Cantopop
Demographics and culture of Hong Kong |
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Demographics |
Culture |
Other Hong Kong topics |
Cantopop | |
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Hanyu Pinyin | Yuèyǔ liúxíng yīnyuè |
Bopomofo | ㄩㄝˋ ㄩˇ ㄌㄧㄡˊ ㄒㄧㄥˊ ㄧㄣ ㄩㄝˋ |
Wade–Giles | Yüeh4-yü3 liu2-hsing2 yin1-yüeh4 |
Tongyong Pinyin | Yuè-yǔ lióu-síng yin-yuè |
IPA | [ɥê.ỳ ljǒʊ.ɕǐŋ ín.ɥê] |
Yue: Cantonese | |
Yale Romanization | Yuht yúh làuh hàhng yām ngohk |
Jyutping | jyut6 jyu5 lau4 hang4 jam1 ngok6 |
IPA | [jyːt̚˨ jyː˩˧ lɐu˩ hɐŋ˩ jɐm˥ ŋɔːk̚˨] |
Cantopop (a contraction of "
Besides
History
1920s to 1950s: Shanghai origins
Western-influenced music first came to China in the 1920s, specifically through Shanghai.[7] Artists like Zhou Xuan (周璇) acted in films and recorded popular songs.
When the People's Republic of China was established by the
1960s: Cultural acceptance
By the 1960s, Cantonese music in Hong Kong was still limited largely to traditional Cantonese opera and comic renditions of western music. Tang Kee-chan, Cheng Kuan-min (鄭君綿), and Tam Ping-man (譚炳文) were among the earliest artists releasing Cantonese records.
The generation at the time preferred British and American exports. Western culture was at the time equated with education and sophistication,[9] and Elvis Presley, Johnny Mathis and The Ladybirds were popular.[7]
Conversely, those who did not prefer Cantonese music were not considered fashioned or educated.
1970s: Beginning of the Golden Age (Rise of television and the modern industry)
Local bands mimicked British and American bands. Two types of local Cantonese music appeared in the market nearly concurrently in 1973: one type cashed in on the popularity of
Soap operas were needed to fill TV air time, and popular Cantonese songs became TV theme songs.
Sam Hui is regarded by some to be the earliest Cantopop star. He was the lead singer of the band Lotus formed in the late 1960s, signed to Polydor in 1972. The song that made him famous was the theme song to Games Gamblers Play (鬼馬雙星), also starring Hui.[11]
The star of TV theme tunes was Roman Tam. Three of the most famous TV soap opera singers were Jenny Tseng, Liza Wang and Adam Cheng.[7] The Wynners and George Lam also amassed a big fan base with their new style. Samuel Hui continued to dominate the charts and won the Centennial Best Sales Award in the first and second IFPI Gold Disc Presentations twice in a row in 1977 and 1978. Polydor became PolyGram (寶麗金) in 1978.
It was at this time that the term Cantopop was first coined. The Billboard correspondent Hans Ebert, who had earlier coined the term Cantorock in 1974, noted a change in its style to something similar to British-American soft rock, therefore started to use the term Cantopop instead in 1978.[3]
In 1974, as the theme song of The Fatal Irony (啼笑因緣) was very successful, TVB sold to the mainland and other countries and Cantopop reached overseas audiences through drama series.[12]
1980s: The Golden Age of Cantopop
During the 1980s, Cantopop soared to great heights with artists, producers and record companies working in harmony. Cantopop stars such as Alan Tam, Leslie Cheung, Anita Mui, Sally Yeh, Priscilla Chan, Sandy Lam, Danny Chan, Jacky Cheung, Andy Lau quickly became household names. The industry used Cantopop songs in TV dramas and movies, with some of the biggest soundtracks coming from films such as A Better Tomorrow (英雄本色). Sponsors and record companies became comfortable with the idea of lucrative contracts and million-dollar signings. There were also Japanese songs with Cantonese lyrics.
The "Queen of Mandarin songs" Teresa Teng also crossed over to Cantopop. She achieved commercial success with her original Cantonese Hits under the Polygram Label in the early 1980s. Jenny Tseng was another notable singers, who was born in Macau.
