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Mirror Mirror on the Wall,
The downfall of HK’s music industry
The downfall of HK’s music industry
Hong Kong’s music industry, also known as Canto-pop, took the world by storm in the 1970s thanks to legendary songwriters and singers like Sam Hui, Joseph Koo, and James Wong. Their legacies were then continued by talented and unique superstars, like Paula Tsui, Leslie Cheung, and Anita Mui in the decades that followed. It was not until the 1990s that the idea of “boy bands” was introduced and popularized by notable groups — for instance, Beyond and ‘Four Heavenly Kings’.
Before the turn of the millennium, Canto-pop was so popular that even foreigners were fanatical about learning Cantonese — just to get a hang of the meaning and message of those songs. But it has been on the decline since — just take a cursory glance at singers such as Leo Ku and Miriam Yeung who had reigned supreme, their fame was not comparable to that of the pioneers. Lamentably, this trend showed no signs of stopping even in the 2010s, despite the rise of new idols such as C Allstar, Jay Fung, Mag Lam, and Joyce Cheng. An easy explanation for this is undoubtedly the skyrocketing popularity of J-pop and K-pop.
Idolisation – Friend or Foe?
Idolisation – Friend or Foe?
Canto-pop had no choice but to take a back seat. Unexpectedly, though, the HK music industry has once again risen to the top in the recent years, thanks to the TV series and singing competition “King Makers I-IV” with singers and groups like MC Cheung, Mirror, and Collar suddenly becoming A-listers.
That said, they have met with a chorus of claims that they are undeserving of their fame as it is only a result of the idolisation of celebrities. In fact, some detractors go as far as deeming it a cover-up for their mediocre singing techniques, citing examples such as Mirror’s member Anson Lo being completely out of pitch in Joyce Cheng’s concert. This begs the question — is idolisation a friend or foe to HK’s music industry?
Skyrocketing Popularity
Skyrocketing Popularity
On one hand, idolisation draws people’s attention to Cantopop. Currently, fans often go to great lengths to support their singers, buying and selling merchandise, and lining up overnight for tickets. The stars’ faces adorn public transport. Inevitably, the public is interested in these celebrities' constant appearances — possibly even becoming fans in the process. This heightened awareness has raised the profile of Cantopop.
Idol = Barbie?
Idol = Barbie?
Yet, nothing is without flaws, and idolisation promotes great emphasis on looks. As a singer, one has to have the basic vocal techniques, and perhaps even some dancing skills. But it is arguable if this is the case today. In the Anson Lo incident, many think that the whole performance was laughable, even referring to the performance as “Er-hu playing”. Not only did it damage the reputation of Anson Lo, but also Mirror, and perhaps the whole Cantopop industry.
Hence, some may believe singers in Hong Kong are nothing more than beautiful Barbies or handsome Kens, and lip-syncing can always save the day. Idolisation inculcates in teens the idea that being cute is the top priority of being a successful singer — is this what led to the downfall of HK’s music industry?
How should Mirror respond?
How should Mirror respond?
So how can we really revive HK’s music industry? We have to abandon the equation of beautiful / handsome = talented. Only by changing this mindset will the agencies treat Hong Kong music and their artists and fans seriously, allowing the true renaissance of Cantopop.
All that glitters is not gold. May the fake gold get out of the way, and allow the real gold to shine. In Cantopop we trust!
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