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Mandopop

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Mandopop
Stylistic origins
Cultural origins1920s–1940s,Shanghai,Republic of China
Other topics
Mandopop
Traditional ChineseTiếng Hoa lưu hành âm nhạc
Simplified ChineseTiếng Hoa lưu hành âm nhạc

MandopoporMandapoprefers toMandarinpopular music.The genre has its origin in the jazz-influenced popular music of 1930sShanghaiknown asShidaiqu;later influences came from Japaneseenka,Hong Kong'sCantopop,Taiwan'sHokkien pop,and in particular theCampus Songfolk movement of the 1970s.[1]'Mandopop' may be used as a general term to describe popular songs performed in Mandarin. Though Mandopop predates Cantopop, the English term was coined around 1980 after "Cantopop"became a popular term for describing popular songs inCantonese."Mandopop" was used to describe Mandarin-language popular songs of that time, some of which were versions of Cantopop songs sung by the same singers with different lyrics to suit the different rhyme and tonal patterns of Mandarin.[2]

Mandopop is categorized as asubgenreof commercialChinese-languagemusic withinC-pop.Popular music sung in Mandarin was the first variety of popular music in Chinese to establish itself as a viableindustry.It originated inShanghai;later,Hong Kong,TaipeiandBeijingalso emerged as important centers of the Mandopop music industry.[3]Among the regions and countries where Mandopop is most popular aremainland China,Hong Kong,Macau,Taiwan,Malaysia,andSingapore.

History[edit]

Beginning of recording industry in China[edit]

The Chinese-language music industry began with the arrival ofgramophone.The earliest gramophone recording in China was made in Shanghai in March 1903 byFred Gaisberg,who was sent by theVictor Talking Machine Company(VTMC) in the U.S. to record local music in Asia.[4]The recordings were then manufactured outside China and re-imported by the Gramophone Company's sales agent in China, the Moutrie (Moudeli) Foreign Firm. The Moudeli Company dominated the market before the 1910s until thePathé Records(Chinese:Trăm đại;pinyin:Bǎidài) took over the leading role. Pathé was founded in 1908 by a Frenchman named Labansat who had previously started a novelty entertainment business usingphonographinShanghaiaround the beginning of the 20th century. The company established a recording studio, and the first record-pressing plant in theShanghai French Concessionin 1914, and became the principal record company to serve as the backbone for the young industry in China.[5]It originally recorded mainlyPeking opera,but later expanded to Mandarin popular music. Later other foreign as well as Chinese-own recording companies were also established in China.

Early in the 20th century, people in China generally spoke in their own regional dialect. Although most people in Shanghai then spokeShanghainese,the recordings of the pop music from Shanghai from the 1920s onwards were done inStandard Mandarin,which is based on theBeijing dialect.Mandarin was then considered as the language of the modern, educated class in China, and there was a movement to popularize the use of Mandarin as a national language in the pursuit of national unity. Those involved in this movement included songwriters such asLi Jinhuiworking in Shanghai.[6]The drive to impose linguistic uniformity in China started in the early 20th century when the Qing Ministry of Education proclaimed Mandarin as the official speech to be taught in modern schools, a policy the new leaders of the Chinese Republic formed in 1912 were also committed to.[7]Sound films in Shanghai which started in the early 1930s were made in Mandarin because of a ban on the use of dialects in films by the thenNanjing government,[8]consequently popular songs from films were also performed in Mandarin.

Zhou Xuan, the most notable singing star of the early Shanghai period.

1920s: Birth ofShidaiquin Shanghai[edit]

Mandarin popular songs that started in the 1920s were calledshidaiqu( thời đại khúc – meaning music of the time, thus popular music), and Shanghai was the center of its production. The Mandarin popular songs of the Shanghai era are considered by scholars to be the first kind of modern popular music developed in China,[9]and the prototype of later Chinese pop song.[10]Li Jinhui is generally regarded as the "Father of Chinese Popular Music" who established the genre in the 1920s.[11]Buck Clayton,the American jazz musician, also worked alongside Li. Li established theBright Moon Song and Dance Troupe,and amongst their singing stars wereWang RenmeiandLi Lili.There was a close relationship between music and film industries and many of its singers also became actresses.

