Editing C-pop (section)

== History ==
[[File:BuckClayton.jpg|thumb|upright|[[Buck Clayton]], the American who helped bring Jazz influence to Shanghai.]]
{{For|individual popstars and music era coverage|Hokkien pop|Cantopop|Mandopop}}
The term ''[[shidaiqu]]'' (meaning "music of the era" or ''"popular music"'') is used to describe all different types of music sung in Mandarin and other Chinese dialects recorded in China from 1920 to 1952, then in Hong Kong until the 1960s. Shanghai was the main hub of the Chinese popular music recording industry, and an important name of the period is composer [[Li Jinhui]]. [[Buck Clayton]] is credited with bringing American [[jazz]] influence to China and the music gained popularity in hangout quarters of nightclubs and dancehalls of major cities in the 1920s.  A number of privately run radio stations from the late 1920s to the 1950s played C-pop.<ref name="Miller">[[Toby Miller|Miller, Toby]] (2003). ''Television: Critical Concepts in Media and Cultural Studies''. Routledge Publishing. {{ISBN|0-415-25502-3}}</ref> Around 1927, Li Jinhui composed ""[[Drizzle (song)|Drizzle]]", sung by his daughter [[Li Minghui]] ({{Zh|c=黎明暉|s=|t=|p=|labels=no}}), and this song is generally regarded as the first Chinese pop song.<ref>{{cite book |url=https://books.google.com/books?id=LTr9AAAAQBAJ&pg=PA60 |title=Hong Kong Mobile: Making a Global Population |editor= Helen F. Siu |editor2=Agnes S. Ku |author=May Bo Ching |page=60 |publisher=Hong Kong University Press |year= 2009 |isbn=978-9622099180 }}</ref><ref>{{cite web |title="SHANGHAI IN THE 1930S"- Legendary Women |url=http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |work=Vantage Shanghai |date=11 July 2013 |access-date=4 May 2016 |archive-url=https://web.archive.org/web/20150206160212/http://www.vantage-magazine.com/vantage-point-articles/shanghai-in-the-1930s-legendary-women.html |archive-date=6 February 2015 |url-status=dead }}</ref><ref>{{cite web |url=http://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.225968&catNum=225968&filetype=About%20this%20Recording&language=English |title=FROM SHANGHAI WITH LOVE |work=Naxos |access-date=4 May 2016 |archive-date=8 July 2017 |archive-url=https://web.archive.org/web/20170708190923/https://www.naxos.com/mainsite/blurbs_reviews.asp?item_code=8.225968&catNum=225968&filetype=About%20this%20Recording&language=English |url-status=dead }}</ref> It fuses jazz and [[Chinese folk music]] – the tune is in the style of a traditional [[pentatonic]] folk melody, but the instrumentation is similar to that of an American [[jazz orchestra]].<ref>{{cite web |url=http://orias.berkeley.edu/2006/Jones.pdf |author=Andrew F. Jones |title=ORIAS: Sonic Histories: Chinese Popular Music in the Twentieth Century |url-status=dead |archive-url=https://web.archive.org/web/20131029211312/http://orias.berkeley.edu/2006/Jones.pdf |archive-date=29 October 2013 }}</ref> The [[Bright Moon Song and Dance Troupe]] founded by him was known as the cradle of C-pop.<ref>{{cite web|url=https://news.ifeng.com/society/5/200908/0819_2579_1309653_3.shtml|title=寻访老上海歌星：明月社成流行歌曲摇篮|work=[[Xinmin Weekly]]|date=2009-08-19|language=zh-cn}}</ref>

Around the time of the [[Japanese invasion of Manchuria]], and the [[Chinese Civil War]], pop music was seen as a leftist undisturbed distraction.  After the [[Second Sino-Japanese War]] and [[World War II]] C-pop has been marketed, produced and branded regionally. The [[Chinese Communist Party]] (CCP) established the People's Republic of China in 1949.  One of its first actions was to label the genre "[[Yellow Music]]" (the color is associated with pornography). The Shanghai pop music industry then took pop music to Hong Kong and in the 1970s developed [[Cantopop]]. The [[Kuomintang]], relocated to Taiwan, [[Taiwanese Minnan#Politics|discouraged]] the use of native [[Taiwanese Hokkien]] dialect from the 1950s to the late 1980s. As a result, [[mandopop]] became the dominant musical genre in Taiwan.

