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On May 16, Chinese singer Tia Ray announced her 2024 concert tour, featuring an innovative blend of creative projections and large-scale set installations, promising an immersive experience for the audience.
The first concert will take place on July 6 at the Universiade Center in Shenzhen. Additional dates and locations for the tour will be released gradually.
Also on May 16, Tia was nominated for best Mandarin female singer at the 35th Golden Melody Awards for her latest solo album ALLURE, released last year. This is Tia’s second time being nominated for this award. The album also earned her nominations in five categories at the 2nd Wave Music Awards, including best female singer and best pop album, as well as a nomination for best female singer at the 17th Fresh Music Awards in Singapore.
In March, Tia Ray was honored with the Global Force Award at the 2024 Billboard Women in Music event, solidifying her status as a prominent figure in the music industry. She is also set to release a full English album this year, collaborating with international musicians.
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The talented Chinese singer/songwriter, renowned for her captivating vocals and heartfelt lyrics, has released six albums since her debut in 2012, including T.I.A., Once upon a Moon and ALLURE, in addition to contributing to numerous film and TV soundtracks.
In 2017, Ray’s “Be Apart,” the theme song for the popular movie The Ex-file: The Return of the Exes, sold 10.9 million copies and ranked seventh in the IFPI global top 10 singles chart, and has more than 1.8 billion views online to date. In 2018, she won the most popular female singer award at the 26th Chinese Top 10 Music Awards for her album TIARA and was entitled honorary Berklee ambassador to China. In 2019, she released her third album 1212 and won the most popular female singer award again at the 27th Chinese Top 10 Music Awards.
In 2021, Tia participated in the performance of the theme song “Together for a Shared Future” for the Beijing Winter Olympics with other singers. In the same year, she released her fourth album Once Upon a Moon. For the album, she was nominated for the best Mandarin female singer award and won best vocal album recording at the 33rd Golden Melody Awards in Taiwan.
In 2022, Tia Ray won best female singer at the 15th Singapore Fresh Music Awards and Weibo annual outstanding singer.
Tia Ray participated in the KBS Asia Song Festival in South Korea in 2023 as the only singer from the Chinese mainland, stunning the audience overseas with her distinctive vocal. Tia Ray also won several awards that year, including year’s quality singer at the Tencent Music Entertainment Awards, thirty-year quality singer at the Chinese Top 10 Music Awards, and Weibo annual outstanding singer organized by weibo.com.
Tia Ray’s upcoming concert tour is set to redefine the concert experience, setting new standards in terms of visual and auditory delight. Her passion for music shines through her performances, creating an enchanting atmosphere that mesmerizes all who attend her concerts. With this new concert tour, Tia Ray continues to push boundaries and showcase her artistry on a grand scale, leaving a lasting impression on all who have the pleasure of experiencing her live performances.
On a recent trip to New York, I spoke on a panel discussing the state of the global music industry. During the Q&A, someone asked, “When will the day come that Taylor Swift isn’t the biggest artist in the world?”
Answer: She already isn’t.
Now, maybe it’s a matter of perspective. From a Western vantage point, it’s a valid question. Given Swift’s ubiquitous media coverage, it’s hard to imagine a day when she isn’t at the top of our industry. In the past year alone, she has broken records, won awards, and inspired fans. But her achievements are only one slice of the global picture.
The music industry is increasingly interconnected, with content moving across markets and access to that content expanding in ways many do not see. With that comes the opportunity to reach massive populations from emerging markets, whose focus rests on domestic artists and local language content. I think a future where the next big global star arises from somewhere other than the U.S. is barreling towards us, and they won’t be singing in English.
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My confidence here is informed by my home, the United Arab Emirates, which sits at the intersection of Asia, Africa, and Europe, and has a population representing over 200 nationalities. I am deeply embedded in this region and its music industry, and I have firsthand exposure to music’s evolution in these markets, watching the increasing dominance of local language music and recognizing how it is reshaping pop culture. That change is happening quickly across listenership, subscription growth, access to music and more.
Evaluating a superstar from the West against a superstar from the East is not an apples-to-apples comparison. There is important context missing from the raw numbers, particularly in available streaming metrics, which fail to fully represent the consumption in the East or the potential for monetization in the years to come.
The multinational streaming platforms have thoroughly established themselves as the leaders in monetization. For example, Spotify has carved out a reputation as the market leader with over 602 million monthly active users globally, 236 million of which are paying. However, those multinational platforms are relatively new to the MENA region and other emerging markets and are still building a user base. In contrast, domestic streaming platforms in the wider region have had longer to build a strong user base (e.g., India’s Gaana boasts 200 million monthly active users), but their monetization hasn’t caught up yet.
