 | 53. The Mao line was particularly controversial in Hong Kong, where some manufacturers with Mainland business connections refused to produce Tam's work. See Fionnuala McHugh, "How Cool Is Mao?," pp. 22, 24, and 26. Tam first used Mao's image and calligraphy in designs she produced in Hong Kong in the early 1980s. The Mainland designer Liang Yuming created a line of revolutionary drag in 1993. He staged a fashion show called "The Revolutionary Erathe Red Star Mao Zedong." All the pure woolen clothing worn by the forty women models was oversized, reminiscent of David Byrne in his "Stop Making Sense" days but without the flare. Looking like children playing at being grown-up soldiers and revolutionaries, the models strutted the stage in Liang's tent-like creations sporting massive army caps with five-pointed stars on them. The musical accompaniment to the show consisted of a rock version of ''Singing Praises to the Motherland" and singing by the Choir of the Shanghai Orchestra. It was all part of the opening ceremony of the Sichuan local competitions for the Seventh National Athletics meet in 1993. The Sichuan-based writer Mou Qun praised the affair for being a "post-modern masterpiece." See Mou, "Dangxiade chaoyue yu yiyide shengxianjian ping Liang Mingyu `Hongxing Mao Zedong xilie.'"
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| 226. For details of Cui Jian's complex ideological stance, see Andrew F. Jones,
Like a Knife,
pp. 115-43, at p. 140.
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| 227. See, for example, the cassette "The East Is Rocking" (
Dongfang yaogun
), a tape of rock-Party songs produced by Zhongguo kangyi yinxiang chubanshe and released in 1993. The rock version of "The East Is Red" on this tape was recorded by the Beijing singer Qin Yong.
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| 228. Mainland revolutionary music also featured in late 1980s and 1990s Hong Kong cinema, in particular the comic kung fu movies of Tsui Hark (Xu Ke).
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| 229. In this context, see Matei Mihalca's comments on the folksinger Zhang Guangtian, "The Pied Piper of Peking," pp. 54-55.
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| 230. See Xu Weicheng, "`Zhonghua dajia chang (kala OK) jinku' xu," pp. 286-87.
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| 231. See Barmé, "The Greying of Chinese Culture."
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| 232. See the comments by the Beijing-based music critic Jin Zhaojun, "Zai huishou huangran ru meng zai huishou wo xin yijiuwo dui yindai `Hong taiyangMao Zedong songge' de sikao," and Jin, "Zhi wei na gulaode cunzhuang, hai changzhe guoqude geyaowo dui `Hong taiyangMao Zedong songge xin jiezou lianchang' de zai sikao."
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| 233. See also Fang Zhou, "Huannian hu? Zichao hu?toushi dalu `Hong taiyang' yinyuedai changxiao shehui xinli," pp. 73-74. There was a large body of material to choose from, dating back as far as the early 1950s. See Stuart Schram, "Party Leader or True Ruler?," p. 214, n. 26, where he refers to
Mao Zedong songge,
Beijing: Wanye shudian, 1951, and
Zhongguo chulege Mao Zedong,
Beijing: Renmin wenxue chubanshe, 1951.
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| 234. Revolutionary songs were still being made into popular karaoke tapes in 1994. Pirated videotapes containing music from the 1993 documentary "Mao Zedong" led to litigation over copyright infringement. See Er Yi, "Daxing lishi jilupian `Mao Zedong' lüzao daoban."
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| 235. Linda Jaivin, "Love All, Serve the People," p. 28.
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