On the lookout for pop
Dear Johnny,
In an attempt to learn more about Taiwanese pop music, I went to the Sony Fair 2006 concert and checked out the performances of several bands that my junior high school students are overly fond of.
It was one of the most excruciatingly painful evenings of my life. Out of the 20-odd performers, only four possessed any potential at all.
These artists were Yida Huang (
Not only were nearly all of the artists (including the four "acceptable" ones) horribly out of tune, their stage presence was also abysmal.
Most of the performers could also be classified as "Asian fashion victims." The girls were, in a sad commentary for my gender, generally much worse and much more vapid than the guys. Out of all of the female performers, only Lara (梁心頤) from Nan Quan Mama suggested she was in possession of higher level brain activity, even if her stage performance was wooden.
Indeed, I couldn't understand how or why these people have record deals. In the US the majority of them would have been booed off the stage and the remainder forcefully removed.
One of the striking things about the few artists that were okay was that they all seemed to have managed to incorporate traditional Chinese musical ideas into their own music. It also seems that their songs are usually written by the band/singer and not by a corporate conglomerate.
All of this commentary critical of Taiwan's musical talent is useless if it does not do anything to improve it. So, my question is what can be done to improve the music scene in Taiwan? Alas, I have only two ideas.
The first is to be patient and wait. It's only been a handful of years since Taiwanese pop culture was, in effect, legalized. So, like Taiwanese democracy, it's still in its infancy, and like all parents know, it takes many years before a child is capable of coherent speech, and by the time that happens you are too old to truly appreciate it.
The second is to continue to encourage Taiwanese children to study with foreigners. No, I'm not just suggesting this because it pays my salary. Although I often shudder at the number of hours many of the kids spend in various educational institutions here, sometimes I think that exposure to other ways of thinking is the only hope for them.
Some of the things I try to teach my English students (not usually on the curriculum) are creative thinking and reasoning, neither of which is something that is encouraged in the Taiwanese educational system -- and both are lacking in the entertainment industry.
This, in addition to other musical cultures and traditions, can help create an individual who will be able to evaluate his or her life and make informed decisions (this holds true for anyone, anywhere).
The introduction of these influences will, I think, over time, be the leaven needed to help Taiwanese music rise to a more mature sound.
I hope my kids will be able to enjoy it someday.
Camille Jolley
Taipei
Johnny replies: Thanks for writing; I had to cut your letter because it was very long.
I really have to say that it might not be necessary for kids to be exposed to so many "foreign" influences if they actually got up off their butts and did some real travel in Taiwan itself.
The term “assassin’s mace” originates from Chinese folklore, describing a concealed weapon used by a weaker hero to defeat a stronger adversary with an unexpected strike. In more general military parlance, the concept refers to an asymmetric capability that targets a critical vulnerability of an adversary. China has found its modern equivalent of the assassin’s mace with its high-altitude electromagnetic pulse (HEMP) weapons, which are nuclear warheads detonated at a high altitude, emitting intense electromagnetic radiation capable of disabling and destroying electronics. An assassin’s mace weapon possesses two essential characteristics: strategic surprise and the ability to neutralize a core dependency.
In their recent op-ed “Trump Should Rein In Taiwan” in Foreign Policy magazine, Christopher Chivvis and Stephen Wertheim argued that the US should pressure President William Lai (賴清德) to “tone it down” to de-escalate tensions in the Taiwan Strait — as if Taiwan’s words are more of a threat to peace than Beijing’s actions. It is an old argument dressed up in new concern: that Washington must rein in Taipei to avoid war. However, this narrative gets it backward. Taiwan is not the problem; China is. Calls for a so-called “grand bargain” with Beijing — where the US pressures Taiwan into concessions
Chinese President and Chinese Communist Party (CCP) Chairman Xi Jinping (習近平) said in a politburo speech late last month that his party must protect the “bottom line” to prevent systemic threats. The tone of his address was grave, revealing deep anxieties about China’s current state of affairs. Essentially, what he worries most about is systemic threats to China’s normal development as a country. The US-China trade war has turned white hot: China’s export orders have plummeted, Chinese firms and enterprises are shutting up shop, and local debt risks are mounting daily, causing China’s economy to flag externally and hemorrhage internally. China’s
During the “426 rally” organized by the Chinese Nationalist Party (KMT) and the Taiwan People’s Party under the slogan “fight green communism, resist dictatorship,” leaders from the two opposition parties framed it as a battle against an allegedly authoritarian administration led by President William Lai (賴清德). While criticism of the government can be a healthy expression of a vibrant, pluralistic society, and protests are quite common in Taiwan, the discourse of the 426 rally nonetheless betrayed troubling signs of collective amnesia. Specifically, the KMT, which imposed 38 years of martial law in Taiwan from 1949 to 1987, has never fully faced its