In the time when Wong Jum-sum grew up, Cantonese pop music was but one of many kinds of music broadcast on radio. In a society where over 80% of the population spoke Cantonese, that came as a major surprise. Wong has a simple explanation for this. Cantonese pop grew out of traditional Cantonese music, but it could not build on the popularity of the latter in the face of severe competition. Compared to Western or Mandarin pop, it lagged behind in the areas of composition, lyrics, singing, accompaniment, recording, distribution, and marketing. Its competitors had a head start in talents, organization, and technology that took Cantonese pop more than a decade to come close.

Not everyone agrees with Wong’s diagnosis. Other scholars argue Canto pop, even in such early days, had a unique vibrancy that came from a healthy disregard of the boundaries among different traditions and genres, be they local or foreign. Early Canto pop laid a solid foundation for modern Canto pop, which went on to dominate not only Hong Kong but most Chinese communities around the world.

The story of Cantonese pop awaits careful re-writing.

West for East

Canto pop thrived on its refusal to recognize boundaries. In indiscriminately amalgamating diverse influences and traditions, it created for itself a distinctive character, celebrating a hybridity of language and style.

In this section, we have selected a sample of songs that displayed the inimitable vernacular mix of Canto pop. Listening to these works, you will understand why scholars said the sound world of Hong Kong pop is bursting for an imminent revolution.