1987年7月15日，台湾解除了多年的戒严1。随后几年，华语流行乐进入了更都市化、商业化的阶段，兴起都市女子之风。像陈淑桦那样以清纯著称的女歌手不得不改头换面，迎合现代听众的心态。在都市化的招牌下，一个千年来男人撰写女声的做法悄然复苏：男人为女人写只有女人才能唱的歌2。这些闺音之歌一度极为畅销3, 但长远的后果对陈淑桦来说却是糟糕透了：她的贡献逐渐被自己的作品挤出界外。

系好安全带，我们将在「华语流行男子作闺音」里颠簸一番。

On July 15, 1987, Taiwan lifted its decades-long martial law1. In the years that followed, Mandopop entered a more urban, market-driven phase, and singers like Sarah Chen were recast from traditional “good girls” into sophisticated urban women. Beneath that image, however, lies an uncomfortable revival of an ancient tradition: men writing gendered songs that only women could sing2. The albums sold at record-breaking speeds3, but for Chen, the long-term consequence was disastrous: she was written out of her own albums.

Buckle up for a bumpy ride with Mandopop Mansplaining.