In the late 1990s, my country’s pop music gradually embarked on the road of star-based commercialization. In the early 1990s, Hong Kong and Taiwan songs and singers fully entered the mainland. Hong Kong and Taiwan songs and singers quickly attracted the younger generation.

This poses a severe challenge to mainland pop music. In this regard, musicians based in Guangzhou have adopted an attitude of adapting to Hong Kong and Taiwan, working hard to learn the packaging techniques of modern singers, and at the same time turning to urban themes and creative directions that are closer to the aesthetic needs of young people. Musicians based in Beijing began to differentiate in many directions while retaining a certain resistance to this.

The late development of Chinese pop music in the 1990s

In the second half of the 1990s, Chinese pop music as a whole has entered a stage of differentiation, exploration, and slight depression. . Neither the works nor the singers appear in collective appearances like they did in the late 1980s and mid-1990s. At the same time, "Japanese Wave" and "Korean Wave" are becoming increasingly popular. The younger "post-80s" generation has begun to become the main consumer group of pop music.

And they grew up under the influence of Japanese animation, comics and games for most of their childhood. This situation becomes more obvious the closer we get to the end of the century. This makes it increasingly difficult for both musicians themselves and music critics to cope. The "generation gap" phenomenon determined by age is particularly obvious in the music world. "Three-Year Generation" has become common knowledge in the industry and education circles.