However, if we look at the sheer market size, the opportunity in emerging markets is undeniable. The populations of the U.S. (330 million) and the U.K. (67 million) are dwarfed when compared to India (1.4 billion), MENA (489 million people), Pakistan (243 million), or Nigeria (227 million). Music consumption in some of these markets is already outpacing the West (in rate of growth) and will soon surpass the West (in volume).
The data is there. Emerging markets have been the major driver of global subscription growth since 2021, and Goldman Sachs’s 2024 Music in the Air reports their contribution is expected to reach 70% by 2030. In Luminate’s 2023 report they highlighted that India’s streaming volume increased by nearly half a trillion streams year-over-year vs. 184 billion for the U.S. At that rate, particularly as the U.S. reaches a point of saturation, we could see India surpass the U.S. in consumption this year.
You might think that the increased availability and monetization of streaming platforms in emerging markets would translate to the Taylor Swifts of the West reaching even more listeners. The truth is those listeners increasingly care more about their own domestic stars and regional music culture than what the West exports to them.
YouTube launched globally in 2005 and has long been the established service for streaming and discovering music, thereby more adequately reflecting music listening preferences in the region. If we look specifically at Swift, there is no denying she is massively popular on the platform. On YouTube’s Global Music Charts for April 19-25 (the week her latest album dropped), she sat squarely at #1. However, eight of the Top 10 songs that week were actually non-English releases by artists from around the world. How many of you know the Bhojpuri hit “Maroon Color Sadiya” (which was #3 that same week)? Expand that to the Top 40, and only eight songs are in English. This is only on YouTube; consider the impact of additional domestic streaming platforms, which are even more skewed toward local language artists in each market.
Local language matters; the era of pop music being defined as “Anglo-American” is over. Looking at streams per day in India in 2023, Statista found Hindi represented over 40% versus English’s 25% share. What’s more, vernacular language and regional music, which made up the remaining 34%, was notably the fastest-growing genre from 2020 to 2023. In its 2023 report, Luminate highlighted how the share of English language music declined by 12% globally since 2021, while the share of Hindi music has essentially doubled. Even in the U.S., the share of English language content is down 3.8% since 2021.
The global diaspora which is consuming Arabic, Hindi, and other global languages is in the West too, augmenting the shift I’m describing. The meteoric transformation of K-pop into a global phenomenon is a particularly strong example of this expansion, thanks to groups like BTS, BLACKPINK and Stray Kids. In addition to its huge following in Korea, the genre has swept the West, with Korean being the 3rd biggest language by consumption in the U.S. in 2023, according to Luminate.
So, is Taylor Swift really the biggest artist in the world? Given the change I’ve described in streaming adoption across emerging markets, the importance of domestic platforms, and the sheer fact that on a country-by-country level domestic acts reign, the answer is no. Last time I checked, India, Pakistan, the Middle East, China and most of Africa have their own superstars — and they represent most of the populated world. There’s no telling how high those local artists will climb before their stars eclipse the likes of Swift in ways that become much more obvious to the rest of us.
Spek is the founder/CEO of PopArabia & ESMAA and the executive vp of international & emerging markets at Reservoir. He was recently named to Billboard’s International Power Players 2024 list, having previously appeared on the list in 2021, 2022, and 2023.
On June 12, 1998, Jeff Chang captivated audiences with his inaugural major concert on the Chinese mainland at the Shanghai Indoor Stadium, appropriately titled “Dream Comes True.” Little could he have foreseen that 26 years later, in 2024, he would triumphantly bring the “Continuum” ultimate edition to a crowd of 80,000 at the Shanghai Stadium.
The recent April showcase in Shanghai marked the debut of the “Continuum” ultimate edition. Despite the acclaim garnered by the six-year “Continuum” tour, transitioning from versions 1.0 to 2.0 and now the ultimate edition, Jeff Chang confesses to occasionally experiencing a vague, inexplicable “sense of powerlessness.” “Last year’s tour was a resounding success, yet some critics implied that our performance might not suit our generation of singers.”
Some view classic concepts as relics of the past, valuable only for evoking nostalgia. This perspective was one of the driving forces behind Jeff Chang’s decision to embark on the “Continuum” concerts: “I aim to guide audiences towards a more mature appreciation of music, challenging established perceptions along the way.”
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Physically, the Shanghai Stadium is a mere 100 meters from the Shanghai Indoor Stadium. Yet, for Jeff Chang, this distance represents a 26-year odyssey. Reflecting on this journey at the “Continuum,” Jeff Chang remarked, “I’ve traversed this 100-meter distance over 26 years!” This metaphor succinctly encapsulates his unwavering dedication to music, with music serving as the cornerstone of his endeavors over his 35-year career.
