The Identified Vintage China Music record Found In Indonesia

MUSEUM DUNIA MAYA DR IWAN S.

Dr IWAN ‘S CYBERMUSEUM

 THE FIRST INDONESIAN CYBERMUSEUM

  MUSEUM DUNIA MAYA PERTAMA DI INDONESIA

   DALAM PROSES UNTUK MENDAPATKAN SERTIFIKAT MURI

     PENDIRI DAN PENEMU IDE

      THE FOUNDER

    Dr IWAN SUWANDY, MHA

                     

The Driwan’s  Cybermuseum

                    

(Museum Duniamaya Dr Iwan)

Showroom :

The Chinese Export Record label to Indonesia

A.PRE WORLD WAR II

1.EAGLE MARK (SOUCHOU-ZHOUCHOU SERENADE)

PAGODA V 3912a

 

tigersleeve.jpg

tiger_1048d.jpg

Here’s a beautiful and hypnotic Teochew Opera on the obscure Tiger label. Teochew is a Chinese dialect from the Guangdong region of Southern China. The Teochew music bears more resemblance to Southeast Asian music than other Chinese opera forms, especially the Peking opera (in fact, this was recorded in Thailand according to one of our readers, see comments for further info). This record is a great example of the measured rhythm and clear melody of the Teochew style, with little of the wild percussive effects of the Peking style. During the 18th-20th centuries there was much emigration from Guangdong into Thailand, Malaysia, Singapore and elsewhere in the region and a healthy Teochew Opera scene existed in those places until recently.

ORIENTAL RECORDS

January 12, 2008, 2:31 pm
Filed under: cantonese opera | Tags: , ,

oriental5028a.jpg

oriental5028asleeve.jpg

baijurong2.jpg

baijurong2.jpg

I had a request for some more Bai Ju Rong, the amazing Cantonese singer featured below on the Clipper label. Here he is on the obscure Oriental Records label.

>ORIENTAL 5028a

 
 
 

 

THE CHINESE YANGQIN

 

odeon206019a.jpg

odeon206019asleeve.jpg

Here’s an excellent recording on the Odeon label featuring the Yangqin, a Chinese hammered dulcimer. The hammered dulcimer is used all over the world; Santur in India, Santoor in Perisa, Santouri in Turkey and Greece and various forms of the Cymbalom used throughout Eastern Europe. The Yangqin is a common instrument in Cantonese “Silk and Bamboo”, a form of folk playing that is closely related to Chinese Opera. I think this may be the only record I have that features the instrument.

The Odeon label included many different forms of Chinese Opera from all over the country. This one, I believe, was recorded in Hong Kong.

>ODEON 206019a

 
 
 

 

Bai Ju Rong

 

cliper1016a.jpg

baijurong.jpg

Bai Ju Rong, aka Bak Keui Wing (1892-1974) is one of my favorite singers. He was trained as a youth in the role of Xiaosheng, one of the subtypes of the main male role known as Sheng. Xiaosheng roles were handsome young men involved in various romantic intrigues and adventures. Bai Ju Rong went on to be thought of as the “Xiaosheng King” and made a major impact on Cantonese opera in the 1920′s. He re-defined almost every aspect of the performance; most importantly he switched from using the archaic “Official Cantonese (which many could not understand) to using vernacular language. He also changed the singing from an affected high voice to a natural, flowing “true voice” and made his mark on the use of gestures and melodic recitation.He started losing his sight and eventually had to quite performing. By 1948 he was reduced to singing in the street. Amazingly, he made a comeback and was again very successful. In 1958 he became principal of the Guangdong Opera School.This is part one of four.

.

4)Fujian Amoy Opera Record

 

Amoy is in the Southeastern province of Fujian, across the strait from Taiwan. The language and culture are closely related to that of Taiwan. Here’s an Amoy Opera instrumental on a label I’ve never seen before. The name of the label translates as something like “Country Love Company”, or maybe more accurately “Patriotsim”, as one commentor has noted below . The music sounds very much like Taiwanese Opera (coming soon in a future post).

>Ai-Guo (Patriotic) 5318a

 
 
regal50002c.jpg

Here’s an interesting one on Regal. Chinese opera was usually released in the form of a 2, 3 or 4 record series to accommodate the lengthy lyrics. The music tends to be very similar on each side of these series, often with subtle variations or key shifts. Such is the case with this 2 record series, of which this is the third part. The first three sides are almost musically identical except part 3 introduces some amazing sliding and tremolo. Not only is this effect not on the other songs in this series, I’ve never heard it on any other Chinese record!

