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A short clip of one of the best known songs of the 1970s ' by Teresa Teng. Problems playing this file? Made Mandopop a true mainstay by crossing over to mainland China after came to power and instituted the in 1978 that allowed cultural products from Hong Kong and Taiwan to enter China. Teng's song became popular there despite an early ban on her songs by the PRC government for being ' Music'.
Her 'soft, sweet, often whispery and restrained' singing style in romantic songs such as ' (月亮代表我的心) made a strong impact in mainland China where revolutionary songs were previously prevalent. A common expression then was 'By day, rules China. But by night, Deng Lijun (Teresa Teng) rules'. The ban on Teng was lifted in 1986 and songs from Hong Kong and Taiwan, called music, became more popular within mainland China. During the late 1970s and early 1980s, a different generation of Taiwanese singers and/or songwriters such as, and emerged, some of whom were influenced by folk rock and whose music may be termed. One of the most successful songs of the era was Lo Ta-yu's 1985 song ', which was inspired by the American song ' and originally performed by 60 singers. It quickly became a hit throughout Asia and established itself as a standard.
Another song soon followed in 1986 in mainland China called 'Let the World be filled with Love' (讓世界充滿愛). Hou Dejian's song ' (龍的傳人) also became an anthem for the period. Unlike previous eras dominated by female singers, male singers are now popular, and other popular male singers included. Wong released his Chinese debut album A Game A Dream (一場遊戲一場夢), which sold over 500,000-copies in December 1987. In South East Asia, popular local stars from the late 60s to the 80s included Sakura Teng (樱花), Zhang Xiaoying (張小英) and Lena Lim (林竹君) from Singapore, and Wong Shiau Chuen (黃曉君) and Lee Yee (李逸) from Malaysia.
Some such as Lena Lim achieved some success outside the region, and the local labels also signed singers from outside the region such as Long Piao-Piao (龍飄飄) from Taiwan. The recording industry in Singapore in particular thrived. In 1979, launched the to promote the use of Mandarin over the range of Chinese dialects spoken by various segments of the ethnic-Chinese population. Mandarin songs, already a strong presence on radio stations and on television, further eroded the popularity of Hokkien and Cantonese songs in the media.
In the 1980s, a genre of Mandarin ballads called developed in Singapore by singers/songwriters such as. In mainland China, the music industry was freed from state restriction in 1978, and regional recording companies were established in, Shanghai and Beijing in the 1980s with local singers. Pop music in China in this period was dominated by Mandopop songs from Taiwan and Cantopop from Hong Kong, however the 1980s saw the beginning of, with the emergence of singer-songwriters such as, followed by others such as and bands such as which became popular in the 1990s. 1990s A number of singers originally from mainland China such as and began to record in Hong Kong and Taiwan. Faye Wong, referred to in the media as the Diva, first recorded in Cantonese in Hong Kong, later recorded in Mandarin. She became the first Chinese singer to perform in, Japan.
During this period, many Cantopop singers from such as the ' -, and - also began to dominate Mandopop. One of the best-selling Mandarin albums was the 1993 album by Jacky Cheung which sold over 1 million in Taiwan and 4 million in total Asia-wide. Nonetheless, Taiwan has their own popular singers such as, (formerly Emil Chau).
Independent labels such as began to establish themselves in this period as some of the most influential labels. Towards the end of the 90s, other singers such as and became popular, and some also began to perform in the and/or genres. In the period from the mid-1990s to early 2000s, Shanghai and Beijing became centers of the music industry in mainland China, with Shanghai focusing on music record publishing and distribution, while Beijing focused on music recording.
2000s: Growth in Mainland China. Images of Taiwan's pop idols on cover page of Dat Mui Cuoi Tuan Magazine (Vietnam) In Hong Kong, the Four Heavenly Kings faded in the 2000s, but many other new artists such as and came to the fore. The 2000s also began with an explosion of pop idols, many of whom are from.
Mainland China also saw a rapid increase in the number of Mandopop singers, bands, and idol groups as pop music becomes increasingly mainstream by mid-2000s. The growing and also increased demand for Mandopop. Since the 2000s, the emergence of in mainland China and Taiwan had exploded into a flourishing indie music scene in mainland China and Taiwan, adding various new diversities into Mandopop. Entry of popular Taiwan-based bands such as and while in mainland Chinese-based bands such as SuperVC and had brought a new phase of rock fusion into Mandopop. The music industry in Taiwan, however, began to suffer from music piracy in the digital age, and its revenue plummeted to $US95 million in 2005. The primary revenue sources in Taiwan music industry shifted to advertising, concerts, KTV (karaoke) and movie.
The dramatic decline of CD sales shifted the market in favour of mainland China. While piracy was also severe in mainland China, the percentage of its digital sales is higher compared to most countries. 2005 was known as 'The First Year of Digital Music' in China as its digital music sales of $US57 million overtook CDs in 2005, and it also overtook Taiwan in term of the retail value of its music sales. Tony Mitchell. Archived from on 2012-08-03. Moskowitz (2009). University of Hawaii Press.
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