Hebe Tien is a Taiwanese singer and actress. Born and raised in Hsinchu, she rose to fame in the early 2000s as a member of Taiwanese girl group S. H. E; the release of her debut album, To Hebe, established her as a solo artist. Tien's song "A Little Happiness", the theme song of the 2015 Taiwanese film Our Times, was a major hit in most Mandarin-speaking parts of Asia. On 8 August 2000, HIM International Music held a "Universal 2000 Talent and Beauty Girl Contest" in search of new artists to be signed onto their label; the staff of the TV show. The contest had about 1,000 contestants, after several rounds of competition, seven contestants remained for the final round. In the first round, Tien's voice began to crack while singing "Return Home"; as a result, she decided to sing in a lower key in the final round, choosing Singaporean singer Kit Chan's "Loving You". However, because she was unfamiliar with the song, about ten seconds of the final lyrics went unsung. Following the competition, the Taiwanese record company gave all seven contestants an audition.
The show's manager appreciated powerful vocals. As a result, Tien was invited to become a member of S. H. E, with Selina Jen任家萱 and Ella Chen陈嘉桦, was signed under the Taiwanese record label HIM International Music. Following a successful career with S. H. E, Tien debuted as a solo music artist in 2010 to similar success and critical acclaim for her music albums. In May 2011, Tien’s album <To Hebe> was nominated for four awards in the 22th Golden Melody Awards. <To Hebe> was selected as the Top Ten Albums by the Association of Music Workers in Taiwan and her song <LOVE!> was chosen as the Top Ten Singles. In September 2011, Tien launched her second album <My Love>. On October 17, 2012, this album’s song <Still In Happiness> reached 10 million views on YouTube， making Tien the first Chinese female singer whose music video scored 10 million views. On January 21, 2013, <Leave Me Alone> from her first album reached 10 million views on YouTube, making Tien the first Chinese singer who have 2 music videos with more than 10 million views.
On May 2012, <My Love> received a total of seven nominations in the 23rd Golden Melody Awards and it was the album with most nominations for that Golden Melody Awards. In November 13, 2013, Tien launched her third album <Insignificance>. The album’s title song reached one million views on YouTube within four days and the album sold 40,000 copies in Taiwan within a week. Tien became the female singer with the highest selling album for that year. In May 2014, her album <Insignificance> was nominated for two awards in the 25th Golden Melody Awards. In the same year, Tien was awarded as the Best Taiwanese Singer in the MTV Europe Music Awards. In 2014, Tien embarked on her world tour If World Tour, which it spanned 1002 days, comprising 38 concerts in 24 cities around the world. On 6 December 2014, Tien began her first concert for <If World Tour> in Taipei Arena. Tickets for both concerts in Taipei were sold within 10 minutes, it ended with 2 concerts in the If Plus Taiwanese leg in Kaohsiung on 3–4 September 2017.
In early 2015, Tien’s songs in three albums received more than 10 million views on YouTube. In July 2015, she sang <A Little Happiness> for a Taiwanese film Our Times. In September 2015, she sang a movie soundtrack <Pretty Woman> for another film <Go Lala Go>. In the same year, <Learning From Drunk> and <Insignificance> from her third album received more than 10 million views. On July 13, 2016, Tien launched her fourth album Day By Day. On August 20, 2016, Tien’s song "A Little Happiness" reached 100 million views on YouTube, making her the first Chinese-language singer with more than 100 million views. Tien is the second Asian female singer with 100 million views. In February 2017, she performed the Chinese theme song for the film Beauty and the Beast with Chinese singer Jing Boran. In May 2017, her album Day By Day was nominated for two awards at the 28th Golden Melody Awards, her music videos have accumulated more than 658 million views on YouTube, she is the Chinese-language female singer with the most views on the platform.