I’m not too sure about the history of Regal, but it’s obviously a subsidiary of Pathe at the time of this release.

REGAL 50002C

 
hmv24_12941label.jpg

hmv24_12941.jpg

Welcome back, Dear Reader, for another dose of of exceedingly obscure Chinese Opera. This time we have an example of Amoy Opera on the His Master’s Voice label. Amoy (aka Hokkien) is a language/dialect from the Southern Chinese province of Fujian, which neighbors the Guangdong province, the origin of our last posting of Teochew Opera. Amoy is directly across the strait from Taiwan and the language and music are basically the same. Like the Teochew people, the Fujian people emigrated to many parts of Southeast Asia, taking their music and language with them. Forms of this opera style are still popular in the region today.

i HAVE JUST FOUND NEW COLLECTION IN OCTOBER 2011, AND i WILL COMPARE WITTH THE COLECTION WHICH i HAVW FOUND VIA GOOGLE EXP-LORATIONS, i HOPE CHINE NATIVE AND COLLATECTORS WILL HELP ME TO TRANLATE AND SEND ME MORE IN INFO VIA COMMR4NT THANK YOU(DR IWAN NOTE)

 

 

 

 

 

The Chinese  traditional Wedding Music Record(Singapore Pagoda  record,info from Haji Maji)

 

Here’s another Pagoda recorded in Singapore, this one in 1938. It features traditional Chinese wedding music played by a seroni ensemble. The typical ensemble consists of seroni (a shwam-like oboe known as suona in China), swilin (bamboo flute) and percussion; a small drum, cymbals and gong. Usually this type of music is used to accompany the bride while she is carried in a sedan and throughout other parts of the wedding. The piece heard on this record is labeled “Siew-Tow”, the most important part of the ceremony when the vows are taken.
A seroni ensemble is also used for funerals and other rituals.

Immigrants from southern China began moving to Malaysia and Indonesia as early as the 15th century. The British later encouraged Chinese immigration to the Straights Settlements in the the 19th and 20th centuries. Chinese, speaking several different dialects, quickly established themselves as traders throughout the region, as in other parts of Southeast Asia.

The label is hard to read, but it says:

Seroni
lagu Siew-Tow

>Pagoda V3905a (mx-7753 GD)

 

B.AFTER WORLD WAR II

1. THE KINGDOM AND THE BEAUTY SUNG BY

TSIN TING AND KIAN HUNG

Tsin Ting Kiang Hung 33 rpm 10″ Record Pathe CPA 169

 
 
Item condition:
 
 
Price: US $30.00

 

1a.

 Ting (centre) with guest stars (from left) Zhuang and Mohan

Ting (centre) with guest stars (from left) Zhuang and Mohan

LEGENDARY veteran Chinese singer and playback artiste Tsin Ting, who has entertained fans for over 50 years, will be performing in a charity concert
at Genting Arena of Stars on Saturday.

Tsin, a native of Szechuan, arrived in Hong Kong as a teenager in 1949. She made a living as a night club singer and on radio shows. In 1953, she was invited to join a seven-month tour of Malaya and Singapore with a group of actors and singers.


Upon returning to Hong Kong, Tsin made her first recording, a Cantonese version of One Day When We Were Young.


As a playback artiste, she has lent her vocals to many of Shaw Brothers’ opera movies from the 1950s to the 1960s, notably The Love Eternal, where she sang for Betty Loh Ti, the lead actress, in her role as Zhu Ying Dai.

The pathos in her song, along with Loh Ti’s excellent acting, moved viewers to tears. Tsin left Shaw Brothers Studio as a contract singer in 1970 but continued recording albums with EMI in the 1970s, Wing Hung in the 1980s, and Polygram in the 1990s.


Tsin stood in as singer for a countless number of leading ladies. In the 1950s, she sang for Lucille Yu Min, Lee Li Hwa, Lin Dai, Betty Loh Ti, Jeanette Lin Tsui, Helen Li Mei and in the 1960s, for Ivy Ling Po, Li Ching, Lily Ho, Jenny Hu, Margaret Tu Chuan and Cheng Pei Pei, to name a few.


In 2000, Tsin made a remarkable career comeback with a sold-out concert at the Hong Kong Coliseum with Liu Yun, Tsui Ping and Wu Yingyin.

She repeated the feat a year later in a concert with Liu Wu and Billie Tam.