Around 1927, Li composed the hit song "The Drizzle" ( "Mưa bụi" ) recorded by his daughter Li Minghui ( sáng sớm huy ), and this song is often regarded as the first Chinese pop song.[12][13][14]The song, with its fusion of jazz and Chinese folk music, exemplifies the earlyshidaiqu– the tune is in the style of a traditionalpentatonicfolk melody, but the instrumentation is similar to that of an American jazz orchestra.[15]The song however was sung in a high-pitched childlike style, a style described uncharitably as sounding like "strangling cat" by the writerLu Xun.[16][17]This early style would soon be replaced by more sophisticated performances from better-trained singers. In the following decades, various popular Western music genres such as Latin dance music also become incorporated into Chinese popular music, producing a type of music containing both Chinese and Western elements that characterizedshidaiqu.Popular songs of the time may range from those that were composed in the traditional Chinese idiom but followed a Western principle of composition to those that were done largely in a Western style, and they may be accompanied by traditional Chinese or Western instrumentation. An example is "The Evening Primrose" byLi Xianglan,a Chinese composition set to a Latin dance beat.

1930s–1940s: The Seven Great Singing Stars era[edit]

In 1931, the firstsound filmwas made in China in a cooperation between theMing xing Film Companyand Pathé.[18]Thefilm industrytook advantage of the sound era and engaged singers for acting and soundtrack roles, and Li Jinhui's Bright Moonlight Song and Dance Troup became the first modern musical division to be integrated into theChinese film industrywhen it joinedLianhua Film Companyin 1931. Amongst the best-known of the singer-actress to emerge in the 1930s wereZhou Xuan,Gong Qiuxia,andBai Hong.Although later singing stars need not also have an acting career, the close relationship between the recording and film industries continued for many decades. LaterYao Lee,Bai Guang,Li Xianglan,Wu Yingyinalso became popular, and collectively these seven stars became known as the "Seven Great Singing Stars"of the period. Other notable singers of this period includeLi LihuaandChang Loo( trương lộ ). In 1940 Yao Lee recorded "Rose, Rose, I Love You"which later became the first Chinese pop song to be covered by Western singers that was a hit.

The "Seven Great Singing Stars"in theRepublic of Chinaperiod secured the place of theshidaiqugenre in East Asian society.Zhou Xuanis generally considered the most notable Chinese pop star of the era for her highly successful singing and film career. This generation saw the rise in popularity of female singers from mere "song girls"to" stars ",[11]and for the next few decades, female singers would dominate the Mandarin popular music industry.

In this period, Pathé Records dominated the recording industry. In the late 1930s to early 1940s, it held about 90% market share of the Mandarin pop songs.[19]

The era was a tumultuous period, with the occupation of Shanghai by the Japanese armies during theSecond Sino-Japanese Warfrom 1937 and to 1945, followed by continuation of thecivil warbetween theNationalistsandCommunists.In response to the turmoil, productions began to shift to Hong Kong, and after the Communist takeover in 1949, many stars moved to Hong Kong which then replaced Shanghai as the center of the entertainment industry in the 1950s.[20]

1950s–1960s: The Hong Kong era[edit]

In 1949, thePeople's Republic of Chinawas established by theCommunist party,and in 1952 popular music was denounced by thePRC governmentasYellow Music,a form ofpornography.[21]In the mainland, the communist regime began to suppress popular music and promote revolutionary marches.China Record Corporationbecame the only music recording industry body in China,[22]and for many yearsMinyue(National Music) andrevolutionary musicwere about the only kinds of music to be recorded there.[23]

