Photo of the Day: Kris Wu Selling Xiaomi Phones

Welcome to Day 2 of this week’s photo theme: Kris Wu selling shit.

Today, the former EXO member and host of Rap of China is selling Mi 5’s, the latest flagship offering from Chinese smartphone and home appliance maker Xiaomi. This ad was literally right next to yesterday’s McDonald’s ad. Same bus stop, different Kris. Arguably he’s not selling this phone as much as “holding the product in a counterproductive grip,” but we’re not gonna split hairs.

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Five Completely Non-Traditional Love Songs for Chinese Valentine’s

Hey, today is Qixi Festival!

The Qixi Festival (Chinese: 七夕節), also known as the Qiqiao Festival (乞巧節), is a Chinese festival that celebrates the annual meeting of the cowherd and weaver girl in Chinese mythology. It falls on the seventh day of the 7th month on the Chinese calendar. It is sometimes called the Double Seventh Festival, the Chinese Valentine’s Day, the Night of Sevens, or the Magpie Festival.

I’m sure there are plenty of traditional Chinese love songs one could play to commemorate this festival. Here are five tunes falling nowhere near that canon. Ditch the zither and bust out the guitars…

1. Hedgehog – “Tell Them I Love You”

Let’s kick this off with a certified classic of Chinese twee pop. Hedgehog are the unquestioned rulers of that roost, and this tune, from their fantastic 2009 album Blue Daydreaming, remains one of their biggest crowd pleasers. The lyrics consist of guitarist Zijian and drummer Shi Lu singing in harmony about all the people they want to tell about their lover (“my mom,” my friends,” “my dog,” et al). So sweet!

2. Miserable Faith – “May Love Be Without Worries”

Nice unplugged version of this power ballad by Beijing’s Miserable Faith, which formed in 1999 as a rap-metal group. They’ve mellowed a bit with age, incorporating elements from reggae and world music into more recent releases like their 2014 album that shares its name with this song. This one isn’t exactly about romantic love, but the first few lines are pretty on-topic:

像是写给爱人的歌 / Like a song written for a lover
四目相对从那一刻 / From the time we locked eyes
在有爱的早上带上神的孩子 / In the morning of love, bring the children of God
直到我们明天一起醒来/ Until we wake up tomorrow

3. Joyside – “Maybe Tonight”

Another classic, this one from famously wasted Beijing punks Joyside. It’s hard to measure just how influential Joyside, who broke up in 2009, have been on the bands that followed them. One way to judge would be to drop into Beijing punk dive School Bar on any given night — it was opened by Joyside’s bassist, Liu Hao, and is the home base for their singer, Bian Yuan, who often performs there solo. Another way would be to try to count the number of young leather-jacketed Beijing punks who’ve covered this song. I lost track years ago. Though perhaps best known for legendary feats of on-stage inebriation, this song reminds the listener that whatever else he is, Bian Yuan is a bona fide poet:

There Was A Tongue-Shy Boy,
Who Talked To The Kingdom Of Heaven
When His God Heard The Voice,
He Made Boy’s Heart A Diamond
And He Said:”Pain Will Come Twice,
When I Double Your Joy.
Finally, You Will Be One On That Boat,
And Sail Away From Sorrow.”

Tonight, Maybe Tonight

Look At That Pair Of Lovers,
Fading Parallel In The Sky
They Can Never Ever Get Closer,
The Nearest Distance Hides
He’s A Son Of Suspiration,
She’s A Daughter Of Desperation
They Will Light Up The Unseen Stars,
Then Crash Down Together & Fall Apart
    
Tonight, Maybe Tonight
    
Can’t You Feel The Moons Madly Shine
Can’t You Hear The Wind Wildly Sigh
All Joys Burst From The Pallid Eyes
While The Stars Are Blowing Up The Sky

4. Free Sex Shop – “Pretty 3”

Speaking of Joyside’s tribe, here are some of the best doing it today: Free Sex Shop (pictured up top). Their drummer Xiao Jie is School Bar’s manager, and that’s where they all met and decided to ply their trade. That’s where the majority of this brand-new music video, put together by Beijing rock scene veteran Hugh Reed, was shot, and where most of Beijing’s young rockers fall in love and lust circa 2017. For me this tune instantly channels the beer-flavored steam and chaos surrounding Beijing’s fast & loud, listless rock’n’roll youth. Millennial punk love anthem right here:

没想到世事无常 / Didn’t expect the world to be so impermanent
你要敢作敢当 / You dare to dare
别人的男朋友你就别再去尝 / Someone else’s boyfriend; don’t try again
露出你凶狠的表情 / Show your fierce expression
骗所有人 / Trick everyone
你们看不出来吧 / You all can’t see it
哈哈哈哈哈 / Hahahahahaha

5. Hang on the Box – “I’m Mine”

Last but not least (in fact, probably my favorite on this list), here’s one for all the singles out there who get thoroughly fed up with holidays celebrating romantic pair-bonding. This comes from Hang on the Box, a trailblazing all-female punk band formed in 1997 who’ve spent most of the last decade broken up, but have recently regrouped with a new lineup (still fronted by HOTB’s inimitable vocalist, Gia Wang) and are currently touring behind Oracle, their first album since 2007’s No More Nice Girls.