In 2006, Tsin performed a famous Bai Guang classic as guest singer at Donald Cheung’s concert. Hong Kong audiences saw Tsin in 2008 at a series of sell-out solo concerts at Star Hall and in 2009, at the 10,000-seater Hong Kong Coliseum.

 

Tsin Ting Live Charity Concert In Genting is at 8pm. Tickets: RM80 — RM480. Guest artistes are Mohan and Zhuang Xue Zhong.

 

 

 

pathe record Miss Yao Lee

 

Miss Yao lee info

Yao Lee

 
Yao Lee
Chinese name 姚莉
Pinyin Yáo Lì (Mandarin)
Jyutping jiu4 lei6 (Cantonese)
Birth name Yáo Xiùyún (姚秀雲)
Origin Republic of China
Born 1922 (age 88–89)
Republic of China
Occupation Singer
Genre(s) Mandopop, shidaiqu
Instrument(s) Singing
Label(s) Pathé / EMI
Years active 1930s — 1970s

Yao Lee, also credited as Yiu Lei and Miss Hue Lee, was a Chinese singer from the 1930s to the 1970s and sister of Yao Min. By the 1940s, she became one of the Seven great singing stars.[1]

Contents

 Biography

Born Yáo Xiùyún (姚秀雲) and rasied in Shanghai, Yao began performing on the radio in 1935 at the tender age of 13. When she was 14, she recorded her first single with Yan Hua (嚴華) called “Xin xiao fang niu” (新小放牛). She was signed to Pathé Records.

She married Huang Baoluo (黃保羅) in 1947 and ceased performing on stage to devote time to her family. Following the Communist seizure of power in China in 1949, popular music was considered ideologically suspect[2] and Yao fled to Hong Kong in 1950 to continue her singing career there. In addition to releasing hit records, beginning in 1955 with the film 桃花江 (Peach Blossom River), she often acted as a playback singer for movie superstars. Many of the featured songs would also become popular. She stopped singing in 1967 upon the death of her brother but took an executive position with EMI Music Hong Kong in 1969. In 1970, she returned to performing and travelled to Taiwan to perform there for the first time and sought unsuccessfully to sign Teresa Teng to EMI for the Hong Kong market. She retired officially in 1975 but remained supportive of singers such as Wakin Chau.

 Career

During the 1930s and 40s, Yao Lee’s high, soft singing style was typical of Chinese popular music of the time. She performed numerous popular standards, such as Wishing You Happiness and Prosperity (恭喜恭喜), “I Can’t Have Your Love” (得不到你的愛情), and “By the Suzhou River” (蘇州河邊) with her brother Yao Min, arguably the best-known Chinese pop songwriter of the shidaiqu era.[3] She is famous for her 1940 version of Rose, Rose, I Love You (玫瑰玫瑰我愛你), later recorded by Frankie Laine in the United States with English lyrics. (Her version was also released in the US and the United Kingdom credited to “Miss Hue Lee”). Yao was known as “the Silver Voice” (銀嗓子) alluding to fellow Shanghai singer Zhou Xuan, who was known as “the Golden Voice” (金嗓子).

With increasing Western influence in the region after World War II and her move to Hong Kong, Yao Lee’s singing changed. She was introduced to more Western popular music and became an admirer of American singer Patti Page whom she emulated by lowering her voice and incorporating some vocal mannerisms. As a result, Yao is sometimes called “Hong Kong’s Patti Page.” One of her biggest ’50s records was “The Spring Breeze Kisses My Face” (春風吻上我的臉).

Yao was extremely prolific with over 400 gramophone records attributed to her.

References

  1. ^ Baidu. Bai Guang. Retrieved on 2007-04-28.
  2. ^ Panorama of Musical Creation: Vocal Music at China Culture Information Net
  3. ^ Wakinchau. Golden days of Yao Li 流金歲月-姚莉 玫瑰 玫瑰我愛你. Retrieved on 2007-04-26.