In 1952, Pathé Records moved its operation from Shanghai to Hong Kong. Stars from Shanghai continued to record songs in Hong Kong, and Shanghai-style music remained popular in Hong Kong until the mid-1960s.[19]Although the music is a continuation of the shidaiqu style of Shanghai, many of its songwriters did not move to Hong Kong, and many of the musicians employed in the Hong Kong music industry wereFilipinos,Mandarin pop music in Hong Kong began to move away from its Shanghai roots.[16]Also partly as a consequence of having fewer good songwriters, some songs of this period were adaptation of English-language songs, as well as songs from other regions such as the Indonesian song "Bengawan Solo"(as" thoi la hà chi luyến ") and the Latin-American song"Historia de un Amor"(as" He is not in my heart "," trong lòng ta không có hắn "). As the style evolved, the sound of popular songs from the Hong Kong era therefore became distinct from Shanghai's. Among the recording artists of note to emerge in this period wereTsui Ping,Tsin Ting,Grace Chang( cát lan ), Fong Tsin Ying ( phương tĩnh âm ) and Liu Yun ( Lưu vận ), some of whom were also actresses. While some actresses continued to sing in their films, some of the best known songs were dubbed by other singers, for example "Unforgettable Love"(" không được tình ") in the film of the same name starringLin Daiwas sung byKoo Mei( cố mị ). The song was also recorded with piano and strings orchestration popular at that time.

Shanghai-style Mandarin pop songs however began to decline in popularity around the mid-1960s as Western pop music became popular among the young, and many Hong Kong performers copied Western songs and sangHong Kong English popsongs.[19]This in turn gave way to pop songs recorded in Cantonese asCantopopbecame the dominant genre of music from Hong Kong in the 1970s.

After the Communist victory in China, theKuomintangretreated toTaiwan.There were local stars in Taiwan and Pathé Records did business there as well, but the island's recording industry was not initially strong. Taiwanese youth were drawn to popular styles from abroad; as Taiwan was ruled by Japan from 1895 to 1945,Taiwanese popsongs in theHokkiendialect, the actual mother tongue of most of the island's residents, were particularly strongly influenced by the JapaneseEnkamusic. Popular Mandarin songs from Taiwan were similarly influenced, and many popular Mandarin songs of the 1960s were adaptations of Japanese songs, for example "Hard to Forget the Thought" ( "Ý khó quên", originally "Tokyo Serenade"(Đông Kinh dạ khúc)) and "Hate you to the Bone" ( "Hận ngươi tận xương", from"Hone made aishite"(Cốt まで ái して)). Popular songs were necessarily sung in Mandarin as Taiwan's new rulers, which imposedmartial law in Taiwanin 1949, mandated its use as well as restricting the use ofTaiwanese Hokkienand forbidding the use ofJapanese.[24]The Mandarin pop music developed in Taiwan that would become modern Mandopop is a blend of traditional Chinese, Japanese, Taiwanese, as well as Western musical styles.[25]Zi Wei ( tử vi ) was the earliest of the Taiwan-based stars who achieved success outside of Taiwan in the late 1950s with the song "Green Island Serenade",[26]followed by other singers such as Mei Dai ( mỹ đại ) andYao Surong( Diêu tô dung ) in the 1960s.[27][28]The 1960s however was a highly politically tense era, many songs such as "Not Going Home Today" ( "Hôm nay không trở về nhà" ) by Yao Surong were banned in Taiwan.[29]

In the 1960s, regional centres of Chinese pop music also started to emerge in overseas Chinese communities in Malaysia and Singapore, and singers from the region such as Poon Sow Keng ( Phan tú quỳnh ) also achieved wider success.[30]

1970s–1980s: Rise of Taiwanese Mandopop[edit]

In the 1970s, Taipei began to take center stage for Mandopop while Cantopop took hold in Hong Kong. In 1966, the Taiwan music industry was generating US$4.7 million annually, and this had grown exponentially through the 1970s and 1980s, and by 1996, it peaked at just under US$500 million before declining.[31]The success of the Taiwanese film industry also helped with the popularity of its singers. Taiwanese stars such asTsai Chin,Fei Yu-ching,andFong Fei Feibecame increasingly popular, withTeresa Tengthe best known.

"The Moon Represents My Heart" - Teresa Teng
A short clip of one of the best known songs of the 1970s "The Moon Represents My Heart"by Teresa Teng.
Problems playing this file? Seemedia help.