Embarking on the Future Together with the Audience
Kicking off the “Continuum” ultimate edition concert is Jeff Chang’s 2000 smash hit “Faith.” His unwavering passion for music embodies a spirit of “warm and courageous” faith. Perhaps it is this steadfast belief in music that brings Jeff Chang and his fans together at the “Continuum” concerts, where they experience the soul-stirring power in Jeff Chang’s voice that resonates with the vitality of life itself.
“As a singer with a certain degree of seniority, my audience is already deeply familiar with my songs; we have grown and supported each other mutually,” Jeff Chang reflects. “I aspire for my musical journey and growth to keep pace with the progress of my fans, rather than remaining stagnant. The ‘Continuum’ concerts were conceived with the intention of demonstrating to fans that my music will not dwell solely in memories and nostalgia, but will embark a new future alongside everyone.”
“Each segment of the ‘Continuum’ concert has a message we wish to convey to the audience. We have carefully selected songs that hold significant meaning in my music career, even if they are not the most popular hits. In each of my albums, I aim to impart insights, concepts, and musical knowledge. Through the concert’s overall arrangement, I hope to convey the concept of ’embarking on the future together with the audience.’”
Ending One Chapter, Beginning Another
The term “ultimate” in Jeff Chang’s “Continuum” concert signifies that this six-year “Continuum” tour is finally approaching a perfect conclusion. “The ‘Continuum’ has been a prolonged journey, and it’s time for a stage-wise ending. There are other musical endeavors that are equally essential for me.”
The conclusion of one stage signifies the commencement of a new chapter. The “Continuum” ultimate edition serves as a gentle reminder from Jeff Chang, urging us to seize every opportunity to gather offline and experience the music before the final show arrives.
As the first Chinese singer to perform in Dubai, the Dubai stop of the “Continuum” ultimate edition in June holds significant importance for Jeff Chang. “We’re committed to making it happen in Dubai. Sometimes, overseas organizers prefer a simplified concert where the singer merely performs, and everything else is automated. But that’s not enough for me; I want to fully recreate the ‘Continuum’ experience in overseas shows.”
If he could dream big, where would Jeff Chang choose to host the final “Continuum” concert? Surprisingly, his answer is Easter Island, situated in the South Pacific: “It’s like the ‘navel of the world,’ equidistant from all continents. Holding a concert on Easter Island would truly be the ‘ultimate’ experience, like singing at the edge of the world for everyone to hear.”
Embrace the Future
After completing all the performances of the “Continuum” ultimate edition, Jeff Chang will focus on the creation of a new album. It has been three years since the release of his last album See the Light, and Jeff Chang, along with his devoted fans, eagerly anticipates the arrival of this new work. “Currently, the songs for the new album are nearly finalized, with around 80% of the track list already set.”
For him, the greatest challenge of this new album lies in the significantly increased proportion of “non-love songs.” “In the new album, I may relatively reduce the love songs and express more of my perspectives and sentiments regarding the world. I feel that my past classic love songs have already encompassed most of the emotional states. Therefore, I believe it is time to start singing about matters beyond love, using the album to convey broader ideas.”
Jeff Chang describes the new album as an adventurous state of “taking a step forward” out of his comfort zone. Compared to his previous love songs, the new album will be more critical, and a more quintessential expression of his Aries personality. “In the past, my love songs stood at the observational standpoint, simply singing the feelings of the protagonist. But this time, I will stand on a clearer ‘Jeff Chang’ perspective, to openly express my own attitude, and be more subjective.”
The backstage machinery of the “Continuum” concert is intricate, with over 20 lifts waiting for the performer to step onstage. Rising and falling on the lifts, it’s like facing the peaks and valleys of life – this is the norm for a singer. From the beginning to the present and into the future, Jeff Chang and the audience have always been there; the performance never stops.
Billboard China
–Written by Jifan Wang for Billboard China
Chinese star power took the stage by storm at Coachella.
During the 88rising Futures segment of this year’s Coachella Valley Music and Arts Festival on April 14, Chinese artists Jackson Wang and Liu Yuxin captivated the audience with their unique music and style.
Jackson Wang, dressed in black, surprised everyone by joining South Korean singer and rapper BIBI to debut an unreleased track titled “Feeling Lucky.” He also performed with the Japanese hip-hop trio Number_i, consisting of Yuta Jinguji, Yuta Kishi and Sho Hirano, showcasing their hit single “Goat.”
Bibi and Jackson Wang perform during the 88rising Futures showcase at the Mojave Tent during the 2024 Coachella Valley Music and Arts Festival at Empire Polo Club on April 14, 2024 in Indio, Calif.
