Rhythm - the Online Magazine to HKVP Radio

by Lucia Chan

July 29, 2003 | Browse Features

Retrospect: the 1990s

After the 1980s boom, Hong Kong was still the financial and creative hub of Asia. Not only was the economy still stable, but the music and creativity also continued to flow. The superstars from the 1980s, who had taken from their predecessors and developed a more distinctive sound for Cantopop, were still riding high and some had even semi-retired to concentrate on other areas of entertainment.

The stars of the 1980s had pulled in Western influences to mix with their own knowledge of Asian music – even dabbling a bit in the Western markets to see how far they could go. Those Cantopop stars of the 1980s were ready to take the world by storm, and expanded into the movie and television industry. Not only did many of them succeed, these stars managed to whip up a global fan base for their movies, music, and television shows that made the Hong Kong entertainment industry a recognized money-maker.

While the 1980s had been a decade of indulgence for many, the early 1990s ushered in a technological era that was unparalleled; the unveiling of the computer, the development of cellular phones, and the soaring popularity of Internet made the 1990s a time of new prosperity and fortune. People were investing in the stock market, a whole wealth of information was becoming available to them via a computer, and lives were generally becoming easier for everyone. But there was something lurking ahead in the future…

The British, though attached to Hong Kong, conceded their control and handed the territory back to China in 1997. There were large celebrations and general concerns over what would change and what would stay the same. Those concerns, however, were delayed by the more important issue of a failing economy; the dotcom era had already come and gone, and things were beginning to go sour in the stock markets around the world – and Hong Kong was hit badly.

The Cantopop scene seemed relatively unaffected – until they, too, began to lose money through mp3 and piracy technology. The movies were also affected, with street peddlers selling copies of box-office hits for less than the cost of a movie ticket. Piracy didn't deter people from taking chances or starting new trends, but it did stunt the growth of creativity in artists; due to the record companies' zealousness to combat copyright infringement and to make as much money as possible off their artists, labels pushed Cantopop stars to release more albums, sometimes even pushing for six albums a year. The quality of Cantopop music went down, as the appearance and sounds of mediocre Cantopop stars and music went up.

Moving Forward
Breaking away from the tried and true formula of adulation, something new was developing in Cantopop: bands and groups. Beyond appeared, playing their own instruments, eschewing glitz and glam for truer quality in their music. They were very popular in Hong Kong and Asia, displaying the public's taste for something different from another cookie-cutter idol singing someone else's songs to them. The public was beginning to develop a want for more innovation - and the stars were willing to give it to them. Unfortunately for Beyond, their lead singer and founding member Wong Kai Kui passed away in the late 1990s, but the band plays on in his memory. Beyond songs like "Sky-Wide" and "Life is Amazing When You Live Awhile," remind their fans why, in a dark period of Cantopop, there is still hope for improvement.

Another group that provided a refreshing sound to the Cantopop scene was the three-member group Grasshoppers. Mentored by Cantopop royal Anita Mui, Grasshoppers sang together and occasionally collaborated with Beyond. They were musically catchy and visually pleasing; their songs "Why Am I Not a Naturally-Born Woman?" and "Three Minutes of Wild Release" made listeners bob their heads and snap their fingers. Like the Wynners in the 1970s, Grasshoppers were the boyband of the moment, and scored big with Cantopop fans.

The girls of the 1990s tore a page from Anita Mui's book on how to be a Cantopop star and were independant, bold, and intelligent. They stood out from the guys with their fashions and smiles, and gave a feminine touch to an otherwise male-dominated field.

One of these female superstars was Sammi Cheng Sau Man, a powerhouse in the music and movie industry. Not only does she sing the usual, formulaic ballad and dance tune in an outstanding style, but she also manages in inject world views and messages, particularly in her song "The Angel of Calcutta - Mother Teresa." But Sammi's singing career is nothing compared to her work as an actress; if she had made a deep impact on the Hong Kong music industry, than she has slammed a crater into the movie business. As the highest paid actress in Hong Kong, Sammi's work and demand speaks for itself - often saying that she has no equal.