In 2000 EolAsia.com was founded as the first online C-pop music portal in Hong Kong. The company survived the [[dot-com bubble]] and offered online legal music downloads in February 2005, backed by [[EMI]], [[Warner Music]] and [[Sony BMG]].<ref>Entertainment News Wire. "[http://www.allbusiness.com/services/amusement-recreation-services/4713603-1.html ENW at allbusiness.com]." ''Download store to debut in Hong Kong.'' Retrieved on 18 March 2008.</ref> It primarily targets consumers in Hong Kong and [[Macau]]: some songs require [[Hong Kong Identity Cards]] to purchase.

In August 2008 Norman Cheung, father of HK singer [[Ronald Cheng]], acquired the remaining portion of EMI Music Asia when EMI, which had entered China in the early 20th century, withdrew from the Chinese market. Typhoon music made the purchase for an estimated [[HK$]]100&nbsp;million.<ref>English.cri.com. "[https://web.archive.org/web/20081028012052/http://english.cri.cn/3086/2008/08/04/1261s389400.htm English.cri.com]." ''EMI Withdraws from China, Following HK Acquisition.'' Retrieved on 8 September 2008.</ref><ref>Varietyasiaonline.com. "[http://www.varietyasiaonline.com/content/view/6645/ Varietyasiaonline.com] {{webarchive|url=https://web.archive.org/web/20081016043535/http://varietyasiaonline.com/content/view/6645/ |date=2008-10-16 }}." ''EMI selling China business.'' Retrieved on 8 September 2008.</ref>

In February 2008 [[mainland China]]'s top search engine [[Baidu.com]] was sued by local industry groups for providing music listening, broadcasting and downloading without approval.<ref>NBC News. "[https://www.nbcnews.com/id/wbna23406659 NBC News]." ''China's top search engine accused of aiding illicit online copying.'' Retrieved on 19 March 2008.</ref> [[Piracy]] continues to exist in China<ref name="CBM">China Briefing Media. [2004] (2004) Business Guide to the Greater Pearl River Delta. China Briefing Media Ltd. {{ISBN|988-98673-1-1}}</ref> but Google have since announced a cooperation deal offering free listening and genuine music copies. Top100.cn was founded by basketball star [[Yao Ming]], agent Zhang Mingji and music insider Chen Ge via a 20 million [[Chinese yuan|yuan]] investment.<ref>China.org. "[http://www.china.org.cn/english/business/242704.htm China.org]." ''Google embarks on free music downloading.'' Retrieved on 19 March 2008.</ref> Google mp3 became available in March 2009.<ref>PCworld.com. "[http://www.pcworld.com/article/149469/google_to_launch_free_music_service_in_china.html PCworld.com] {{Webarchive|url=https://web.archive.org/web/20110606012315/http://www.pcworld.com/article/149469/google_to_launch_free_music_service_in_china.html |date=6 June 2011 }}." ''Google to Launch Free Music Service in China.'' Retrieved on 3 May 2009.</ref> The future of C-pop in mainland China is slowly emerging. However, the [[Government of the People's Republic of China|Chinese government]]'s banning of the highly popular show ''[[Super Girl (TV series)|Super Girl]]'' for one year in 2008 and 2012 still a very controversial for the mainland China market.<ref>hk-dk.dk. "[http://www.hk-dk.dk/docs/chinainvest.2006.05.30.doc www.hk-dk.dk] {{webarchive|url=https://web.archive.org/web/20080527225246/http://www.hk-dk.dk/docs/chinainvest.2006.05.30.doc |date=2008-05-27 }}." ''Foreign Influence in TV & Film.'' Retrieved on 30 March 2008.</ref>

