ABSTRACT
In the mid-1980s, rock singer Cui Jian stirred up the waters of popular music in mainland China with his hit 'Nothing to My Name'. Seduced by the sounds of pop from Hong Kong and Taiwan, infected by the spirit of money, rock was not 'hot' any more among Chinese youth. After 1997, however, rock regained its position in the market, due mainly to investments from local, Beijing-based companies. The pop-rock divide, in which pop is perceived to be commercial and inauthentic, and rock is considered truly authentic, informs investment policies from record companies. The perceived authenticity of Chinese rock music and discontent with 'commercial' Cantopop were then incentives to enter the market. Added to the perceived authenticity of the music is the image of Beijing as the cultural centre of 'Greater China'. The investment in rock from Beijing by producers from Hong Kong and Taiwan is related to a strong discontent with the pop music these producers grew up with.