Frazer Harrison/Getty Images for Coachella
Adding to the lineup of 88rising Futures, Chinese singer Liu Yuxin, also known as Xin Liu, made her debut at this year’s Coachella festival. She delivered a 12-minute performance, including the live debut of her first all-English single “Reality.” Adorned in a glistening gold ensemble, Liu illuminated the Mojave stage with her dynamic vocals and passionate choreography. Her performance featured the enchanting Miao ethnic group style in “Hurricane,” combining Miao folk music with Chinese street dance, establishing her as the first Mandarin-speaking female singer to captivate the Coachella audience.
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Liu Yuxin
Courtesy of 88rising/Coachella
Jackson Wang’s performance at the 2024 Coachella festival solidified him as the first Chinese singer to perform three times at the prestigious event. In 2022, Wang made his debut at Coachella, as the first Chinese solo artist to take the stage at the festival. He also took a moment to remind the audience why it mattered that he was there: “This is the moment of history, this is Magic Man, this is Jackson Wang from China,” he said. During his set, the Chinese rapper sang “100 Ways” and “Blow” from his album Magic Man, as well as “Cruel.”
In 2023, Jackson Wang delivered an iconic 50-minute solo set at Coachella for the second consecutive year, showcasing songs from his album Magic Man. He awed music fans when he brought out Grammy-winning artist Ciara to perform their new single “Slow,” which was co-written by Wang himself. They also collaborated on a remix of XG’s “Left Right.”
Wang’s success extends to social media, with over 1 billion views on TikTok and 30 million Instagram followers. His album Magic Man in 2022 achieved significant success on the Billboard 200 chart, reaching an impressive No. 15. The same year, he embarked on his first world tour, performing in 24 cities across 12 countries, attracting fans and audiences worldwide and setting numerous records for Chinese singers performing internationally.
The Coachella festival is a prominent music event that takes place in the Coachella Valley of California. This festival annually features renowned singers and bands, setting trends in the global pop music scene. Being selected to perform at Coachella has emerged as a pivotal factor in assessing the power and impact of music idols. The growing presence of Chinese musicians on the Coachella stage offers music enthusiasts a taste of the rich and varied musical landscape from the Eastern part of the world.
04/15/2024
From YOASOBI and LE SSERAFIM’s sets to the combining of star power thanks to 88rising Futures, the promise of Asian pop music was on full display in Indio.
04/15/2024
When referencing the “Migration” tour that has endured for numerous years, in Chen Li’s memories, the prelude to each performance holds unforgettable moments. “I will stand behind two large screens awaiting the opening, and then I will witness red and green lights flashing before me. Despite the mere presence of cold iron frames surrounding the stage, for some inexplicable reason, being in that environment makes me feel remarkably familiar and secure.”
In ancient times, the entrances on both sides of the stage were known as the Tiger Gate. Once the performer steps through the Tiger Gate, regardless of what unfolds on or off the stage, The Show Must Go On. The flickering lights witnessed before the commencement of the concert evoke in Chen Li memories of “the first thing I saw when I was born.” Through the screen, she can even discern the cheers and encouragement from the front row audience, meters away. Every upcoming performance is like a newborn baby coming into the world, everything is like an unknown “migration.” Therefore, every time Chen Li steps through the Tiger Gate, the feeling is both nervous and brand new.
In relation to the “Migration” concert, Chen Li once expressed: “I hope those blue nights can provide enduring tenderness for us in the future.” She likes to use different colors to commemorate the emotions evoked in every moment, and the “Migration” associated with fish, naturally, is blue. As the various stages in the life cycle of fish progress, migration is the consequence of the fish’s adaptation to changes in the external environment. From 2019 to 2024, Chen Li has held 17 “Migration” tours. For her, “Migration” is not just a simple concert; it records the process of her growth as a singer.
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Unique Creation Styles to “Prevent Addiction”
One of Chen Li’s album was named “Fang Chen Mi,” which means “Prevent Addiction” in Chinese. In fact, this highly smooth conceptual record makes it very easy for listeners to become addicted to it. Rather than fostering an addiction to the online realm, the album aims to immerse its audience in the offline world. To promote this vision, Chen Li’s team organized a physical album photo event, encouraging recipients of the CD to unleash their creativity and share imaginative photos with one another.
The absence of an official introduction for “Fang Chen Mi” stands out in the Chinese music industry, where extensive album introductions are the norm. This departure may carry a deeper, more creative significance. Despite receiving over ten versions of album introductions, Chen Li still believes that the most fitting introduction for “Fang Chen Mi” is no introduction at all. “Just listen to the songs, there’s no need for anything fancy. If you like it, sing along a few lines. If everyone has similar experiences as those in the songs, feel free to interpret them.”