Another female Cantopop star was the reputed diva Faye Wong; famous for her role in the film Chungking Express, Faye has also been entered into the Guiness Book of World Records as the best-selling Cantopop female. With an estimated 9.7 million of her 20 albums sold by March 2000, Faye outsold heavyweights Anita Mui, Jenny Tseng, Sally Yeh, etc. Known for her music and fashion style, Faye has a magnetic and sexy air about her, much like Anita Mui before her. Although recent news reports centers around her love life with male Cantopop stars, Faye Wong has managed to ensure that the press has nothing to criticize her about, musically or cinematically.

Sandy Lam, an artist who had a achieved notoriety in the 1980s, continued to stretch her fame into the 1990s. By blending R and B and hip-hop beats into her music, Lam brought a new sound into the Cantopop arena, and a new expertise. Starting out as a DJ in a Hong Kong nightclub, Lam resembled Anita Mui in her independence, sassy looks, and innovative sounds. Songs like "What a Wonderful World" and "You Make Me Feel Sexy" made her a household name in Hong Kong and earned her invitations into the heart of Cantopop fans.

More Work, Less Talent
Besides earning the praise and love bestowed upon them, Cantopop stars were being worked harder than ever; because of the revenue loss from piracy and mp3 use, CDs and albums were no longer viewed as profitable, and stars were urged to act in more productions and to put on more concerts. Though movies also experienced a decrease in profits and budget allowances, Hong Kong managed to put out several excellent movies that are still thought of this day. Chungking Express with Tony Leung and Faye Wong made us cry. Leslie Cheung's role in Farewell, My Concubine was unforgettable. Although hampered by economics, many people still looked to Hong Kong to produce award-winning and groundbreaking films.

Starring in these films and also making music were the newly crowned kings; the Four Heavenly Kings of Cantopop were named in Hong Kong, declaring Aaron Kwok Fu Sing, Leon Lai Ming, Andy Lau Tak Wah, and Jacky Cheung Hok Yau, the four best male singers throughout the Cantopop community. The label was invented by TVB in 1991 when they were introduced onto the Cantopop scene. Although some see this as more of a marketing ploy to help boost record sales, many fans embraced these four men and were fiercely loyal to their favorite. Each had different characteristics that would distinguish them from one another: Aaron Kwok, who had started out in the TVB studios, was the dancing pop star; Andy Lau, a popular star in many movies, was the acting pop star; Jacky Cheung, who had already jumped in the Cantopop pond in the 1980s, was the singing pop star; and last, but not least, Leon Lai is the teen idol pop star. The Four Heavenly Kings are still very famous in Hong Kong, unlike many other Cantopop stars that seem to be loved one moment and forgotten the next.

Though the business is fickle, new stars emerge everyday, and there are even newer, younger Cantopop kings; Cantopop has even jumped onto the Western bandwagon of the Backstreet Boys, 'N Sync, and Westlife, and produced their own groups of vapid, albeit good-looking Cantopop groups. The result of their work is still present today, and includes Jay Chou, Edison Chen, Nicholas Tse, F4, The Cookies, Twins, and a vast array of others who are accused of having no talent, no brains - only nice faces and bodies. The Cantopop industry continues to hammer stars into some kind of a marketable product, and money is the one thing that matters most.

Although the film and music industry in Hong Kong is constantly on the lookout for someone who can do everything and be everything for everyone, it hasn't stopped the stars with true talent from shining on the world stage. Singers and actors like Priscilla Chan, Andy Hui, and the Four Heavenly Kings continue to rule the stage with their songs and movies. Even 1980s idols, those who had once been famous, are still noted for their appearances and new music; artists like Sally Yeh, George Lam, Alan Tam, and Jenny Tseng are not kept off the stage, but are begged by fans to stay on it. Though the economy has taken a turn for the worse for Hong Kong in the 1990s, people still want their Cantopop - and they want those who can give them quality.

Whatever the future holds for the genre remains unclear; with Japanese and Korean pop music tearing a niche into the market for listeners, Cantopop has entered a new era where competition is stiff, the money isn't so good, and piracy is still rampant. But if the new stars can seize the creative spirits of the past, Cantopop will flourish into the sunset.