Teresa Tengmade Mandopop a true mainstay by crossing over to mainland China afterDeng Xiaopingcame to power and instituted theopen door policyin 1978 that allowed cultural products from Hong Kong and Taiwan to enter China. Teng's song became popular there despite an early ban on her songs by the PRC government for being "BourgeoisMusic ".[32]Her "soft, sweet, often whispery and restrained" singing style in romantic songs such as "The Moon Represents My Heart"( ánh trăng đại biểu ta tâm ) made a strong impact in mainland China where revolutionary songs were previously prevalent.[33]A common expression then was "By day,Deng Xiaopingrules China. But by night, Deng Lijun (Teresa Teng) rules ".[34]The ban on Teng was lifted in 1986 and songs from Hong Kong and Taiwan, calledgangtaimusic, became more popular within mainland China.

During the 1970s and early 1980s, a different generation of Taiwanese singers and/or songwriters such asChyi Yu,Hou De gian,andLo Ta-yuemerged, some of whom were influenced by folk rock and whose music may be termed"campus folk music".[35]One of the most successful songs of the era was Lo Ta-yu's 1985 song "Tomorrow Will Be Better",which was inspired by the American song"We Are the World"and originally performed by 60 singers.[36][37]It quickly became a hit throughout Chinese in Asia. Another song soon followed in 1986 in mainland China called "Let the World be filled with Love" ( làm thế giới tràn ngập ái ).[36]Hou De gian 's song "Descendants of the Dragon"( long truyền nhân ) also became an anthem for the period. Unlike previous eras dominated by female singers, male singers became popular. Other popular male singers includedLiu Wen-cheng,Johnny YinandDave Wong.Wong released his debut album A Game A Dream ( một hồi trò chơi một giấc mộng ), which sold over 700,000-copies in three months in December 1987.[38]

By around 1980, the term Mandopop began to be used for the Chinese popular music that had emerged in this period,[1]and by the mid-1980s, Taiwan's booming music industry was the source of around 90% of Mandopop sold in Southeast Asia.[39]

In South East Asia, popular local stars from the late 60s to the 80s included Sakura Teng ( hoa anh đào ), Chang Siao Ying ( trương tiểu anh ) and Lena Lim ( lâm trúc quân ) from Singapore, and Wong Shiau Chuen ( hoàng hiểu quân ) and Lee Yee ( Lý dật ) from Malaysia.[40]Some such as Lena Lim achieved some success outside the region, and the local labels also signed singers from outside the region such as Long Piao-Piao ( long phiêu phiêu ) from Taiwan. The recording industry in Singapore in particular thrived. In 1979,Singaporelaunched theSpeak Mandarin Campaignto promote the use of Mandarin over the range of Chinese dialects spoken by various segments of the ethnic-Chinese population. Mandarin songs, already a strong presence on radio stations and on television, further eroded the popularity of Hokkien and Cantonese songs in the media.[41]In the 1980s, a genre of Mandarin ballads calledxinyaodeveloped in Singapore by singers/songwriters such asLiang Wern Fook.[42]

In mainland China, the music industry was freed from state restriction in 1978, and regional recording companies were established inGuangzhou,Shanghai and Beijing in the 1980s with local singers.[22]Pop music in China in this period was dominated by Mandopop songs from Taiwan and Cantopop from Hong Kong, however the 1980s saw the beginning ofrock music in China,with the emergence of singer-songwriters such asCui Jian,followed by others such asHe Yongand bands such asTang Dynastywhich became popular in the 1990s.[43]

1990s[edit]

A number of singers originally from mainland China such asFaye WongandNa Yingbegan to record in Hong Kong and Taiwan. Faye Wong, referred to in the media as the Diva, first recorded in Cantonese in Hong Kong, later recorded in Mandarin. She was one of the few Chinese singers to perform inBudokan,Japan.[44][45]

During this period, many Cantopop singers fromHong Kongsuch as the "Four Heavenly Kings"-Aaron Kwok,Leon Lai,Andy LauandJacky Cheung- also began to dominate Mandopop. Many Cantopop songs of the period were also sung in Mandarin by the same singers, say Faye Wong.[2]One of the best-selling Mandarin albums was the 1993 albumThe Goodbye Kissby Jacky Cheung which sold over 1 million in Taiwan and 4 million in total Asia-wide.[46][47]Nonetheless, Taiwan has their own popular singers such asStella Chang,Sky Wu,Wakin Chau(formerly Emil Chau) andJeff Chang.Independent labels such asRock Recordsbegan to establish themselves in this period as some of the most influential labels. Towards the end of the 90s, other singers such asLeehom WangandDavid Taobecame popular, and some also began to perform in theR&Band/orhip-hopgenres.

