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[td][/td] [td]Born into an [[Koreans in China|ethnic Korean]] family with parents who were both artists, Cui began his musical career in 1981. In 1986, Cui performed his song "[[Nothing to My Name]]" at Beijing's [[Workers' Gymnasium]], which is considered a seminal moment in the history of [[Chinese rock]]. Standing out in the Chinese music scene when [[Political music in China|patriotic]] [[ballad]]s and [[Cantopop]] were popular,<ref name="beijingdj" /> he started to gather a [[cult following]] on China's university campuses while facing backlash from [[Conservatism in China|social conservatives]],<ref name="cultf">{{cite magazine|pages=21β22|magazine=[[City Weekend]]|title=In the Name of the Father|author=Jo Lusby|date=June 2002|issue=10}}</ref><ref name="sccf" /> and is credited with pioneering the country's alternative music.<ref>{{cite thesis|title=PopulΓ€rmusik i Kina under 1900-talet fram till idag|language=sv|date=2013|author=Joakim Fritz|degree=MSc|publisher=[[Lund University]]|url=https://lup.lub.lu.se/student-papers/record/3994061/file/3994062.pdf}}</ref> This was followed by ''[[Rock 'n' Roll on the New Long March]]'' (1989), China's first original rock album, which remains one of the most successful and best-selling albums in the nation's history.<ref>{{cite web|language=es|work=[[20 minutos]]|url=https://www.20minutos.es/noticia/514356/0/cui/jian/rock/|title=Cui Jian, el pionero del rock en China, actuarΓ‘ por primera vez en EspaΓ±a|date=9 October 2009}}</ref><ref>{{cite web|url=https://foreignpolicy.com/2016/11/0...-long-march-reappropriation-loyalty/|title=In Xi's China, Everything Old Is New Again|work=[[Foreign Policy]]|date=3 November 2016|author1=Julian Gewirtz|author2=Jeffrey Wasserstrom}}</ref> Cui's performances were limited in Beijing for nearly two decades before all restraints were completely lifted in 2005.[/td]
[td]Born into an [[Koreans in China|ethnic Korean]] family with parents who were both artists, Cui began his musical career in 1981. In 1986, Cui performed his song "[[Nothing to My Name]]" at Beijing's [[Workers' Gymnasium]], which is considered a seminal moment in the history of [[Chinese rock]]. Standing out in the Chinese music scene when [[Political music in China|patriotic]] [[ballad]]s and [[Cantopop]] were popular,<ref name="beijingdj" /> he started to gather a [[cult following]] on China's university campuses while facing backlash from [[Conservatism in China|social conservatives]],<ref name="cultf">{{cite magazine|pages=21β22|magazine=[[City Weekend]]|title=In the Name of the Father|author=Jo Lusby|date=June 2002|issue=10}}</ref><ref name="sccf" /> and is credited with pioneering the country's alternative music.<ref>{{cite thesis|title=PopulΓ€rmusik i Kina under 1900-talet fram till idag|language=sv|date=2013|author=Joakim Fritz|degree=MSc|publisher=[[Lund University]]|url=https://lup.lub.lu.se/student-papers/record/3994061/file/3994062.pdf}}</ref> This was followed by ''[[Rock 'n' Roll on the New Long March]]'' (1989), China's first original rock album, which remains one of the most successful and best-selling albums in the nation's history.<ref>{{cite web|language=es|work=[[20 minutos]]|url=https://www.20minutos.es/noticia/514356/0/cui/jian/rock/|title=Cui Jian, el pionero del rock en China, actuarΓ‘ por primera vez en EspaΓ±a|date=9 October 2009}}</ref><ref>{{cite web|url=https://foreignpolicy.com/2016/11/0...-long-march-reappropriation-loyalty/|title=In Xi's China, Everything Old Is New Again|work=[[Foreign Policy]]|date=3 November 2016|author1=Julian Gewirtz|author2=Jeffrey Wasserstrom}}</ref> Cui's performances were limited in Beijing for nearly two decades before all restraints were completely lifted in 2005.[/td] [td]<ref>{{cite magazine|doi=10.20112/j.cnki.issn1007-5828.2021.23.040|title=ζζ»δΉδΈηεη°δ»£δΈ»δΉεε ΆβεεΏε¦₯ε|language=zh-cn|date=2021|pages=94-96|magazine=Popular Literature and Art|language=zh-cn|author=Hu Yitong|issue=23|volume=521}}</ref>[/td]