The promotion methods for “Fang Chen Mi” are also unconventional. In the current era of digital music, “Fang Chen Mi” instead chose to release the physical CD version first, with the online platform release following after a period of time (partly due to copyright reasons). If listeners want to hear the entire album as soon as possible, they must purchase the physical album, evoking a nostalgic sensation reminiscent of using a Discman to listen to music in the 1990s, and thus achieving a substantial physical sales volume.
This year, Chen Li will unveil her ninth album. The new project has already recorded three songs, with all lyrics penned by a good friend with whom she has never previously collaborated in music. Chen Li describes the lyrical style as “a bit more serious,” while the melodies continue to reflect her personal taste.
Chen Li on Billboard China
Yaxin Liu
Finding the Balance in Leisure
Currently, Chen Li lives in Hangzhou for the majority of time, occasionally returning to Beijing for brief stays. Unlike the bustling work environment in Beijing, in Hangzhou, Chen Li wholly embraces a “slowed down” way of life: “It is merely because the strolling environment in Hangzhou is somewhat superior. In Beijing, I have a group of old friends who care for each other like family. I simply desire to venture out independently, to a place with fewer friends, and seek tranquility, to ascertain if I can acclimate.”
On Chen Li’s Weibo account, her life in Hangzhou is vivid: the coffee shops she adores, the handicrafts she enjoys creating, the line drawings she loves to produce… Chen Li genuinely relishes this leisurely and refined lifestyle. “Many of my small hobbies can be fully realized in Hangzhou. The pace of life here is slower, and I have ample time and space to engage in numerous ‘unproductive’ activities, thus I live quite comfortably. You cannot contrive a specific life for the purpose of creation; life itself is the purpose.”
The simple sketches that appear in the physical album of “Prevent Addiction” are an authentic reflection of Chen Li’s life in Hangzhou: “Drawing is a ‘little corner’ that I particularly cherish. Drawing makes me lost in time, continuously observe and contemplate, including the precious lines and colors conjured from blank.”
“Every day, people have different desires, and I think the key is finding a balance. Sometimes you like this, sometimes like that, eat when hungry, take a nap when sleepy, get up and play when awake, these are all very simple truths.” Everything should just go with the flow. As long as one approaches life with a “playful” attitude, one can find their own balance.
–This article was written by Jifan Wang for Billboard China
Chen Li on Billboard China
Yaxin Liu
China‘s Tencent Music Entertainment Group saw its profit jump 36% to 5.22 billion yuan ($735 million) in 2023 as growth in paid subscriptions helped offset mixed results in its social media business, according to an earnings filing on Tuesday (Mar. 19). The leading music streaming company in China — Tencent Music operates QQ Music, Kugou […]
The House on Wednesday passed a bill that would lead to a nationwide ban of the popular video app TikTok if its China-based owner doesn’t sell, as lawmakers acted on concerns that the company’s current ownership structure is a national security threat.
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The bill, passed by a vote of 352-65, now goes to the Senate, where its prospects are unclear.
TikTok, which has more than 150 million American users, is a wholly owned subsidiary of Chinese technology firm ByteDance Ltd.
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The lawmakers contend that ByteDance is beholden to the Chinese government, which could demand access to the data of TikTok’s consumers in the U.S. any time it wants. The worry stems from a set of Chinese national security laws that compel organizations to assist with intelligence gathering.
“We have given TikTok a clear choice,” said Rep. Cathy McMorris Rodgers, R-Wash. “Separate from your parent company ByteDance, which is beholden to the CCP (the Chinese Communist Party), and remain operational in the United States, or side with the CCP and face the consequences. The choice is TikTok’s.
House passage of the bill is only the first step. The Senate would also need to pass the measure for it to become law, and lawmakers in that chamber indicated it would undergo a thorough review. Senate Majority Leader Chuck Schumer, D-N.Y., said he’ll have to consult with relevant committee chairs to determine the bill’s path.
President Joe Biden has said if Congress passes the measure, he will sign it.
The House vote is poised to open a new front in the long-running feud between lawmakers and the tech industry. Members of Congress have long been critical of tech platforms and their expansive influence, often clashing with executives over industry practices. But by targeting TikTok, lawmakers are singling out a platform popular with millions of people, many of whom skew younger, just months before an election.
Opposition to the bill was also bipartisan. Some Republicans said the U.S. should warn consumers if there are data privacy and propaganda concerns, while some Democrats voiced concerns about the impact a ban would have on its millions of users in the U.S., many of which are entrepreneurs and business owners.
