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Cries of Joy, Songs of SorrowChinese Pop Music and Its Cultural Connotations$
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Marc L. Moskowitz

Print publication date: 2009

Print ISBN-13: 9780824833695

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824833695.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2020. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in HSO for personal use.date: 04 August 2020

The Tail Wags the Dog

The Tail Wags the Dog

Taiwan’s Musical Counter-Invasion of China

Chapter:
(p.1) Chapter 1 The Tail Wags the Dog
Source:
Cries of Joy, Songs of Sorrow
Author(s):

Marc L. Moskowitz

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824833695.003.0001

This chapter provides an overview of the book's main themes. This book explores the range of cultural connotations of Taiwan-produced Mandopop in the Peoples Republic of China (PRC) and Taiwan. While less threatening to the PRC state than the overt sexuality and celebration of consumerism expressed in American pop, Taiwan has served to export a transnational musical ethos that is remarkably radical compared with the state-controlled music industry in the PRC. Taiwan's counter-invasion has profoundly influenced on PRC culture: it has (re) introduced images of women as emotional, gentle, and passive victims; offered a wider range of male identities; ushered in individualist ideologies and a globalized consumer culture; and provided a space to talk about human emotions such as loneliness and sorrow that have traditionally been highly discouraged by both the government and traditional cultural mores. Themes of urbanization, the shift to a capitalist infrastructure, the breakdown of traditional values, and an increasing sense of a social and moral vacuum all come into play with Mandopop.

Keywords:   Mandopop, Mandarin Chinese pop music, Taiwan, China, male identity, consumer culture

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