Her music video "A Little Happiness" became the first Chinese-language music video to exceed 100 million views on YouTube. She was the second female singer in Asia to reach 100 million views on YouTube. To Hebe My Love Insignificance Day by Day Live in Life 熱情 - Commercial single for Whisper sanitary pad in China 小幸運 - Theme song for the film Our Times 姐 - OST for the film Go Lala Go 2 看淡 - Theme song for the television series A Touch of Green 美女與野獸 - Chinese theme song for the film Beauty and the Beast, featuring Jing Boran 愛了很久的朋友 - OST for the film Us and Them 最暖的憂傷 - Theme song for the television series Here to Heart 自己的房間 - First live recorded song of Hebe's new 「Live in Life」 live recording series 墨綠的夜 - Theme song for the film Long Day's Journey Into Night Love! To Hebe Tour To My Love Tour Insignificance Tour If World Tour Magical Love The Rose Say Yes Enterprise: Cinderella Happy New Year 2004 A Disguised Superstar Reaching for the Stars The Lollipop Bull Fighting Hebe Tien on IMDb Hebe Tien at the Hong Kong Movie DataBase Hebe Tien on Facebook Hebe Tien on Instagram Hebe Tien on Sina Weibo Hebe Tien's channel on YouTube Hebe Tien at HIM International Music S.
H. E at HIM In
Television Broadcasts Limited is a television broadcasting company based in Hong Kong. The company operates five free-to-air terrestrial television channels in Hong Kong, with TVB Jade as its main Cantonese language service, TVB Pearl as its main English service. TVB is headquartered at TVB City at the Tseung Kwan O Industrial Estate, it began operations on 19 November 1967. The company was registered on 26 July 1965 and was co-founded by Sir Run Run Shaw, chairman from 1980 to 2011, together with Sir Douglas Clague and Harold Lee Hsiao-wo of the Lee Hysan family; when TVB first began broadcasting it was known and promoted as "Wireless Television" in Chinese to distinguish it from the cable television broadcaster, Rediffusion Television, which became ATV. It is still referred to with that name, although ATV switched to "wireless" broadcasting as well. TVB is known for its dramas, produces the Miss Hong Kong and Miss Chinese International pageants, it has been the most dominant broadcaster in Hong Kong.
The government set up a working party in the early 1960s to study the idea of setting up a second television station in Hong Kong, where the only television at that time was the wired, subscription-supported Rediffusion Television. There was debate as to whether the second station should be set up as a Crown corporation, as with the BBC. Another challenge lay in procuring enough content for the new station. In 1962, Director of Information Services J. L. Murray stated that while English programming could be purchased from other countries, "no country is producing a mass of suitable pre-recorded material in Chinese". Though Hong Kong was regarded as a centre for film production, it was considered a challenge to source enough Chinese language content for another television station, as most of it would need to be produced in Hong Kong. Regardless, there was commercial interest in the concept. A government franchise for a new wireless television station was opened for tenders on 6 February 1965 and closed on 6 August 1965.
On 25 January 1966 it was announced. The new Television Broadcasts Limited station on Broadcast Drive in Kowloon Tong, Kowloon was opened by Governor David Trench on 19 November 1967; the governor spoke of the potential for television to better society, stating that the new station would play a significant role in "helping and enlighting our people", calling television "one of the most potent means of disseminating information there is". The first images shown on the station were a live transmission of the Macao Grand Prix, which began broadcasting at 9:00 am that day and was interrupted by footage of the opening of the new station; the first colour broadcast was made, a feature called "London Calling Hongkong" which constituted greetings from former governors Alexander Grantham and Robert Black. Following this was a piano recital by Chiu Yee-ha, who had performed at the opening of the Hong Kong City Hall; the new station broadcast English-language channels. The Chinese channel, called TVB Jade, began regular service on 4:30 pm that day on Channel 21, while the English service began at 6:00 pm on Channel 25.
