Mandopop Mansplaining / 华语乐坛男子作闺音

On July 15, 1987, Taiwan lifted its decades-long martial law. In the years that followed, Mandopop entered a more urban, market-driven phase, and singers like Sarah Chen were recast from traditional "good girls" into sophisticated urban women. Beneath that image, however, lies an uncomfortable revival of an ancient tradition: men writing gendered songs that only women could sing. The albums sold at record-breaking speeds, but for Chen, the long-term consequence was disastrous: she was written out of her own albums. Buckle up for a bumpy ride with Mandopop Mansplaining.

【华语乐坛男子作闺音】1987年7月15日, 台湾解除了多年的戒严。随后几年, 华语流行乐进入了更都市化, 商业化的阶段, 兴起都市女子之风。像陈淑桦那样以清纯著称的女歌手不得不改头换面, 迎合现代听众的心态。在都市化的招牌下, 一个千年来男人撰写女声的做法悄然复苏: 男人为女人写只有女人才能唱的歌。这些闺音之歌一度极为畅销, 但长远的后果对陈淑桦来说却是糟糕透了: 她的贡献逐渐被自己的作品挤出界外。系好安全带, 我们将在"华语乐坛男子作闺音"里颠簸一番。

Audio and video / 音频与视频: Sarah Chen Memory Gate 陈淑桦记忆的门