 

 

 

(2)ZHOU XUAN AND BAI GUANG

Zhou Xuan ZHOU XUAN AND BAI GUANG

Archetypal songstress of Mandarin cinema Zhou Xuan (1920–1957) is best remembered for her performance in the classic Street Angel 1937. In her popular Hong Kong production Song of a Songstress 1948 (dir: Fang Peilin), she performs ‘Songstress of the world’ (‘Tianya genü’), which became her signature song. Tragically, her final years were spent in a Mainland mental hospital, where her death was possibly suicide. Many of her songs are still popular today; one features in the soundtrack of Wong Kar-wai’s In the Mood for Love 2000 (see Mirror Cities: Fascination and Nostalgia). Launching her singing career at 22, Bai Guang (1920–1999) quickly became a successful singer–actress in Japanese-occupied Shanghai, and then, like Zhou Xuan, her star continued to rise in Hong Kong after the war. Bai was known as the most sultry and sensuous of the songstress stars, nicknamed both ‘Standard Alto’ for her low voice and ‘Bewitching Beauty of all Ages’ for her enduring stage appeal. In Songs in the Rainy Nights 1950 (dir: Li Ying), she plays a country girl who moves to Hong Kong and achieves success as a nightclub singer, while her cousin works more respectably in a factory.

Production
still from Street Angel (Malu Tianshi) 1937 / Image
courtesy: China Film Archive, Beijing Street Angel (Malu Tianshi) 1937 All ages
2.00pm Saturday 24 March
/ Cinema A / Live electronic subtitling35MM, 86 MINS, B. & W., MONO, CHINA, MANDARIN / DIRECTOR/SCRIPT: YUAN MUZHI / ORIGINAL STORY (NOVEL): MONCKTON HOFFE / CINEMATOGRAPHY: WU YINXIAN / CAST: ZHAO DAN, ZHOU XUAN, WEI HELING, ZHAO HUISHEN, WANG JITING, QIAN QIANLI, YUAN SHAOMEI, LIN JINYU / PRODUCTION COMPANY: MINGXING (STAR) FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEHong (Zhou Xuan) and her sister Yun live in a desperately poor part of Shanghai, having fled Manchuria after the Japanese invasion. Yun works as a prostitute to support them, while Hong sings in the streets with her tutor, who one day decides to sell her to a gangster. Friends from her neighbourhood help her to escape. Love-struck trumpeter Chen Xiaoping (Zhao Dan) takes her to live in another part of the city but her sister is found by gangsters and tragedy ensues. It is diva Zhou Xuan’s most celebrated role. A classic of the Shanghai cinema, the film is said to have been inspired by the 1928 Frank Borzage film of the same name as it features dramatic lighting and Soviet-style editing techniques. Director and scriptwriter Yuan Muzhi joined the Chinese Communist Party (CCP) in 1940 and established the Northeast Film Studio in the same year, after the CCP took over Manchurian Motion Pictures. In 1949, after the creation of the People’s Republic of China, he was chosen to head the Film Bureau in the Ministry of Culture.
Production still from Night Inn (Ye
Dian) 1947 / Image courtesy: China Film Archive, Beijing Night Inn (Ye Dian) 1947 / Cinema A35MM, 107 MINS, B. & W., MONO, CHINA, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: HUANG ZUOLIN / SCRIPT: KE LING / ORIGINAL STORY (PLAY): MAXIM GORKY / CINEMATOGRAPHY: ZHUANG YUANJUN, XU QI / CAST: WEIWEI, ZHOU XUAN, ZHANG FA, SHI HUI, TONG ZANGLING / PRODUCTION COMPANY: WENHUA FILM COMPANY / PRINT SOURCE/RIGHTS: CHINA FILM ARCHIVEThe occupants of an inn owned by the ruthless and unpleasant Mr and Mrs Wen include a petty thief, a street vendor, a prostitute, a garbage collector and a street performer. Mr Wen demands rent payment from a sick tenant, while Mrs Wen plots to manipulate the thief into murdering her husband. Night Inn is an adaptation of Maxim Gorky’s play The Lower Depths: Scenes from Russian Life, first produced in Moscow in 1902 by Konstantin Stanislavski. Gorky’s play shows the relationships among the working-class tenants of a boarding house and explores whether it is better to live happily with illusions or to grasp the full, often miserable truth. Jean Renoir adapted the play in Les Bas Fonds 1936 and Akira Kurosawa transposed it to Edo-period Japan in Donzoko (The Lower Depths) 1957.