“The answer to authoritarianism is not more authoritarianism,” said Rep. Tom McClintock, R-Calif. “The answer to CCP-style propaganda is not CCP-style oppression. Let us slow down before we blunder down this very steep and slippery slope.”
Ahead of the House vote, a top national security official in the Biden administration held a closed-door briefing Tuesday with lawmakers to discuss TikTok and the national security implications. Lawmakers are balancing those security concerns against a desire not to limit free speech online.
“What we’ve tried to do here is be very thoughtful and deliberate about the need to force a divestiture of TikTok without granting any authority to the executive branch to regulate content or go after any American company,” said Rep. Mike Gallagher, the bill’s author, as he emerged from the briefing.
TikTok has long denied that it could be used as a tool of the Chinese government. The company has said it has never shared U.S. user data with Chinese authorities and won’t do so if it is asked. To date, the U.S. government also has not provided any evidence that shows TikTok shared such information with Chinese authorities. The platform has about 170 million users in the U.S.
The security briefing seemed to change few minds, instead solidifying the views of both sides.
“We have a national security obligation to prevent America’s most strategic adversary from being so involved in our lives,” said Rep. Nick LaLota, R-N.Y.
But Rep. Robert Garcia, D-Calif., said no information has been shared with him that convinces him TikTok is a national security threat. “My opinion, leaving that briefing, has not changed at all,” he said.
“This idea that we’re going to ban, essentially, entrepreneurs, small business owners, the main way how young people actually communicate with each other is to me insane,” Garcia said.
“Not a single thing that we heard in today’s classified briefing was unique to TikTok. It was things that happen on every single social media platform,” said Rep. Sara Jacobs, D-Calif.
Republican leaders have moved quickly to bring up the bill after its introduction last week. A House committee approved the legislation unanimously, on a 50-vote, even after their offices were inundated with calls from TikTok users demanding they drop the effort. Some offices even shut off their phones because of the onslaught.
Lawmakers in both parties are anxious to confront China on a range of issues. The House formed a special committee to focus on China-related issues. And Schumer directed committee chairs to begin working with Republicans on a bipartisan China competition bill.
Senators are expressing an openness to the bill but suggested they don’t want to rush ahead.
“It is not for me a redeeming quality that you’re moving very fast in technology because the history shows you make a lot of mistakes,” said Sen. Ron Wyden, D-Ore.
In pushing ahead with the legislation, House Republicans are also creating rare daylight between themselves and former President Donald Trump as he seeks another term in the White House.
Trump has voiced opposition to the effort. He said Monday that he still believes TikTok poses a national security risk but is opposed to banning the hugely popular app because doing so would help its rival, Facebook, which he continues to lambast over his 2020 election loss.
As president, Trump attempted to ban TikTok through an executive order that called “the spread in the United States of mobile applications developed and owned by companies in the People’s Republic of China (China)” a threat to “the national security, foreign policy and economy of the United States.” The courts, however, blocked the action after TikTok sued, arguing such actions would violate free speech and due process rights.
Liu Lian’s debut solo EP, Don’t Speak, Just Kiss, unveils her exploration of love through three self-penned and composed songs. Departing momentarily from the familiar jazz stylings of the band Mr. Miss, Liu Lian ventures into the realm of self-expression as a solo artist, unveiling a profound understanding of self-love through forays into new musical genres like dream pop.
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As a maiden voyage into solo artistry, Don’t Speak, Just Kiss encapsulates Liu Lian’s current authentic essence. Having become accustomed to the vocal intricacies and creative trajectory as the frontwoman of Mr. Miss, Liu Lian’s transition from the security of the band into the uncharted waters of her solo career has been a transformative journey of self-discovery and self-acceptance.
Symbolized by the “Love Airline” motif in Don’t Speak, Just Kiss, she encourages listeners to embark on a proactive journey toward self-discovery and fulfillment. The EP cover’s re-creation of the iconic “victory kiss” scene within an airplane cabin symbolizes the transformative power of decisive action over passive waiting.
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In Liu Lian’s vision, each seat within the cabin represents a microcosm of life’s diverse experiences. From solitary travelers finding solace to lovers entwined in intimate whispers, each vignette reflects facets of human existence. Notably, the blurred figure embraced by Liu Lian on the EP cover hints at a symbolic embrace of her own multifaceted identity within this tableau.
Lian Liu for Billboard China
Yaxin Liu
Love Others, Speak Less, Kiss More
In the EP’s standout title track, Liu Lian beautifully captures the essence of love and longing: using our bodies to embrace, kiss and love passionately. Embracing the idea that love may not last forever, why not enjoy the present, live fully, speak less, and kiss deeply – this is what life is about. In Liu Lian’s touching lyrics: “The most profound expression of humanity is found in kissing.”