The inaugural programming lineup included Enjoy Yourself Tonight, a Chinese language variety show, Meet The Press, an English current affairs programme. Hong Kong's mountainous topography posed a challenge to TVB, Hong Kong's first television station broadcast wirelessly. A network of transmitters, built atop various mountains, helped provide coverage to the territory; the main transmitter was built at Temple Hill, above Kowloon, to reach most of the main populated centre of Hong Kong as well as parts of the New Territories. Two broadcast relay stations were came into operation on 15 May 1968: one at Lamma Island expanded coverage to Pok Fu Lam, Repulse Bay, parts of Stanley, while another at Castle Peak covered Tuen Mun, Yuen Long, Ping Shan. A third booster station, located on Cloudy Hill, was activated in June 1968 and brought TVB reception to Fanling and Sheung Shui. TVB receives praise for its programming from a wide range of demographics, including the middle class, as was the case with its 2004 historical drama series War and Beauty.
Its programme line-up features a steady stream of soap operas, variety shows and other populist fare. TVB has been criticised for signing exclusive contracts with many local celebrities which restrict them from appearing on other local television stations. Hong Kong's Cable T. V. claims. In fact, many artists do not have exclusive contracts with TVB and are free to show up in programmes produced by other local television stations or out-sourcing production houses; the annual TVB Music Awards ceremony is one of the biggest for Cantopop personalities. It is rumoured that TVB distributes the awards to those who are obedient to the company's demands, the Independent Commission Against Corruption has investigated the arrangement of the awards, it ruled. Afterwards, TVB reformed its music programmes in a bid to reestablish their authority. On the other hand, TVB was awarded the National Association of Broadcasters's International Broadcasting Excellence Award in 2001; the award recognised the company's outstanding contributions to the community through a wide range of charitable programmes and activities.
Hong Kong thus becomes the first city in Asia to receive this prestigious award in this area. In 2
Encore (Eminem album)
Encore is the fifth studio album by American rapper Eminem, released on November 12, 2004 by Aftermath Entertainment, Shady Records, Interscope Records. Its release date was set for November 16, 2004, but was moved to November 12 after the album was leaked to the internet. Encore sold 710,000 copies in its first three days, went on to sell over 1.5 million copies in its first week of release in the United States, certified quadruple-platinum that mid-December. Total worldwide sales of the album stood at 16 million copies. By December 2016, the album had sold over 5 million copies in the United States and more than 2 million copies in Europe. Despite this, critical reception was less favorable than his previous albums, with most of the second half being criticized. Retrospectively, the album has faced more criticism, with critics and fans viewing the album's middle section's as lazy, the album is considered to be one of Eminem's low-points. Eminem himself stated that not only did he rush some of the album because of a leak, but that.
The album contains several lyrical themes, including Eminem's relationship with his ex-wife, their daughter Hailie Jade Mathers, his childhood, his relationships with his parents, opposition to then-American President George W. Bush "Just Lose It" is a parody of Michael Jackson's "Billie Jean", as well as his Pepsi commercial accident in 1984. Similar to Eminem's previous album, The Eminem Show, Encore opens with a skit called "Curtains Up", indicative of the start of the show, closes with "Curtains Down", indicative of the end. With the original, a censored version was released, from which most of the profanities and sexual content, as well the drug references had been edited out. "My 1st Single" has a bleep for the word "fuck" instead of a muted part on the hook: "This was supposed to be my first single, but I just fucked that off so... Fuck it let's all have fun let's mingle", the lines: "Smack a bitch and slap a ho" changed to "Grab a chick and Do-si-do"; the second and third verses were edited with the words "Kim", "Pornos", "Fucking", "Cum" on the second verse changed to the words.
"Puke" has the word "Fucking" changed to "Fricking" throughout the song, "Shit" being replaced with "Shoot" near the end of the first verse, with the second verse being censored extensively with the line "You're a fucking cokehead slut, I hope you fucking die" changed to: "You're a freaking piece of poop, I hope you freaking die", "I hate your fucking guts, you fucking slut" changed to "I hate your freaking guts, you piece of poop". On "Just Lose It", the first verse censors "Molestation" with "Investigation". In "We as Americans" the words dead was back masked in both clean and explicit versions of the song, due to an investigation for the lyrics; the word "ass" is left uncensored in "Yellow Brick Road", "One Shot 2 Shot", "Encore" and "We As Americans". However, it is censored out in "Ass Like That", "Mosh", "Spend Some Time", "My 1st Single", "Just Lose It", with the song "Rain Man", the word "ass" is used twice, but only censored once; the word "goddamn" was left uncensored in "Spend Some Time” while "Yellow Brick Road" leaves "goddamn" uncensored once.
