It’s been a long time since news of overseas performers performing in the Middle Kingdom is big news – with maybe a few recent (Dylan, Stones) exceptions. These days, whether in Beijing, Shanghai, Wuhan or Nanjing, touring bands are a normal part of rock and roll, and pop, life. But even a decade ago, the descriptor “foreign” was enough to fill a room with fans equal parts curious and hungry for something from the general direction of rock and roll’s homeland.
Rewind the tape further, and you quickly enter the dark ages.
The nineties saw a literal handful of visitors, large-scale and small. There was Paul Simon (1991), Roxette (1995), Air Supply (1995), and Bjork (1996 – the same woman who, a dozen years later, would cause kerfuffle over her shout-out to Tibet that pissed off local authorities and citizens on the large side. Small-scale shows included BB King (1995, to open Beijing’s Hard Rock Cafe), Bill Laswell (with the Uzbek-Japanese-Mongolian-and-more project Flying Mijinko Band, 1994), John Zorn (1995), Pridebowl and Envy (Japanese punk bands, 1997), International Noise Conspiracy (1999).
As for the eighties, it was even slimmer pickins: Jean Michel Jarre (1981), Filipino surf-pop band Nitaige’er (1982), the Chieftains (1984), Wham! (1984), sixties surf-rock legends Jan and Dean (1986) and German pop-rock band BAP (1987).
There’s more to come, in blog and in book, on the details of a selection of those events, all of which, by virtue of just having occurred, are noteworthy. For now though, a slice of something I just came across – admittedly by accident, and, unfortunately, long after the deadline to include it in the pages of Red Rock passed.
On May 10, 1986, a year after George Michael graced the Middle Kingdom with his presence, and mere days after Cui Jian’s unveiling of a homegrown rock and roll, Billboard reported, deep in the issue, on an upcoming China tour under the headline “SheRock Will Be Rocking China; 1st U.S. Pop Act Visit”.
Six months prior to the announcement, before they’d even played a show, their demo had made it into the hands of the director of the Shanghai Symphony Orchestra, who was impressed with the band’s “healthy attitude” and set to work trying to get the band to China. By mid-May, 1986, the band was playing an invite-only show at LA venue The Roxy to garner local interest in what would be the first American pop act to scale the Great Wall. The crowd was half comprised of officials from the Shanghai Bureau of Culture – and of waitresses dressed more conservatively than usual, due to presenters “obviously concerned with maintaining a ‘wholesome image’ after the fiasco of Wham!,” as Billboard put it. The publication also noted the band’s efforts to remain “squeaky clean for the diplomats”. It paid off in at least a trip to China, where, between late July and early September, they performed sixteen shows in Shanghai, Hangzhou and Guangzhou for an estimated total audience of 125,000. There was also talk of a hundred million viewers via television broadcast, as well as a trip to a studio for a Mainland-only album.
“We had to modify our dress and lyrics,” frontwoman Edie Robertson told a reporter, adding that they were happy to oblige, since they were representatives of the US.
The band’s manager, Walter Stewart, who had worked with many artists over many years, was asked about the greatest challenges of his career. “Attempting to teach the Chinese technicians the art of multi-track recording and over-dubbing,” was his reply.
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