[td]<ref>{{cite magazine|doi=10.20112/j.cnki.issn1007-5828.2021.23.040|title=ζζ»δΉδΈηεη°δ»£δΈ»δΉεε ΆβεεΏε¦₯ε|date=2021|pages=94-96|magazine=Popular Literature and Art|language=zh-cn|author=Hu Yitong|issue=23|volume=521}}</ref>[/td] [td][/td]
[td][/td] [td]Cui's subsequent albums ''[[Solution (Cui Jian album)|Solution]]'' (1991) and ''[[Balls Under the Red Flag]]'' (1994) received critical acclaim, the latter of which is regarded by some as his ''[[magnum opus]]''. He explored [[Electronics in rock music|electronic rock music]] on the albums ''[[The Power of the Powerless (album)|The Power of the Powerless]]'' (1998) and ''[[Show You Colour]]'' (2005). In 2002, he initiated the Live Vocals Movement against [[Lip sync|lip-synching]] at live and televised performances. Following his participation in producing several films, including the [[musical film]] ''[[Blue Sky Bones]]'' (2013), his album ''[[Frozen Light]]'' (2015) was regarded as his musical comeback. In 2022, the album ''[[A Flying Dog]]'' (2021) earned him the [[Golden Melody Award for Best Male Mandarin Singer]], the top music award in the [[Sinophone|Chinese-speaking world]].<ref name="tianxia" />[/td]
[td]Cui's subsequent albums ''[[Solution (Cui Jian album)|Solution]]'' (1991) and ''[[Balls Under the Red Flag]]'' (1994) received critical acclaim, the latter of which is regarded by some as his ''[[magnum opus]]''. He explored [[Electronics in rock music|electronic rock music]] on the albums ''[[The Power of the Powerless (album)|The Power of the Powerless]]'' (1998) and ''[[Show You Colour]]'' (2005). In 2002, he initiated the Live Vocals Movement against [[Lip sync|lip-synching]] at live and televised performances. Following his participation in producing several films, including the [[musical film]] ''[[Blue Sky Bones]]'' (2013), his album ''[[Frozen Light]]'' (2015) was regarded as his musical comeback. In 2022, the album ''[[A Flying Dog]]'' (2021) earned him the [[Golden Melody Award for Best Male Mandarin Singer]], the top music award in the [[Sinophone|Chinese-speaking world]].<ref name="tianxia" />[/td]
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[td][/td]Revision as of 09:54, 4 September 2025
[/td][td][/td] [td]Born into an [[Koreans in China|ethnic Korean]] family with parents who were both artists, Cui began his musical career in 1981. In 1986, Cui performed his song "[[Nothing to My Name]]" at Beijing's [[Workers' Gymnasium]], which is considered a seminal moment in the history of [[Chinese rock]]. Standing out in the Chinese music scene when [[Political music in China|patriotic]] [[ballad]]s and [[Cantopop]] were popular,<ref name="beijingdj" /> he started to gather a [[cult following]] on China's university campuses while facing backlash from [[Conservatism in China|social conservatives]],<ref name="cultf">{{cite magazine|pages=21β22|magazine=[[City Weekend]]|title=In the Name of the Father|author=Jo Lusby|date=June 2002|issue=10}}</ref><ref name="sccf" /> and is credited with pioneering the country's alternative music.<ref>{{cite thesis|title=PopulΓ€rmusik i Kina under 1900-talet fram till idag|language=sv|date=2013|author=Joakim Fritz|degree=MSc|publisher=[[Lund University]]|url=https://lup.lub.lu.se/student-papers/record/3994061/file/3994062.pdf}}</ref> This was followed by ''[[Rock 'n' Roll on the New Long March]]'' (1989), China's first original rock album, which remains one of the most successful and best-selling albums in the nation's history.<ref>{{cite web|language=es|work=[[20 minutos]]|url=https://www.20minutos.es/noticia/514356/0/cui/jian/rock/|title=Cui Jian, el pionero del rock en China, actuarΓ‘ por primera vez en EspaΓ±a|date=9 October 2009}}</ref><ref>{{cite web|url=https://foreignpolicy.com/2016/11/0...-long-march-reappropriation-loyalty/|title=In Xi's China, Everything Old Is New Again|work=[[Foreign Policy]]|date=3 November 2016|author1=Julian Gewirtz|author2=Jeffrey Wasserstrom}}</ref> Cui's performances were limited in Beijing for nearly two decades before all restraints were completely lifted in 2005.[/td]