In China, talking about desires can be uncomfortable. Some fans hesitated to share a song titled “Don’t Speak, Just Kiss” on social media. The reactions not only surprised Liu Lian, but also highlighted the EP’s importance. It helps people overcome their inhibitions from a new perspective. Liu Lian said, “It’s a great achievement. There’s no shame in desires; love is what matters most.”
In Chinese, the word “we” sounds the best. Love is about moving from “I” to “we,” from being alone to being together. Liu Lian believes that to love others, you must first love yourself. Courage isn’t always needed to love. When you truly care for someone, courage comes naturally when showing that love. If you struggle with courage, it might be because you don’t love yourself enough or feel unworthy, which can make it hard to give or accept the love you deserve.
The upcoming romantic movie You Whom I Lost, set to premiere in March, will feature Liu Lian in her big-screen debut as the female lead’s best friend. Having released an EP centered around love and starring in a romantic film, Liu Lian, acclaimed as an intellectual in love relationships, reflects on the word “love” feeling somewhat distant from her: ” It feels like it’s been a while since I’ve thought about love. I admire people who do crazy things for love; they seem really happy. Love can make you feel obsessed and act impulsively, unlike how you normally would. But it seems like I can’t act like that anymore.”
Lian Liu for Billboard China
Yaxin Liu
Loving Music Takes Action
Since 2017, on each anniversary of her birth, Liu Lian has unveiled a solitary opus that leans more toward personal introspection. Don’t Speak, Just Kiss signifies Liu Lian’s inaugural venture into complete artistic autonomy as a soloist.
“When I start creating music on my own, some traces of the group’s style may still be present,” Liu Lian says of her time in Mr. Miss. “While working alone, I focus on crafting melodies with precision, similar to performing surgery. My creative process is not just about reflecting on myself; it also involves exploring imagination and fiction to express my thoughts and observations from that time.”
Transitioning from nostalgic ’90s vibes to contemporary atmospheres prevalent in today’s musical landscape, when discussing the trajectory of her forthcoming debut full-length album, Liu Lian candidly concedes that she is still in the process of exploration: “Truthfully, I am most intrigued to discern the musical path preferred by my audience after this EP. I aspire for the album’s thematic essence to be more defined than that of the EP. This year, my aim is to compose and release additional compositions to delineate a distinctive musical signature for ‘Liu Lian.’”
To promote this EP, Liu Lian orchestrated an online collaborative initiative titled ” Don’t Speak, Embrace Creation,” where enthusiasts collectively contributed to a single document that has garnered thousands of submissions thus far. “Numerous young individuals expound upon facets intimately entwined with their existence—be it parental wake-up calls at dawn or anecdotes pertaining to exam preparations—rendering their narratives relatable and vivacious in both prose style and lyrical cadence.”
Liu Lian had perennially navigated the musical landscape under the guise of an autonomous ensemble, seldom venturing into other facets of the recording industry. This occasion marked her deep-seated partnership with Tencent Music Entertainment Group, embracing a more industrialized production approach to unveil a personal EP, affording Liu Lian an immersive involvement in every facet of the album: from inception to production to dissemination… Truly an invigorating firsthand encounter for Liu Lian.
“I tried to handle everything on my own, from making music to working with producers. This helped me learn a lot about making albums, the Chinese music industry, and solve many mysteries. Working with TME has been great; they help me choose songs and remind me of what to do next in the production process. Brainstorming about music with someone who thinks like me is really valuable.”
–Written by Jifan Wang for Billboard China
Lian Liu for Billboard China
Yaxin Liu
As twilight adorns the sky with its ethereal canvas, the horizon’s resplendent clouds mirror the trilogy of Xiao Xia albums reflecting upon Huang Qishan’s midlife journey. Literary aficionados have long employed the expression “the sunset’s lingering glow weaves a tapestry of magnificence” to metaphorically depict the enduring allure that graces the conclusion of a literary masterpiece. In the wake of experiencing Xiao Xia 3.0, listeners are left in awe, echoing a sentiment of profound appreciation akin to that sublime celestial phenomenon: The Sunset Radiance Transformed Into Exquisite Grandeur.
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Spanning the better part of a decade, Qishan Huang, born as Huang Xiaoxia, has serenely completed her Xiao Xia musical saga. As if charting the cartography of her soul from her vivacious 20s through the profound 30s to the contemplative 40s, each iteration of Xiao Xia encapsulates the multifaceted essence of a woman’s pilgrimage through life.