In the 1980s, there came the second wave of "band fever" (the first wave came in the 1960–70s, which was much influenced by the global Beatlemania at that time. Young people thought that forming bands was fashionable. Many new bands emerged at that time, such as
The second wave of "band fever" also brought a group of new music lovers to the Hong Kong mainstream music world. Most of them were the just-grew-up generation, or the music lovers of the western Avant-garde music, also the Euro-American Rock-band lovers. This contributed to a great change in the population and age distribution of the music listeners from the 70s. Record companies were laying ever more stress on the buying power of these young new customers. The second wave of "band fever" emerged from the mid-1980s (around 1984) and reached its climax in 1986–87. However the "band fever" cannot put for a long time. Along with the death of the legendary Wong Ka Kui, the leader and co-founder of Beyond, in 1993, and the disband-tide emerged in the early 90s (Tat Ming Pair disbanded in 1990), the "band fever" gradually faded away and totally got down in the early 1990s.[13]
As Cantopop gained large followings in Chinese communities worldwide, Hong Kong entrepreneurs' ingenious use of the then new
1990s: Four Heavenly Kings era
In the 1990s in Hong Kong, the "Four Heavenly Kings" (四大天王)—Jacky Cheung, Andy Lau, Leon Lai and Aaron Kwok — dominated pop music, and coverage in magazines, TV, advertisements and cinema.[14][15] They had wide audience across different regions, including Hong Kong, Taiwan, mainland China, Southeast Asia, and even South Korea. The female counterparts in this era were Faye Wong, Sammi Cheng and Kelly Chen.
The
In 2019, Andy Lau spoke of his desire for a reunion of the Four Heavenly Kings in an interview with the press.[17]
2000s: New era
At the turn of the century, Cantonese was still dominant in the domain of Chinese pop.[18] The deaths of superstars Leslie Cheung and Anita Mui in 2003 rocked the industry. In addition, with the Four Heavenly Kings fading out and the rise of Taiwan Mandopop singer-songwriter superstars like Leehom Wang, David Tao, Jay Chou and JJ Lin, infleunce of Cantopop started declining with fans turning to Taiwan Mandopop in the 2000s.
During the period, a transitional phase also took place with many overseas-raised or overseas-educated artists such as Nicholas Tse, Coco Lee and Eason Chan gaining popularity and recognition. In 2006, Time magazine praised Eason Chan's Cantonese album U87 as one of the "Five Asian Albums Worth Buying".[19] Besides holding the record for winning the "Ultimate Male Singer - Gold" award (10 times) and "My Favorite Male Singer" award (9 conservative years) at the "Ultimate Song Chart Awards Presentation" in HK, Eason Chan also won numerous awards at major music award ceremonies locally and in other regions. He became one of the representative figures of Cantopop in the 2000s. Cantopop was not restricted only to Hong Kong, but became part of a larger music movement.
In 2005, Cantopop began a new upswing. Major companies that drove much of the HK segment included Gold Typhoon Music Entertainment (
The decade was also dubbed a "People's singer" era (親民歌星), as most performers were frequently seen promoting publicly, in contrast with the 1990s when that era's "big-name" singers (大牌歌星) seemed unapproachable.[20][full citation needed]
A number of scandals struck some of stars later in the decade. In 2008, the
2010s: Decline
In the 2010s, Cantopop market shrank with fans, particularly the youth, turning to K-pop and Mandopop.
Mandarin became more important as a result of fast growing culturally and economically in China, the influence of Cantonese became vulnerable. Nevertheless, in addition to the 7 million people of Hong Kong and Macau, the genre continues to enjoy popularity among a Cantonese-speaking audience of in excess of 100 million in southern China, plus 10 million Cantonese-speaking diaspora in Canada, Australia and the United States.