This ripper is the opening track from the band’s second album, Di Di Di (2003). Here’s your cause for inspiration today, tradition be damned:

I’m mine

I shine my blue light on you
Nobody can come up to me
Nobody can step in my heart
My heart is blind
So you can’t see that
My heart is dead
So you can’t feel that

I’m mine

I’ll take myself from birth to death
I’m all the water in the world
I’m wind
I’m Qomolangma
I want cosmos to seize my life
And look at me there

Did you feel cold?

Photo of the Day: Kris Wu Selling McDonald’s Value Menu

Happy Monday! This week’s photo theme is: Kris Wu selling shit.

Kris Wu is an actor and former member of K-pop boy band EXO. He’s the host of the new reality show The Rap of China (中国有嘻哈), which is insanely popular. He is everywhere.

Above, he is on a bus stop in Beijing selling a new suite of lemon-themed McDondald’s snacks for 10元 (a buck fifty) apiece. McDonald’s China has a whole page devoted to this promotion, which is clearly built off the unexpected success of The Rap of China (the headline on that link reads “Hip hop snack updgrade, 10元 eat eat eat!”).

street art nuggets

Not my favorite Chinese fast food plug by a former member of EXO to come out this summer — that honor goes to Luhan’s ad for KFC’s China-exclusive fried chicken x pizza hybrid, “Chizza” — but still, looking good Kris Wu! See you in six more ads this week.

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Sixth Tone Launched a Newsletter, You Should Sign Up

Radii exists in a constellation of media sites trying to provide an alternative narrative around China that breaks away from the expected, often outdated tropes that tend to be overused in English-language coverage of this place. One kindred publication high up on our own reading list is Sixth Tone, a site launched just over a year ago that aims to cover “issues from the perspectives of those most intimately involved to highlight the nuances and complexities of today’s China.”

They do a great job of that, too. I’m biased, having written a few articles about music for them in the past, but I can generally rely on Sixth Tone to unearth interesting, well-reported stories I don’t see anywhere else in the China-watching Anglosphere. Nuala Lam’s excellent piece on Chinese survivors of the Titanic and Bibek Bhandari’s interview with the architect of “China’s first ‘forest city’” were among my personal highlights over the last few days.

Well, now you can let page-views and algorithmic sorting deliver highlights such as these straight to your inbox, as Sixth Tone has just launched an email newsletter. They say to expect a weekly digest of “news, deep dives, and commentaries [that] give a human perspective on the latest news and trending topics from China.” Neato.

Sign up here.

New Fronts in the Battle Over Scholarship and Ideology in China

Earlier this month, the Cambridge University Press (CUP), publisher of the China Quarterly, one of the most important journals for scholarship on Modern China, announced that it was removing 300 articles from its Chinese website following a request from the Press’s partners in China.

Angry academics rarely make the news, but this particular tempest quickly exploded the tea cup, and even though CUP backtracked a week later, the damage had been done.

Intellectual freedom is the bedrock of the academic exercise, at least in theory. But China in the 21st century has created its own gravitational pull, and access to China — whether to its publishing market, or simply for scholars to do research — is treated by the government as a holy sacrament which can be revoked should the resulting scholarship offend the sensibilities of China’s leaders.

Nor are China’s state interests feeling particularly apologetic for putting CUP in this position.

The Global Times — a State-backed paper whose status as “government mouthpiece” is sometimes overblown, but which in this case is expressing sentiments that seem in lockstep with Party leadership — was blunt in their assessment. “Western institutions have the freedom to choose,” read an editorial published earlier this week in the English-language edition of the newspaper. “If they don’t like the Chinese way, they can stop engaging with us.” The editorial also labelled Westerners who disagree as “arrogant and absurd.”

One of those Westerners is apparently the distinguished historian James Millward, who is no stranger to being on the outside looking in when it comes to the Chinese government’s view of inconvenient scholarship. Professor Millward has been denied visas on several occasions because of his research into China’s borderlands, in particular Xinjiang.

In a strongly worded piece posted before CUP reversed their decision to pull the articles, Professor Millward wrote:

Cambridge University Press’s current concession is akin to the New York Times or The Economist letting the Chinese Communist Party determine what articles go into their publications  —  something they have never done. It would be unimaginable for these media to instead collaborate with PRC party censors to excise selected content from their daily or weekly editions.