Production still from Orioles Banished from the Flowers (Huawai Liuying) Orioles Banished from the Flowers (Huawai Liuying) 1948  / Cinema A / Live electronic subtitling35MM, 84 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: HONG MO / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO SANNONG / ART DIRECTION: YI GUANGFU, YAN SHI / SOUND: SUN BINGYUN / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, YAN HUA, LÜ YUKUN, LI LULING, HU XIAOFENG / PRODUCTION COMPANY: DAZHONGHUA / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANYA situation comedy involving an accidental trip to Shanghai, Orioles Banished from the Flowers features extraordinary passages of music and images with songs from Zhou Xuan who plays Zhou Ying, a young girl with a gift for singing,. Her singing disturbs the tutoring sessions that university student Ding Qiushi (Yan Hua) gives her neighbours. When they finally meet they fall in love and only quarrel when Ying wants to help Qiushi financially. When Ying runs away and hides in the neighbour’s car, she ends up in a compromising situation. After early work in set design, Fang Peilin began directing in 1936. Remaining in Shanghai during the Japanese occupation, he made successful musicals and continued in this vein in Hong Kong after the war. He died in a plane crash when travelling to Shanghai.
Production still Song of a Songstress (Genü zhi Ge) Song of a Songstress (Genü zhi Ge) 1948 / Cinema A / Live electronic subtitling 35MM, 93 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: FANG PEILIN / PRODUCER: XIE BINGJUN / SCRIPT: WU TIEYI / CINEMATOGRAPHY: CAO JINYUN / EDITORS: SHEN YUQI, CAO NONGPING / ART DIRECTION: YI GUANGFU / SOUND: SUN JINGHAI / MUSIC: CHEN GEXIN / LYRICS: CHEN DIEYI / CAST: ZHOU XUAN, WANG HAO, MENG NA, WEI PENGFEI, GU YELU / PRODUCTION COMPANY: QIDONG FLM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY Fang Peilin’s last film, Song of a Songstress, is also his best known. Cabaret singer Zhu Lan (Zhou Xuan) is pursued by arrogant playboy Ye Chunhua (Wang Hao) but she is in love with an impoverished painter, Fang Zhiwei (Gu Yelu), and resists Chunhua’s advances. Zhu Lan puts herself fatally in Chunhua’s debt when she asks him to find a job for Zhiwei. The climactic sequence uses parallel editing to heighten the pathos and tension; as Zhu Lan sings in a nightclub revenge is enacted for past wrongs. The tone is light and entertaining but balances elements of melodrama in Zhu Lan’s tragic past and romantic life and in the final dramatic revelations. ‘Songstress of the world’ (‘Tianya genü’), which Zhou Xuan performs here, is her best known song.
  Flower Street (Hua Jie) 1950 / Cinema A / Live electronic subtitling35MM, 70 MINS, B. & W., MONO, HONG KONG, MANDARIN / DIRECTOR: YUE FENG / PRODUCER: SHEN TIANYIN / SCRIPT: TAO QIN / CINEMATOGRAPHY: DONG SHAOYONG / EDITOR: WANG ZHAOXI / ART DIRECTION: BAO TIANMING / MUSIC: LI HOUXIANG / CAST: ZHOU XUAN, YAN JUN, GONG QIUXIA, HAN FEI, LUO LAN / PRODUCTION COMPANY: GREAT WALL PICTURES CORPORATION / PRINT SOURCE: CENTRE DE DOCUMENTATION DU CINÉMA CHINOIS / SCREENING FORMAT: BETACAM SPFlower Street follows the fortunes of a family of performers in Shanghai from the 1920s through the Japanese occupation and the war. Xiao Hulu (Yan Jun) is a storyteller at the Triumph House, a tea house in Flower Street; his wife Bai Lanhua (Luo Lan) sings in the same establishment and his mother sells flowers in the street to help make ends meet. Little Taiping (Zhou Xuan) will follow her mother to become a singer, but not before the family has been torn apart by war in the panic of bombardment and evacuation. Further hardships are in store, even when they manage to reunite, with Taiping wooed by a local crook and Xiao Hulu beaten up when he takes liberties with propaganda songs during a performance for the Japanese. Great actors and a superb script from Tao Qin, as well as six songs from Zhou Xuan, make this a memorable slice of Shanghai amid tumultuous events, and a tender portrait of family ties. The film was re-released in 1952 following the news of Zhou Xuan’s attempted suicide early that year.

