樂會走上甚麼道路，沒有預見得到，只是有點悲觀而已。 The Music Forum

  32. Handmade：前AMK成員關勁松與好友候Ankh合組而成，風格仍然十分AMK。 • Multiplex：梁基爵為領導的單位，走華麗精緻音樂路線，非常學院派。 • Juno：死硬派電子音樂加女聲，希望今次有改變。 • Minimal：玩電子音樂拼貼港式趣味。 • Illuminated-666：前Sound Factory老闆Dick與阿偉合組而成，玩香港人唔興 的實驗噪音，不知今次是否完班人馬上陣呢？ • The Currant Bun：是主辦單位老闆袁智聰為首的新Band，不知會玩甚麼？ 《集 感》1999

  33. What is “Hong Kong” sound … “Hong Kong” mood ? I D E A L

  34. Reflection

  35. 創作 = 創意 Creativity 創作 = 創意 Creativity

  36. 開放的態度 Experientiality

  37. 破除 界限 Crossover

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