Get China with a Cut: Globalisation, Urban Youth and Popular PDF

By Jeroen de Kloet

Throughout the Nineteen Nineties illegally imported compact discs, often called dakou CDs, flooded into China, commencing up the song international to chinese language formative years and encouraging them to test with new sounds and new existence. quick, dakou grew to become the label for a brand new iteration of chinese language, a colourful new release now not tied to the Maoist previous. in accordance with fifteen years of fieldwork in Beijing, Shanghai, and Hong Kong, China with a minimize surveys the track that emerged in Nineties China and makes a case for its involvement within the upward thrust of China as a cultural and fiscal international strength.

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Download e-book for iPad: China with a Cut: Globalisation, Urban Youth and Popular by Jeroen de Kloet

Throughout the Nineteen Nineties illegally imported compact discs, referred to as dakou CDs, flooded into China, establishing up the track international to chinese language adolescence and encouraging them to test with new sounds and new life. fast, dakou turned the label for a brand new new release of chinese language, a colourful iteration now not tied to the Maoist previous.

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It is, to put it bluntly, a concept with weaker political associations than the concept of subculture; instead, it directs the attention more towards the perceived specificities and aesthetics of the music (see also Bennett 2004; Bennett & KahnHarris 2004; Hesmondhalgh 2005; Kahn-Harris 1999; Pilkington and Johnson 2003; Stahl 2004; Straw 1997). The concept of scene also strikes me as less fixed; it is easier to imagine scenic movements (that is, music crossovers and audiences being attracted to different scenes at the same time) than subcultural movements.

It is significant that it is a more alternative band, employing a sound approaching to the hard force of the rock mythology, which is being praised for its successful translation. Feng Jiangzhou from The Fly is also fascinated by ‘characteristic’ Chinese sounds, which he aims to combine with computer samples and sounds from electric drills: ‘I am most interested in using Chinese instruments and revolutionary songs. (…) But I’d definitely refuse to make them sound beautiful; I’d try to make them sound uncomfortable.

The music presents a mixture of ‘Western’ rock with instruments considered traditionally Chinese. Vocalist Qiu Ye criticises those who, in his eyes, copy Western music, and does his best to stress the Chinese character of his music. He does so, however, with a lot of irony and humour, using Beijing slang and talking extensively in-between the songs during performances. 14 A review appearing in 2008 of the music of Zi Yue and its importance for China’s rock culture illustrates of the fear of copying, as mentioned in the previous chapter, and the subsequent demand to Sinify the sound.

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