 

Production
still from Songs in the Rainy Nights (Yuye Gesheng) 1950
/ Image courtesy: Chinese Taipei Film Archive, Taiwan,
and Hong Kong Film Archive, Hong Kong Songs in the Rainy Nights (Yuye Gesheng) 1950 / Cinema A16MM, 101 MINS, B. & W., MONO, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: LI YING / PRODUCER: ZHANG SHANKUN / SCRIPT: SU CHENG / CINEMATOGRAPHY: WANG JIANHAN / EDITOR: SHEN YUQI / ART DIRECTION: LI HANXIANG / SOUND: GUO QIANG (KWOK KEUNG) / MUSIC: SITU RONG / SONGS: LI MING, YAO MIN / CAST: BAI GUANG, YAN HUA, LAN YINGYING, YOU GUANGZHAO, QUI PING / PRODUCTION COMPANY: FAR EAST MOTION PICTURE COMPANY / PRINT SOURCE/RIGHTS: CHINESE TAIPEI FILM ARCHIVESongs in the Rainy Nights follows the fate of Ah Qiao (Bai Guang) and Ah Yu (Lan Yingying), two sisters who move to Hong Kong to find work. Their cousin sings in a dance hall and Ah Qiao decides to follow in her footsteps, taking the stage name of ‘Hong Hong’ and appearing as the ‘Beauty of the Southern Kingdom’. Attracting many suitors, she soon becomes the mistress of wealthy manager Ma (You Guangzhao). Ah Yu finds work in a factory and meets up with Ah Bing, who comes from the same village and is a handyman at the dance hall. Ma leaves Ah Qiao after he discovers she is having an affair with Taipan Feng (Yan Hua), then tragedy strikes when Ah Qiao is crippled in an accident and only Ah Yu and Ah Bing stand by her. Songs in the Rainy Nights was Li Ying’s first Hong Kong film. For a few days after the film’s release at the Roxy and Liberty Theatres in Hong Kong, Bai Guang appeared on stage accompanied by the Far East Music Band.

(3)Yao Su Rong

 

 (sometimes Yao Su Yong) was born in 1946. Her breakthrough came in 1969, with the title track to the movie “今天不回家” (Today I Won’t Come Home).

That one song swept her into fame, the song being sung by young and old alike, securing her a much-coveted Hong Kong record deal with 海山 (Haishan Records), selling 600,000 copies.

Before that, she’d been singing songs for a while, a minor hit being a Mandarin-language rewrite of a Japanese popular song, “負心的人” (Cruel-Hearted Lover). No longer would she have to worry about success — instantly, she was selling out shows and getting invited to concerts all across the Mandarin-speaking world.

At the height of her popularity in the late sixties/early seventies, it is said that one Hong Kong nightclub owner offered her 60,000HKD for a month’s worth of performances (now about USD$7600 or over $10,000 Canadian dollars — I don’t know how much it was really worth then). A ridiculous amount even by today’s standards, it was even more extravagant back then, when the highest-paid Hong Kong singer was earning only about 10,000HKD a MONTH.

Audiences said what set her apart was her complete immersion into the emotion of her songs. Most of her songs are sentimental love ballads, wistful, nostalgic melodies, and her entire composure and movements would reflect the mood of her music. She often cried as she sang on stage.

However, there is a mark of controversy that stains her career. Though seemingly trivial now, it was enough to drive her to retirement.

Certainly, her catalog is extensive, with over 200 recorded songs. However, during the most intense period of martial law in Taiwan (basically, 1949 until 1975, when Chiang Kai-Shek died), 80 of her songs were banned, supposedly for stirring up unhealthy morals amongst the youth (too many sentimental songs about love would drive the population to immorality!) and being too depressing (for a happy nation is a strong nation, and who could be sad under a government as well-run as the ROC?).

On August 18th, 1969, Yao Su Yong sang at a packed crowd in Kaohsiung, southern Taiwan. The audience was crazy about her, cheering madly every time she appeared on stage, and pleaded and begged her to sing some of her banned songs. Initially, she declined as politely as she could, saying that she was not permitted to perform those songs, and that she hoped the audience would forgive her. However, the requests wouldn’t stop, and eventually, she sang “負心的人”, hoping the popular appeal of her song would override any official censorship.

Unfortunately, the police guards stationed at the theater didn’t agree. They called her offstage and questioned her, asking her to record her playlist and make an official confession. Failing to produce a playlist, her singer’s license was revoked, “leaving no door or window” open. Since she was no longer allowed to perform in Taiwan, she turned to Hong Kong and Southeast Asia to continue her career.

Now, she lives a quiet life in Singapore. Though Taiwan officially invited her to perform at the 1998 Golden Horse Film Festival (the biggest movie event of the island, government sanctioned), she politely declined, saying that now that her life was peaceful and stable, she preferred to remain out of the limelight. However, her legacy lives on. “Jin Tian Bu Hui Jia”, the movie, was remade in 1996, but still used her original song. Her records continue to be very popular, and her status in the annals of Chinese oldies divas is well-secured.

(4)Chinese Folk song

THE END@ COPYRIGHT Dr IWANSUWANDY 2011

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s