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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

A Man for All Occasions

A Man for All Occasions

Charisma and Differing Masculinity in Mandopop

Chapter:
(p.88) Chapter 6 A Man for All Occasions
Source:
Cries of Joy, Songs of Sorrow
Author(s):

Marc L. Moskowitz

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824833695.003.0006

This chapter explores masculine identities in Mandopop. Mandopop's wenrou male—which translates into English as tender, sensitive, and somewhat androgynous by Western standards—directly counters the hypermasculine ethos of PRC-produced revolutionary songs or Beijing rock. The flexible images of Mandopop stars suggest a range of culturally accept able gender roles. Indeed, the degree to which these roles overlap is as noteworthy as when they fall into distinctly male or female categories. The wenrou male should not be seen as lacking masculinity in the context of Mandopop, but rather as possessing characteristics that all men would have if real men could only be so perfect.

Keywords:   masculine identity, wenrou male, male performers, Mandopop, Mandarin Chinese pop music

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