Download China with a Cut: Globalisation, Urban Youth and Popular by Jeroen de Kloet PDF

By Jeroen de Kloet

ISBN-10: 9048511143

ISBN-13: 9789048511143

ISBN-10: 9089641629

ISBN-13: 9789089641625

Throughout the Nineteen Nineties illegally imported compact discs, referred to as dakou CDs, flooded into China, establishing up the tune global to chinese language formative years and encouraging them to scan with new sounds and new life. quick, dakou grew to become the label for a brand new new release of chinese language, a colourful new release now not tied to the Maoist previous. in response to fifteen years of fieldwork in Beijing, Shanghai, and Hong Kong, China with a reduce surveys the song that emerged in Nineties China and makes a case for its involvement within the upward thrust of China as a cultural and financial worldwide strength.

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Extra info for China with a Cut: Globalisation, Urban Youth and Popular Music (AUP - IIAS Publications)

Example text

Now people worry too much about what the market wants, and what’s hip, and not enough about how to make the music that they themselves love. (quoted in Kovskaya 1999: online) The scenic ‘split’ is interpreted by Dai Qin as a threat to the binding force of the rock mythology. His romantic reading of the past covers up all the fights and conflicts that have been part and parcel of the rock culture in China since its emergence. Style is considered to be shallow and empty, while the true rock spirit is about substance, about the expression of the self – in short, the rock mythology is once again reified.

Through YouTube, MySpace, numerous blogs, wikis and websites, the world of popular music in China has become just a mouse-click away. In my view, this abundance of data not only necessitates more refined methods of data collection and, particularly, selection, but it also points to the increased importance of interpretation and theory. 0 era requires more rather than less theory. ’ In chapter four, I examine an often-overlooked domain in the study of popular music: the audiences. Drawing on Michel Foucault’s notion of technologies of the self, in combination with Anthony Giddens’ study on the reflexive self in late modernity, and Tia DeNora’s work on music audiences, I scrutinise how (Chinese) music is used as a technology of the self, as a way to control life in a society that is in a perpetual flux.

Their irregular and airy sound texture constructs some kind of imaginary space. 9 Zu Zhou’s critique of contemporary Chinese society is more a radical denial of meaning: ‘I’m disgusted by Marxism; in my opinion, it has cheated me. ’ His discontent is translated into an ironic and absurdist, rather than angry, soundscape. The sounds range from ballads, to electronic beats and guitar noise. His voice is at times a high-pitched falsetto, and at others a Tom Waits-like grumble. In his 2008 album You Know Where the East Is, one song, titled ‘Methodology,’ is clearly a parody of the Party.

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China with a Cut: Globalisation, Urban Youth and Popular Music (AUP - IIAS Publications) by Jeroen de Kloet


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