In the 2010s, Cantopop industry still had outstanding singers and musicians who achieved success beyond the local market and made a mark in the Chinese music scene. Eason Chan is one of the most popular and influential Cantopop superstars. He captures wide audience across different regions, including Hong Kong, Taiwan, mainland China, Southeast Asia, UK, North America, Australia etc. He successfully held world tours in these regions in the 2010s. He was the first Chinese/HK singer who held solo concerts in London's O2 Arena and Beijing's National Stadium (Bird's Nest). In 2019, Eason Chan's Cantonese album "L.O.V.E." was successful in Taiwan's 30th Golden Melody Awards, winning nominations to three major awards: Song of the Year, Album of the Year, and Producer of the Year, Album. Ultimately, the album's producer, Carl Wong, won the "Producer of the Year, Album" award. This was the first time in the history of the Golden Melody Awards that a Cantonese album won this award, making history in Cantopop.
In the 2010s, there was revival for boy groups and bands in Cantopop with the rise of C AllStar, RubberBand, Supper Moment, Dear Jane, etc.
In 2015 and 2018, the Commercial Radio Hong Kong's "Ultimate Song Chart Awards Presentation " handed "My Favorite Male Singer" award to James Ng and Louis Koo respectively, which were also controversial. Since then, the credibility of the Award has greatly declined.
In 2018, Eason Chan released an album "L.O.V.E." (mainly in Cantonese), which was successful in Taiwan's 30th Golden Melody Awards, winning nominations to three major awards: Song of the Year, Album of the Year, and Producer of the Year, Album. Ultimately, the album's producer, Carl Wong, won the "Producer of the Year, Album" award. This was the first time in the history of the Golden Melody Awards that a Cantonese album won this award.
2020s: Resurgence of Idols
Interest in Cantopop was renewed in the early 2020s in part due to the COVID-19 pandemic in Hong Kong, which led to border closures and restriction of travel. In addition to the 2019–2020 Hong Kong protests and the passing of the Hong Kong national security law in June 2020, the resurgence of Hong Kong pride had led many Cantonese natives to support local music artists.[34] The Cantopop boy group Mirror, which was formed through the ViuTV singing competition in Good Night Show - King Maker in 2018, skyrocketed in popularity during this time due to their distinctively local image. Media had described them [35] as a "Mirror phenomenon." Yet, their lacking in vocal skills has sparked controversy and disapproval among the public.[36]
In February 2021, Hong Kong's biggest television broadcaster, TVB, historically lifted its ban on four of Hong Kong's biggest record labels, opening the doors for non-TVB artists to perform on the network. The move was described by local media as "reviving the Cantopop music industry."[37]
In 2023, Eason Chan released a new album titled "Chin Up!", which included a Cantonese song "Homo Sapiens"(人啊人) with lyrics written by Chow Yiu-fai(周耀輝). This song made Chow won Taiwan's 34th Golden Melody Awards - the Best Lyricist, marking the first time in the history of the Golden Melody Awards that a Cantonese song was nominated and won the award. This achievement created a historical record for Cantopop.
In 2024, at the age of 79, the renowned Temple Street King, Wan Kwong (尹光), was voted to the final five of the "My Favorite Male Singer" category at the "Ultimate Song Chart Awards Presentation," marking a record in the Cantopop industry. This was also the first time in over fifty years after his debut that he transitioned from performing at Temple Street to appearing at a major music awards ceremony. The "Wan Kwong phenomenon" caused a stir online, with fans appraising his continuous efforts in releasing his latest song, "Dear Myself," which incorporated AI elements while others voting for him as a counterbalance to the idol genre because they had been sick of Mirror individual members’ live performances and Mirror fans' behavior in the poll.[38]
Characteristics
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Instruments and setups
Early Cantopop was developed from
Lyrics
Tonal constraints have been blamed for the decline of Cantopop in the late 1990s, for source of creativity being "mined out". Its ramification includes interpretive constraint, where singers have less room for ad-lib change of pitch without sacrificing intelligibility. As a result, pitch change often encountered in western pop music becomes foreign to most of Hong Kong's singers.