Other profanities on all other songs are blanked out. "Encore" has the shooting sequence at the end of the track removed on the censored album. "One Shot 2 Shot" has the violent content edited removing the intro and the word "shot" throughout the song. However, the original title remains written on the back cover; the album featured two covers, the first cover features Eminem standing in front of an audience, bowing to the crowd. The tray insert features Eminem holding a gun behind his back; the inlay shows Eminem holding the pistol in his mouth without the jacket of his tie. The CD itself shows a note written by Eminem saying "To my family & all my friends, thank you for everything, I will always love you. To my fans, I'm Marshall" with a bullet underneath the note; the note is seen in the album's booklet, where Eminem is writing the note. Some pictures show Eminem shooting everybody, which makes a reference to the ending of the album's title track; the second cover features the same audience from the inlay on a black background with a blood splat on the top right.
This cover is used for the Shady Collector's Edition. Encore received mixed to positive reviews from critics, who praised the beginning of the album, but criticized most of the second half. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 64, based on 26 reviews. Josh Love from Stylus Magazine felt Eminem was "dying" with this album, whose concept was "end-to-end mea culpa", full of "clarifications and excuses", revising the history of "a man who knows he doesn't have much time left". Scott Plangenhoef, writing for Pitchfork Media called Encore a "transitional record" and "the sound of a man who seems bored of re-branding and playing celebrity games". BBC Music's Adam Webb believed it starts "fantastically" but ends "abominably", writing that it has too many
Standard Chinese known as Modern Standard Mandarin, Standard Mandarin, Modern Standard Mandarin Chinese, or Mandarin, is a standard variety of Chinese, the sole official language of China, the de facto official language of Taiwan and one of the four official languages of Singapore. Its pronunciation is based on the Beijing dialect, its vocabulary on the Mandarin dialects, its grammar is based on written vernacular Chinese. Like other varieties of Chinese, Standard Chinese is a tonal language with topic-prominent organization and subject–verb–object word order, it has more initial consonants but final consonants and tones than southern varieties. Standard Chinese is an analytic language, though with many compound words. There are two standardised forms of the language, namely Putonghua in Mainland China and Guoyu in Taiwan. Aside from a number of differences in pronunciation and vocabulary, Putonghua is written using simplified Chinese characters, Guoyu is written using traditional Chinese characters.
Many characters are identical between the two systems. In Chinese, the standard variety is known as: 普通话 in the People's Republic of China, as well as Hong Kong and Macau. Standard Chinese is commonly referred to by generic names for "Chinese", notably 中文. In total, there have been known over 20 various names for the language; the term Guoyu had been used by non-Han rulers of China to refer to their languages, but in 1909 the Qing education ministry applied it to Mandarin, a lingua franca based on northern Chinese varieties, proclaiming it as the new "national language". The name Putonghua has a long, albeit unofficial, history, it was used as early as 1906 in writings by Zhu Wenxiong to differentiate a modern, standard Chinese from classical Chinese and other varieties of Chinese. For some linguists of the early 20th century, the Putonghua, or "common tongue/speech", was conceptually different from the Guoyu, or "national language"; the former was a national prestige variety. Based on common understandings of the time, the two were, in fact, different.
Guoyu was understood as formal vernacular Chinese, close to classical Chinese. By contrast, Putonghua was called "the common speech of the modern man", the spoken language adopted as a national lingua franca by conventional usage; the use of the term Putonghua by left-leaning intellectuals such as Qu Qiubai and Lu Xun influenced the People's Republic of China government to adopt that term to describe Mandarin in 1956. Prior to this, the government used both terms interchangeably. In Taiwan, Guoyu continues to be the official term for Standard Chinese; the term Guoyu however, is less used in the PRC, because declaring a Beijing dialect-based standard to be the national language would be deemed unfair to speakers of other varieties and to the ethnic minorities. The term Putonghua, on the contrary, implies nothing more than the notion of a lingua franca. During the government of a pro-Taiwan independence coalition, Taiwan officials promoted a different reading of Guoyu as all of the "national languages", meaning Hokkien and Formosan as well as Standard Chinese.