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The limited-edition vinyl version of Xiao Xia 3.0 swiftly sold out after its online release. The vinyl format, with its rich warmth and pristine clarity, seems destined to align seamlessly with the very essence of Xiao Xia, fully embodying its serene beauty and introspective tranquility.
Unlike CDs, vinyl records were once a less popular medium for music consumption, much like the initially underestimated Xiao Xia album. With the resurgence of vinyl records in recent years, Xiao Xia, like vinyl, has once again emerged as a coveted trend, a development that seems utterly unexpected to Qishan a decade ago.
Upon closer examination of the album cover of Xiao Xia 3.0, one discerns a tearful Xiao Xia bidding farewell to her youth. Intriguingly, at the very moment when tears fall, Qishan also smiles and playfully sticks out her tongue, serendipitously catching the tear that glides down from her eye. This subtle yet powerful touch silently and eloquently conveys the album’s central theme.
Commencing with 1.0, each cover of Xiao Xia has consistently incorporated the image of a headscarf. “I have experienced marriage before, but I have never had a formal wedding ceremony. The headscarf worn by Xiao Xia means that even if women choose not to pursue marriage, it does not necessarily imply a disinterest in wedding dresses. Ultimately, women retain their belief in love, but is marriage an indispensable requirement? Not necessarily. This represents a form of acceptance; each individual possesses the autonomy to determine how they wish to navigate their life.”
In Time, We Laugh With Tears
From the Xiao Xia 3.0 album, the song that most profoundly moved listeners to tears is undoubtedly the title track “Xiao Xia.” Huang Qishan candidly admits that when it comes to shedding tears, she possesses no semblance of personal boundaries: “I am completely uninhibited when it comes to crying; I readily share my entire spectrum of emotions with others, whether they be joyous or sorrowful. This is because the song ‘Xiao Xia’ is profoundly worthy of our tears. It transcends the realm of a mere musical composition; it embodies something that appears simultaneously simple and insignificant, yet also grand and magnificent.”
Spanning the journey from the southbound train in the 1990s to the transoceanic taxi ride, the intricate interweaving of time and space in “Xiao Xia” possesses an enchanting quality. A substantial segment of a woman’s life is encapsulated within the song’s stream-of-consciousness lyrics. Life follows a predictable trajectory—beginning with unwavering certainty, it gradually transitions into uncertainty. Xiao Xia’s perception of herself and the world around her underwent profound and transformative changes. Having reached the age of self-awareness, Qishan can finally affirm with unwavering conviction: “This version of you is valiant.”
The lyrics of “Xiao Xia” include the line: “Swiping through social media, everyone is discussing my appearance.” From her vibrant pink hair and provocative miniskirts to her energetic dance moves, Qishan’s fearlessly transformative appearances in recent years have undoubtedly subverted everyone’s preconception of her “After joining the dance troupe at the age of fifteen, I never danced again. Rediscovering the joy of dance at the age of 50 feels simply marvelous. Life should be an engaging experience; continuously learning new skills is essential. Maintaining a zest for life enables you to grasp the fleeting essence of youth”
Qishan Huang for Billboard China
Yaxin Liu
Let Us Move On Together
Another emotionally resonant moment in “Xiao Xia” occurs towards the end of the song, when a chorus of backing vocals gradually joins in, transforming the initial soft solo into a powerful collective voice. This transition amplifies the emotional impact of the line, “Oh, so many people love me.” These backing vocals symbolically represent the music colleagues and loyal audiences who have steadfastly accompanied Qishan throughout her career. It is because of the unwavering love and support from countless individuals that Qishan has garnered the strength and courage to declare, “Let’s move on together.”
While many yearn for another album of Xiao Xia, Huang Qishan asserted during this interview that 3.0 will serve as the definitive conclusion. Although a prequel, Xiao Xia -1.0, may emerge in the future, recounting her childhood experiences from before the age of 20 to her teenage years, there will not be a Xiao Xia 4.0. “There won’t be a 4.0; in life, it is sometimes necessary to conclude at an appropriate juncture. I am uncertain when this childhood Xiao Xia album will materialize; perhaps I will create it when inspiration strikes.”
Nevertheless, the Xiao Xia that Huang Qishan has bestowed upon the world and herself is already deeply embedded in the hearts of every attentive listener. As a heartfelt gesture, the behind-the-scenes team of Xiao Xia prepared a unique surprise for her — each member inscribed their signatures on the covers of the three Xiao Xia albums. Qishan was overwhelmed with emotions, “there has been an empty wall in my house for several years, and now suddenly there is something to adorn it. It feels as though this wall has been eagerly awaiting the arrival of these precious gifts.”
–Written by Jifan Wang for Billboard China
Qishan Huang for Billboard China
Yaxin Liu