Classical Chinese lyrics
The first type is the poetic lyrics written in literary or
Modern Chinese lyrics
The second type is less formal. The lyrics written in colloquial Cantonese make up the majority with compositions done in modern
The following is an example from the song "Impression" (印象) by
Chinese original lyrics | Lyrics Romanized in Jyutping |
---|---|
|
|
Covers of foreign compositions
Cantopop was born in the 1970s and became a cultural product with the popularity of two popular TVB drama's themes songs in the early 1970s: "Tower Ballad" (鐵塔凌雲, 1972) and "A marriage of Laughter and Tears" (啼笑因緣, 1974).[39] The majority of "hit" Cantopop, however, is not entirely local produced but the cover versions of "hit" foreign melodies. Since the 1970s, covering "hit" external songs mainly from Japan, Korea, Taiwan or other Western countries became a common practice among Hong Kong record companies. At that time, Hong Kong's constantly growing music industry acknowledges simply by using those hits, whose already gained popularity, will be the easiest way to reach success in the market. Cover versions were also widely used as a solution to address the shortage of the local hits due to the lack of local composers. Another reason for the use of cover versions is to minimise the production costs. The practice is also done for business reasons of filling up albums and re-capitalizing on songs with a proven record.[40]
The Radio Television Hong Kong (RTHK) Top Ten Chinese Gold Songs Awards, which is one of the major music awards in Hong Kong since 1979, can reflect the great reliance on Japanese melodies in Cantopop. During the 1980s, 139 out of 477 songs from weekly gold songs chart were cover versions, and 52% of the cover versions were covers of Japanese songs. Numerous legendary songs of Cantopop superstars Alan Tam, Leslie Cheung and Anita Mui, for example "Craziness" (1983), "Monica" (1984), "Foggy Love" (1984), "For Your Love Only" (1985), "Evil Girl" (1985), "The Past Love" (1986), "The First Tear" (1986), and "Fired Tango", were cover versions of Japanese hits,[verification needed] showing that covers contributed to the success of superstars to a certain degree.[41]
By definition hybrids are still considered Cantonese songs due to the Cantonese lyrics, though the rights borrowed varies country to country. Songs like "Tomorrow sounds like today" (明日話今天) by Jenny Tseng, "Life to seek" (一生何求) by Danny Chan, "Snowing" (飄雪) by Priscilla Chan, and "Can't afford" (負擔不起) by Jade Kwan were originally composed outside of Hong Kong. Many critics disapprove of the practice of covering foreign music and consider it lacking in originality, and many albums promoted themselves as "cover-free".
Canto-jazz
on January 29, 2010, Jacky Cheung released his Private Corner album coining the phrase "Canto-jazz", to describe the concept of the album and the musical style of the songs.[42][43][44][45]
In The South China Morning Post, Rachel Mok described "Canto-jazz" as a "unique fusion of the two music styles" of "light jazz" and canto-pop creating a fresh sound with a uniquely local flavour". She cited Jacky Cheung's Private Corner and Karen Mok's "Somewhere I Belong" among artists who have recorded Cantonese language albums in the new jazz genre coined "canto-jazz".[46]
An educational study traced the development of jazz in Greater China and explored the cross-cultural issues in rearranging a cantopop song for big band or jazz combo arrangement.[47]
Industry
Cantopop Stars
Talent is unusually secondary to the success of a Cantopop singer in Hong Kong. Most times, image sells albums, as it is one of the characteristics of mainstream music similarly mirrored in the United States and Japan. Publicity is vital to an idol's career, as one piece of news could make or break a future. Almost all modern Cantopop stars go into the movie business regardless of their ability to act; however, the reverse may also occur with actors releasing albums and embarking on concerts regardless of singing talent. They immediately expand to the Mandarin market once their fame is established, hence pure Cantopop stars are almost nonexistent. Outside of music sales, their success can also be gauged by their income. For example, according to some reports, Sammi Cheng earned HK$46M (around US$6M) from advertisement and merchandise endorsements in one month alone.[48] Many artists, however, begin with financial hardships. For example, Yumiko Cheng owed her company thousands of dollars. Others include Elanne Kong crying in public with only HK$58 left.[49]
Cantopop superstars include 70s: Sam Hui, Paula Tsui, Roman Tam, Frances Yip; 80s: Alan Tam, Leslie Cheung, Anita Mui, Beyond; 90s: Jacky Cheung, Leon Lai, Andy Lau, Aaron Kwok, Sammi Cheng, Faye Wong, Kelly Chen; 00s-10s: Eason Chan, Joey Yung, Miriam Yeung, Leo Ku. They successfully held world concert tours, e.g. Jacky in New York 's MSG, Faye in Tokyo's Nippon Budokan, Eason in London's O2 Arena and Beijing's National Stadium (Bird's Nest).