Huayu, or "language of the Chinese nation" simply meant "Chinese language", was used in overseas communities to contrast Chinese with foreign languages. Over time, the desire to standardise the variety of Chinese spoken in these communities led to the adoption of the name "Huayu" to refer to Mandarin; this name avoids choosing a side between the alternative names of Putonghua and Guoyu, which came to have political significance after their usages diverged along political lines between the PRC and the ROC. It incorporates the notion that Mandarin is not the national or common language of the areas in which overseas Chinese live. Hanyu, or "language of the Han people", is another umbrella term used for Chinese. However, it has confusingly two different meanings: Standard Chinese; this term, as well as Hànzú, is a modern concept. A related concept is Hànzì; the term "Mandarin" is a translation of Guānhuà, which referred to the lingua franca of the late Chinese empire. The Chinese term is obsolete as a name for the standard language, but is used by linguists to refer to the major group of Mandarin dialects spoken natively across most of northern and southwestern China.
In English, "Mandarin" may refer to the standard language, the dialect group as a whole, or to historic forms such as the late Imperial lingua franca. The name "Modern Standard Mandarin" is sometimes used by linguists who wish to distinguish the current state of the shared language from other northern and historic dialects; the Chinese have different languages in different provinces, to such an extent
Forever (S.H.E album)
Forever is Taiwanese Mandopop girl group S. H. E's second compilation album and 9th album overall, it was released on 21 July 2006 by HIM International Music. It features songs from their fourth album Super Star in 2003 to seventh album Once Upon a Time in 2005; the previous compilation album, included songs from 2001 to 2003. This album features five new songs, 13 released tracks, a DVD featuring seven music videos; the music video for "觸電" features Taiwanese actor Joseph Chang. The tracks "Ring Ring Ring" and "我們怎麼了" were nominated for Top 10 Gold Songs at the Hong Kong TVB8 Awards, presented by television station TVB8, in 2006; the track, "觸電", composed by Jay Chou, won one of the Top 10 Songs of the Year at the 2007 HITO Radio Music Awards presented by Taiwanese radio station Hit FM. The album is the ninth best selling album in Taiwan with 69,000 copies sold in 2006. New tracks are in bold"觸電" Chu Dian - composed by Jay Chou "Ring Ring Ring" "我們怎麼了" Wo Men Zen Me Le "紫藤花" Zi Teng Hua "Goodbye My Love" "Super Star" "天灰" Tian Hui "獨唱情歌" Du Chang Qing Ge - Selina and Tank duet "花都開好了" Hua Dou Kai Hao Le "I.
O. I. O" "候鳥" Hou Niao "不想長大" Bu Xiang Zhang Da "波斯貓" Bo Si Mao "他還是不懂" Ta Hai Shi Bu Dong "星光" Xing Guang "一眼萬年" Yi Yan Wan Nian "月桂女神" Yue Gui Nu Shen "痛快" Tong Kuai "觸電" MV - composed by Jay Chou - feat Joseph Chang with Selina as lead "Ring Ring Ring" MV "Super Star" MV "波斯貓" MV "我愛你" MV "星光" MV "不想長大" MV Super Model Dancing Steps S. H. E discography@HIM International Music
A girl group is a music act featuring several female singers who harmonize together. The term "girl group" is used in a narrower sense in the United States to denote the wave of American female pop music singing groups, many of whom were influenced by doo-wop and which flourished in the late 1950s and early 1960s between the decline of early rock and roll and start of the British Invasion. All-female bands, in which members play instruments, are considered a separate phenomenon; these groups are sometimes called "girl bands" to differentiate, although this terminology is not universally followed. With the advent of the music industry and radio broadcasting, a number of girl groups emerged, such as the Andrews Sisters; the late 1950s saw the emergence of all-female singing groups as a major force, with 750 distinct girl groups releasing songs that reached US and UK music charts from 1960 to 1966. The Supremes alone held 12 number-one singles on the Billboard Hot 100 during the height of the wave and throughout most of the British Invasion rivaled the Beatles in popularity.
