Why did Samuel Hui immigrate?

Canto pop, Cantonese songs, generally refers to popular songs sung in Cantonese in Hong Kong, because the original composer in Hong Kong is Cantonese, also called Cantonese songs. Generally speaking, it refers to modern Cantonese pop music, which is a trend promoted by Samuel Hui, the lead singer of Lotus Band, since the 1960s, and the booming Cantonese pop music since then. This definition is also in line with the cognitive range of most Hong Kong people born in or after 1970 on "Cantonese buzzwords". Like other pop music, Cantonese pop music is a commodity. Commodities that reflect the social outlook and values in a certain period. Chinese name Cantopop mbth Cantopop is also called Cantonese song definition 1. Pop songs sung in Cantonese have promoted the trend. Samuel Hui, the lead singer of Lotus Band, defined two commodity singers who reflected the social outlook and values in a certain period. Samuel Hui, Danny Chan, Leslie Cheung, Alan Tam and beyond all originated in Samuel Hui. It is generally believed that pop songs originated in the early 1950s of 1950, but the exact source is still unclear and opinions vary. However, it is an indisputable fact that the early Cantonese pop music was born out of the minor in Cantonese music. Xiaoqu is the soundtrack of traditional Cantonese opera. In addition to the original Cantonese soundtrack, a large number of catchy and well-known Mandarin contemporary songs, western European pop songs and even folk songs from other provinces have been applied, and Cantonese lyrics have been filled in as the aria and soundtrack of Cantonese opera. The social structure of Hong Kong before the development history 1950s 1950s can be roughly divided into three classes: the upper class is senior officials of the British colonial government, senior officials of foreign-funded enterprises and a small number of wealthy Chinese businessmen; The middle class is only a minority; The lower classes are helpers, clerks and most of the working population. There is not much communication and flow between different classes, and there is little communication between them. However, from 65438 to 0949, a large number of immigrants flooded into Hong Kong, and the population of Hong Kong surged to 2.5 million, more than four times that before the war. Among the new immigrants, except for a few capital businessmen and professionals, most of them are Cantonese-speaking rural residents in Guangdong. 1950 At first, Cantonese music was really popular. A pure singing Cantonese opera was born out of Cantonese opera and was split into parts and spread among the people. Generally speaking, opera is attached to a teahouse for people to enjoy tea and listen to songs. This kind of consumption is quite common and ordinary people can afford it. It flourished in the early 1950s. During the1960s and1960s, Cantonese movies in Hong Kong were also very popular, and many Hong Kong movies were sold to Southeast Asia and other places, which was very popular. At that time, film actors such as Tan Bingwen, Deng Jichen and Zheng Qunmin all released records. At that time, Cantonese pop music was only an accessory of Cantonese movies and failed to become an artist's career. Besides, the Cantonese opera singing method of Cantonese films produced in Hong Kong is not easy to be liked by young people, and it is considered to be old-fashioned and vulgar, as if Yin Guang, the "Prince of Temple Street", is one of them. At that time, most young people still preferred English songs and Chinese songs. In the late 1960s, Zheng Jinchang and Lisa from Singapore opened the Hong Kong market. At that time, Zheng Jinchang was called "Prince of Cantonese Opera" and Lisa was called "Queen of Cantonese Opera". Their classic songs include Bell of New Zen Temple, Tangshan Mobile, Tears of Love and so on. But they still haven't let Cantonese pop music out of the image of the bottom music. Other major film actors at that time, such as Chen Baozhu, Hu Feng, Lv Qi and Xiao Fangfang, also had many songs, mainly film episodes. Early entertainment places in Hong Kong, such as lounges and nightclubs, were dominated by English songs and Chinese songs. At that time, Hong Kong people were more familiar with local famous singers including Xiao Qiao, Li Ailian and teddy robin. The main reason for the popularity of English songs is that the lead singers of such high-end casinos are foreigners from the upper class, and only a few China people have such social status and economic ability to afford such high-end consumption.