“Cambridge University Press,” Millward writes, “is agreeably donning the hospital gown, untied in the back, baring itself to the Chinese scalpel, and crying ‘cut away!’ But even this metaphor fails, since CUP is actually assisting, like a surgical nurse, in its own evisceration.”

Other organizations joined the fray. The American Association of Asian Studies, which publishes the Journal of Asian Studies released its own statement, saying, “We oppose censorship in any form and continue to promote a free exchange of academic research among scholars around the world.”

There are several theories as to why state organs are taking action now, and in this manner. Obviously, the upcoming 19th Party Congress means a general crackdown on dissent across the board. There may also be interests involved looking to curry favor with a leadership who has clearly sent the message that international scholarship in the humanities is not only irrelevant to their goals for China, but is openly subversive.

In an op-ed for The Guardian, Tim Pringle, Senior Lecturer in Labour, Social Movements and Development and the editor of the China Quarterly, expressed his concerns about the reach of the state in quashing uncomfortable views around the world.

This attempt to deny access might be the result of over-reach by Chinese censorship bodies, such as the recently created General Administration of Press and Publication. But it might also be the outcome of a push by the government to exclude voices from outside the party-led system. The evidence of new regulatory, and apparently ideological, constraints on academic freedom and public engagement in China that have emerged since 2012 suggest that the parlous state of affairs with regard to academic freedom is policy-driven. What is unprecedented is that its reach has now stretched to international institutions.

In many ways, the CCP has never been more secure in its power. Xi is the strongest Chinese leader in decades. At the same time, state actions to curtail the free flow of information inside, and increasingly outside, the country’s borders suggests a grim fixation on maintaining their legitimacy. The Party feels like it is locked in an ideological death roll with Western institutions. It is also beginning to smell blood in the water.

Despite Cambridge University Press’s sudden development of testicular fortitude, the problem is real, and it is growing.

China-based scholar Christopher Balding wrote in Foreign Policy this week:

Western universities’ traditional response to criticisms on China’s restrictions on free inquiry was to claim that they could help liberalize their Chinese counterparts by establishing contact with them. What has happened instead is that they’ve ended up importing Chinese academic censorship into their own institutions. Cambridge University Press censoring on behalf of Beijing is not the first time elite British universities have opted for the bottom line over principle in accepting Chinese censorship contributions.

Inside China, institutions which formerly were ignored, for example programs which enrolled primarily international students, are now finding themselves uncomfortably under the microscope. At least one international program has been asked to submit their teaching materials for review. There were no problems, the director of the program wrote in an email, but it was the first time since the program opened that the university had requested to review their textbooks.

Whether this is a temporary freeze until after the 19th Party Congress or, as Professor Pringle suggests, a new front in the Party’s ideological and information wars with the West, remains to be seen.

Photo of the Day: Kowloon King Bootleg in Beijing

Today’s photo was taken by Beijing-based filmmaker and musician Joshua Frank. It’s the outside seating area of a newly opened noodle restaurant in Beijing’s upscale Sanlitun neighborhood, “in ‘soft opening mode’, with lines out the door. They sold out of noodles.”

The reason I’m including it with this week’s photo theme — “handwriting” — is the decor: the chicken scratch on the back wall and the railing next to the diners is a blatant ripoff of the inimitable King of Kowloon:

Tsang was born in Liantang Village (蓮塘村), Gaoyao, Zhaoqing, Guangdong, China. He travelled to Hong Kong at the age of 16, he was a poor worker and was barely literate. He began to mark the streets of Hong Kong with his distinctive graffiti at the age of 35. He claimed that he had studied his ancestral tree and discovered that most of the land of Kowloon belonged to his ancestors. He said that Kowloon belonged to his grandfather. There are no records to back up Tsang’s claim.

He was arrested for his graffiti several times, but the police usually just gave him a warning or a small fine. His family disowned him, saying he was mentally unbalanced and a public nuisance and his wife had grown tired of his obsession and left him.

I went on the hunt for work by the King a few years ago and didn’t find much. There’s a single column with his scrawls preserved behind a plexiglass window at Hong Kong’s Tsim Sha Tsui Pier, and I saw a motorbike covered in his hand at this ridiculously bourgie street-art themed bar. While he attained some recognition late in life (he passed away in 2007, at age 85), for the majority of his public art career he was regarded as a vandal, and his works were erased almost as soon as they went up. They now live on only in photos and a few works in private hands.

So, yeah. Systematically scrubbed from Hong Kong only to re-appear as decoration in an overpriced hipster noodle shop in Beijing. The irony’s a bit much but I suppose posthumous commodification is better than being forgotten.