In eras, the girl group template would be applied to disco, contemporary R&B, country-based formats, as well as pop. A more globalized music industry saw the extreme popularity of dance-oriented pop music led by major record labels; this emergence, led by the US, UK, South Korea, Japan, produced popular acts, with eight groups debuting after 1990 having sold more than 15 million physical copies of their albums. Since the late 2000s, South Korea has had a significant impact, with 8 of the top 10 girl groups by digital sales in the world originating there. One of the first major all-female groups was the Hamilton Sisters and Fordyce, an American trio who toured England and parts of Europe in 1927, recorded and appeared on BBC radio – they toured the US variety and big-time theaters extensively, changed their stage name to the Three X Sisters; the ladies were together from 1923 until the early 1940s, known for their close harmonies, as well as barbershop style or novelty tunes, utilized their 1930s radio success.
The Three X Sisters were especially a notable addition to the music scene, predicted girl group success by maintaining their popularity throughout the Great Depression. The Boswell Sisters, who became one of the most popular singing groups from 1930 to 1936, had over twenty hits; the Andrews Sisters started in 1937 as a Boswell tribute band and continued recording and performing through the 1940s into the late-1960s, achieving more record sales, more Billboard hits, more million-sellers, more movie appearances than any other girl group to date. The Andrews Sisters had musical hits across multiple genres, which contributed to the prevalence and popularity of the girl group form; the rise of girl groups appeared out of and was influenced by other musical movements of the time period. Vaudeville created an environment of entertainment in which the appearance of the girl group was not unfriendly, musical forms like a cappella and barbershop quartet singing provided inspiration for the structure of the songs and types of harmonies sung by initial girl groups.
The first successful girl groups of this era were white, but capitalized on using music such as ragtime that had originated in the African American community. This era was advantageous to the beginnings of girl group music because of the newfound prevalence of the radio as well, which allowed this style of music to spread; as the rock era began, close harmony acts like the Chordettes, the Fontane Sisters, the McGuire Sisters and the DeCastro Sisters remained popular, with the first three acts topping the pop charts and the last reaching number two, at the end of 1954 to the beginning of 1955. The Lennon Sisters were a mainstay on the Lawrence Welk Show from 1955 on. In early 1956, doo-wop one-hit wonder acts like the Bonnie Sisters with "Cry Baby" and the Teen Queens with "Eddie My Love" showed early promise for a departure from traditional pop harmonies. With "Mr. Lee", the Bobbettes lasted for 5 1/2 months on the charts in 1957, building momentum and gaining further acceptance of all-female, all-black vocal groups.
However, it was the Chantels' 1958 song "Maybe" that became "arguably, the first true glimmering of the girl group sound." The "mixture of black doo-wop and roll, white pop" was appealing to a teenage audience and grew from scandals involving payola and the perceived social effects of rock music. However, early groups such as the Chantels started developing their groups' musical capacities traditionally, through mediums like Latin and choir music; the success of the Chantels and others was followed by an enormous rise in girl groups with varying skills and experience, with the music industry's typical racially segregated genre labels of R&B and pop breaking apart. This rise allowed a semblance of class mobility to groups of people who could not otherwise gain such success, "forming vocal groups together and cutting records gave them access to other opportunities toward professional advancement and personal growth, expanding the idea of girlhood as an identity across race and class lines." The group considered to have achieved the first sustained success in girl group genre is the Shirelles, who first reached the Top 40 with "Tonight's the Night", in 1961 became the first girl group to reach number one on the Hot 100 with "Will You Love Me Tomorrow", written by songwriters Gerry Goffin and Carole King at 1650 Broadway.