[td]Born into an [[Koreans in China|ethnic Korean]] family with parents who were both artists, Cui began his musical career in 1981. In 1986, Cui performed his song "[[Nothing to My Name]]" at Beijing's [[Workers' Gymnasium]], which is considered a seminal moment in the history of [[Chinese rock]]. Standing out in the Chinese music scene when [[Political music in China|patriotic]] [[ballad]]s and [[Cantopop]] were popular,<ref name="beijingdj" /> he started to gather a [[cult following]] on China's university campuses while facing backlash from [[Conservatism in China|social conservatives]],<ref name="cultf">{{cite magazine|pages=21β22|magazine=[[City Weekend]]|title=In the Name of the Father|author=Jo Lusby|date=June 2002|issue=10}}</ref><ref name="sccf" /> and is credited with pioneering the country's alternative music.<ref>{{cite thesis|title=PopulΓ€rmusik i Kina under 1900-talet fram till idag|language=sv|date=2013|author=Joakim Fritz|degree=MSc|publisher=[[Lund University]]|url=https://lup.lub.lu.se/student-papers/record/3994061/file/3994062.pdf}}</ref> This was followed by ''[[Rock 'n' Roll on the New Long March]]'' (1989), China's first original rock album, which remains one of the most successful and best-selling albums in the nation's history.<ref>{{cite web|language=es|work=[[20 minutos]]|url=https://www.20minutos.es/noticia/514356/0/cui/jian/rock/|title=Cui Jian, el pionero del rock en China, actuarΓ‘ por primera vez en EspaΓ±a|date=9 October 2009}}</ref><ref>{{cite web|url=https://foreignpolicy.com/2016/11/0...-long-march-reappropriation-loyalty/|title=In Xi's China, Everything Old Is New Again|work=[[Foreign Policy]]|date=3 November 2016|author1=Julian Gewirtz|author2=Jeffrey Wasserstrom}}</ref> Cui's performances were limited in Beijing for nearly two decades before all restraints were completely lifted in 2005.[/td] [td]<ref>{{cite magazine|doi=10.20112/j.cnki.issn1007-5828.2021.23.040|title=ζζ»δΉδΈηεη°δ»£δΈ»δΉεε ΆβεεΏε¦₯ε|language=zh-cn|date=2021|pages=94-96|magazine=Popular Literature and Art|language=zh-cn|author=Hu Yitong|issue=23|volume=521}}</ref>[/td]
[td]<ref>{{cite magazine|doi=10.20112/j.cnki.issn1007-5828.2021.23.040|title=ζζ»δΉδΈηεη°δ»£δΈ»δΉεε ΆβεεΏε¦₯ε|date=2021|pages=94-96|magazine=Popular Literature and Art|language=zh-cn|author=Hu Yitong|issue=23|volume=521}}</ref>[/td] [td][/td]
[td][/td] [td]Cui's subsequent albums ''[[Solution (Cui Jian album)|Solution]]'' (1991) and ''[[Balls Under the Red Flag]]'' (1994) received critical acclaim, the latter of which is regarded by some as his ''[[magnum opus]]''. He explored [[Electronics in rock music|electronic rock music]] on the albums ''[[The Power of the Powerless (album)|The Power of the Powerless]]'' (1998) and ''[[Show You Colour]]'' (2005). In 2002, he initiated the Live Vocals Movement against [[Lip sync|lip-synching]] at live and televised performances. Following his participation in producing several films, including the [[musical film]] ''[[Blue Sky Bones]]'' (2013), his album ''[[Frozen Light]]'' (2015) was regarded as his musical comeback. In 2022, the album ''[[A Flying Dog]]'' (2021) earned him the [[Golden Melody Award for Best Male Mandarin Singer]], the top music award in the [[Sinophone|Chinese-speaking world]].<ref name="tianxia" />[/td]
[td]Cui's subsequent albums ''[[Solution (Cui Jian album)|Solution]]'' (1991) and ''[[Balls Under the Red Flag]]'' (1994) received critical acclaim, the latter of which is regarded by some as his ''[[magnum opus]]''. He explored [[Electronics in rock music|electronic rock music]] on the albums ''[[The Power of the Powerless (album)|The Power of the Powerless]]'' (1998) and ''[[Show You Colour]]'' (2005). In 2002, he initiated the Live Vocals Movement against [[Lip sync|lip-synching]] at live and televised performances. Following his participation in producing several films, including the [[musical film]] ''[[Blue Sky Bones]]'' (2013), his album ''[[Frozen Light]]'' (2015) was regarded as his musical comeback. In 2022, the album ''[[A Flying Dog]]'' (2021) earned him the [[Golden Melody Award for Best Male Mandarin Singer]], the top music award in the [[Sinophone|Chinese-speaking world]].<ref name="tianxia" />[/td]
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