In the early years of modern mainland China, emphasis on collectivist and party values, would predominantly set the theme for the music that was produced. Chinese officially sanctioned music schools, teaching popular music usually involves praising China's national culture through song lyrics that echo the official orientation of the PRC. The way in which popular music is taught in the school system relates to Chinese patriotic verses and traditional Chinese culture. The educational policy is heavily influenced by the government, and the "... Chinese government still uses traditional Chinese culture and values to enhance its legitimacy and consolidate its authority"<ref>{{Cite journal|title = Music education curriculum and social change: a study of popular music in secondary schools in Beijing, China.|last = Ho|first = W|date = 2014|journal = Music Education Research|volume = 16|issue = 3|pages = 267–289|doi = 10.1080/14613808.2014.910182|s2cid = 142989927}}</ref> (Ho, 2012, p1).

After the [[Cultural Revolution]] that isolated China from the rest of the world for more than a decade, the country opened up, especially under the leadership of premier Deng.  Global economic development offered all sorts of opportunities for Chinese businessmen and the opening up of east coast regions to outside economic interests served to boost significantly cross-cultural exchange between China and other nations, including the United States. Globalization and China's joining the World Trade Organization, with the implication of a move to make institutions within the country more compatible with those of the rest of the world, and the surge in international trade all contributed to bringing not only increased economic activity but also social exposure to foreign cultural standards.  Although the new openness affected relations with a broad range of foreign countries, the United States was especially important as it was a major trading partner, and globalization has helped both nations to develop a healthy relationship for future growth.

The openness to trade and other exchanges with the United States, including the growing number of Chinese students seeking admission to educational establishments in the US, facilitated familiarity with [[American popular music]]. Although this was not the first exposure to foreign music for China, as there had been a growing awareness of the unique brand of western influenced popular music in Hong Kong, known as Cantopop, the influences of [[American rock]], and African American rebellious [[hip hop]] and rap music were undoubtedly a lot more accepted by Chinese youth compared to their parent's generation. Nowadays mainland singers like Hua Chenyu, one of the most influential young pop-rock singers in China today, sold out an Olympic sized stadium concert in two minutes and 58 seconds, demonstrating the homegrown pop music of China are at the stage of strong mass appeal.<ref>{{Cite web|url=https://www.stanforddaily.com/2019/01/07/hua-chenyus-peerless-performances/|title = Hua Chenyu's peerless performances|date = 7 January 2019}}</ref><ref>{{Cite journal|title = "Country Roads" to Globalization: Sociological Models for Understanding American Popular Music in China.|last1 = Rupke|first1 = N|date = 2009|journal = Journal of Popular Culture|last2 = Blank|first2 = G|volume = 42| issue=1 |pages = 126–146|doi = 10.1111/j.1540-5931.2009.00574.x}}</ref> (Rupke & Blank, 2009).  The globalization of popular music impacted other East Asian countries, especially Korea and Japan, and this in turn has influenced developments in China, as "pop-culture excursions between (the) three countries"<ref>{{Cite news|title = The Pacific Age|last = Tricks|first = H|date = 2014|newspaper = The Economist}}</ref> are deemed significant (Tricks, 2014, p.&nbsp;4).

In September of 2021, China takes a hammer to one of the newer core pieces of the entertainment industry. The Chinese government officially banned all reality talent shows including infamous idol survival shows. This was the country's biggest attempt to crackdown on the "chaotic" fan culture and the controversies around them. The ban was also used to eliminate the idol aesthetic of "sissy or flamboyant" men or anything outside of normal; along with saturated influencers and celebrities. The overall goal was to promote morality and patriotism using the entertainment industry.<ref>{{Cite journal |last=Jing |first=Xingzhi |last2=Sheng |first2=Jiayue |title=‘Farewell’ to Fostered Idol Reality Shows: Idol Fan Consumption and Government Regulation in China |url=https://pressbooks.lib.vt.edu/pper/chapter/article-3/#:~:text=In%20recent%20years,%20fostered%20idol,intervention%20in%20idol%20fan%20culture. |language=en}}</ref>