The Shirelles solidified their success with five more top 10 hits, most 1962's number one hit "Soldier Boy", over the next two and a half years. "Please Mr. Postman" by the Marvelettes became a major indication of the racial integration
Mandopop refers to Mandarin popular music. The English term was coined around 1980 soon after "Cantopop" became a popular term for describing popular songs in Cantonese, it is now used as a general term to describe popular songs performed in Mandarin. Mandopop is categorized as a subgenre of commercial Chinese-language music within C-pop. Popular music sung in mandarin was the first variety of popular music in Chinese to establish itself as a viable industry, it originated in Shanghai, Hong Kong and Beijing emerged as important centers of the Mandopop music industry. Among the countries where Mandopop is most popular are mainland China, Hong Kong, Malaysia, Singapore and Japan; the Chinese-language music industry began with the arrival of gramophone, the earliest gramophone recording in China was made in Shanghai in March 1903 by Fred Gaisberg, sent by the Victor Talking Machine Company in the U. S. to record local music in Asia. The recordings were manufactured outside China and re-imported by the Gramophone Company’s sales agent in China, the Moutrie Foreign Firm.
The Moudeli Company dominated the market before the 1910s until the Pathé Records took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had started a novelty entertainment business using phonograph in Shanghai around the beginning of the 20th century; the company established a recording studio, the first record-pressing plant in the Shanghai French Concession in 1914, became the principal record company to serve as the backbone for the young industry in China. It recorded Peking opera, but expanded to Mandarin popular music. Other foreign as well as Chinese-own recording companies were established in China. Early in the 20th century, people in China spoke in their own regional dialect. Although most people in Shanghai spoke Shanghainese, the recordings of the pop music from Shanghai from the 1920s onwards were done in Standard Mandarin, based on the Beijing dialect. Mandarin was considered as the language of the modern, educated class in China, there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity.
Those involved in this movement included songwriters such as Li Jinhui working in Shanghai. The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were committed to. Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the Nanjing government popular songs from films were performed in Mandarin. Mandarin popular songs that started in the 1920s were called shidaiqu, Shanghai was the center of its production; the Mandarin popular songs of the Shanghai era are considered by scholars to be the first kind of modern popular music developed in China, the prototype of Chinese pop song. Li Jinhui is regarded as the "Father of Chinese Popular Music" who established the genre in the 1920s. Buck Clayton, the American jazz musician worked alongside Li.
Li established the Bright Moon Song and Dance Troupe, amongst their singing stars were Wang Renmei and Li Lili. There was a close relationship between music and film industries and many of its singers became actresses. Around 1927, Li composed the hit song "The Drizzle" recorded by his daughter Li Minghui, this song is regarded as the first Chinese pop song; the song, with its fusion of jazz and Chinese folk music, exemplifies the early shidaiqu - the tune is in the style of a traditional pentatonic folk melody, but the instrumentation is similar to that of an American jazz orchestra. The song however was sung in a high-pitched childlike style, a style described uncharitably as sounding like "strangling cat" by the writer Lu Xun; this early style would soon be replaced by more sophisticated performances from better-trained singers. In the following decades, various popular Western music genres such as Latin dance music would become incorporated into Chinese popular music, producing a type of music that contained both Chinese and Western elements.
These shidaiqu songs may range from those that were composed in the traditional Chinese idiom but followed a Western principle of composition to those that were done in a Western style, they may be accompanied by traditional Chinese or Western instrumentation. In 1931, the first sound film was made in China in a cooperation between the Mingxing Film Company and Pathé; the film industry took advantage of the sound era and engaged singers for acting and soundtrack roles, Li Jinhui's Bright Moonlight Song and Dance Troup became the first modern musical division to be integrated into the Chinese film industry when it joined Lianhua Film Company in 1931. Amongst the best-known of the singer-actress to emerge in the 1930s were Zhou Xuan, Gong Qiuxia, Bai Hong. Although singing stars need not have an acting career, the close relationship between the recording and film industries continued for many decades. Yao Lee, Bai Guang, Li Xianglan, Wu Yingyin became popular, collectively these seven stars became known as the "Seven Great Singing Stars" of the period.