Labels
PolyGram, EMI, Sony, Warner and BMG were established in Hong Kong since the 1970s. Local record companies such as Crown Records (娛樂唱片), Wing Hang Records (永恆), Manchi Records (文志) and Capital Artists (華星唱片) in the past have become successful local labels. As TV drama themes lost favour in the mid-1980s, market power soon drifted to the multi-national labels. Sales are tracked at the IFPI HK Annual Sales Chart.[50]
Major awards
Award | Organiser | Year started | Year abolished | Origin |
---|---|---|---|---|
Wah Kiu Man Po Gold Camel Award for Top Ten Singers | Wah Kiu Man Po | 1970 | 1981 | Hong Kong |
National Lacquer and Paint Products Company (國民漆廠) | ||||
IFPI Hong Kong Top Sales Award | IFPI (Hong Kong) | 1977 | 2017 | |
RTHK Top 10 Gold Songs Awards |
RTHK | 1978 | till present | |
Jade Solid Gold Top 10 Awards |
TVB | 1983 | till present | |
Ultimate Song Chart Awards | Commercial Radio Hong Kong | 1988 | till present | |
Metro Radio Music Awards | Metro Broadcast Corporation | 1994 | till present | |
Four Stations Joint Music Awards | RTHK | 1995 | 2010 | |
Commercial Radio Hong Kong | ||||
Metro Broadcast Corporation | ||||
TVB | ||||
CASH Golden Sail Music Awards ] |
Composers and Authors Society of Hong Kong | 2001 | till present | |
KKBOX Hong Kong Music Awards | KKBOX |
2019 | till present | |
Chill Club Awards | ViuTV | 2021 | till present | |
Hong Kong Gold Songs Award Presentation Ceremony | RTHK | 2022 | 2022 | |
TVB |
A record chart which includes all genres of C-pop is the Global Chinese Pop Chart.
Cantopop radio stations
Station | Location | Frequencies and Platform |
---|---|---|
CRHK Radio 2 | Hong Kong | 90.3 FM Available on My903.com and their other channel 88.1 during non-talk shows happen. |
RTHK Radio 2 |
Hong Kong | 94.8 FM, 95.3 FM, 95.6 FM, 96.0 FM, 96.3 FM, 96.4 FM, 96.9 FM, and Internet live streaming (channel 2) |
Chinese Radio New York |
New York | 1480AM |
WNWR | Philadelphia | when it is not doing the news and talkshows |
KEST | San Francisco | 1450 AM |
KMRB | Los Angeles | 1430 AM |
KVTO | San Francisco | 1400 AM |
CHMB | Vancouver | 1320 AM |
Fairchild Radio |
Vancouver | 1470 AM, 96.1 FM |
Fairchild Radio |
Toronto | 1430 AM, 88.9 FM |
Fairchild Radio |
Calgary | 94.7 FM |
Music FM Radio Guangdong | Guangdong | 93.9 FM, 99.3 FM and internet stream media |
SYN FM |
Melbourne | 90.7 FM – Cantopop show as part of Asian Pop Night. |
2AC 澳洲華人電台 |
Sydney | (proprietary receivers) |
2CR | Sydney Melbourne | (proprietary receivers) |
See also
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External links
- C-Pop Fantasie – Online resource for c-pop, providing lyrics, downloads, video shows, and more.
- Pop Saves Hong Kong, in Tofu Magazine #2 Archived 27 February 2020 at the Wayback Machine
- Hong Kong Vintage Pop Radio
- www.hkmusic.cn: Cantopop song listings (in Chinese)
- www.mysongspage.com, lyrics and chords for Cantonese, English & Mandarin songs. Archived 21 October 2020 at the Wayback Machine
- 香港50–80年代粵語流行曲唱片目錄 Disc index
- Come back to love blog
- Lee HC's 黑膠樂園 Disc index
- 香港樂壇25年的發展 article
- [音乐评论][粤语流行四十年]