In the period from the mid-1990s to early 2000s, Shanghai and Beijing became centers of the music industry in mainland China, with Shanghai focusing on music record publishing and distribution, while Beijing focused on music recording.[22]

2000s-2010s: Growth in Mainland China[edit]

See also:Taiwanese WaveandChinese idol

In Hong Kong, the Four Heavenly Kings faded in the 2000s, but many other new artists such asNicholas TseandEason Chancame to the fore. The 2000s also began with an explosion of pop idols, many of whom were fromTaiwan.Mainland China also saw a rapid increase in the number of Mandopop singers, bands, and idol groups as pop music becomes increasingly mainstream by mid-2000s. The growingMainland film industryandChinese television dramaalso increased demand for Mandopop. Since the 2000s, the emergence ofindie rockin mainland China and Taiwan had exploded into a flourishing indie music scene in mainland China and Taiwan, adding various new diversities into Mandopop. Entry of popular Taiwan-based bands such asMaydayandSodagreenwhile in mainland Chinese-based bands such as SuperVC andMilk Coffeehad brought a new phase of rock fusion into Mandopop.

The music industry in Taiwan, however, began to suffer from music piracy in the digital age, and its revenue plummeted to $US95 million in 2005. The primary revenue sources in Taiwan music industry shifted to advertising, concerts, KTV (karaoke) and movie. The dramatic decline of CD sales shifted the market in favour of mainland China.[48]While piracy was also severe in mainland China, the percentage of its digital sales is higher compared to most countries.[49]2005 was known as 'The First Year of Digital Music' in China as its digital music sales of $US57 million overtook CDs in 2005,[50]and it also overtook Taiwan in term of the retail value of its music sales.[51]

However, while mainland China became increasingly important in generating revenue, the pop music industry itself in mainland China was still relatively small in the decade of 2000s compared to Taiwan and Hong Kong as popstars from Taiwan and other overseas Chinese communities were still popular in mainland China.[48]Mandopop singers such asJay Chouwere popular performing in therhythm and bluesandrap musicgenre, popularising a new fusion style of music known aszhongguofeng.Other successful singers includedJJ Lin,Eason Chan,Mayday,Stefanie Sun,G.E.M.andJolin Tsai.

The burgeoning number of contests brought a new wave of idol genre to the Mandopop industry. Nationwide singing competitions in mainland China, such as theSuper Girl,Super Boy,The Voice of China,Chinese Idol,andThe X Factor: Zhongguo Zui Qiang Yin,greatly boosted Mandopop's influence. Many contestants emerged as successful singers in Mainland China, such asJoker Xue,Jane Zhang,Li Yuchun,Jason Zhang,Laure Shang Wenjie,etc. The same phenomenon also occurred in Taiwan. From the showOne Million StarandSuper Idol,new talented singers entered the Mandopop market, includingAska Yang,Yoga Lin,Lala Hsuand so on. In Taiwan, the new term "quality idol" ( chất lượng tốt thần tượng ) referred to artists who were good-looking, talented and highly educated, among themWang LeehomandWilliam Wei.[52]

There was increasing crossover appeal of Taiwanesebubblegum popboybands and girl bands in the mainland Chinese scene, such as the very commercially successful acts likeS.H.EandFahrenheit.Several new boybands and girl bands also have emerged in mainland China such asTop Combine,TFBOYS,NEXTandIdol ProducerandProduce Campboy and girl groups includingNine Percent,UNINE,R1SE,INTO1,THE9andRocket Girls.

2020s[edit]

In early 2020s,Jay Chou,JJ LinandEason Chan,who had debutted for more than 20 years, continued to lead the Mandopop scene. They were ranked among the top three most-streamed Chinese artists on Spotify in 2023.[53]Jay'sGreatest Works of ArtwasIFPIGlobal Album Sales Chart No. 1 album in 2022.[54]

Short video platforms likeDouYingained popularity and had increasing impact on the music market. In November 2021,Eason Chanreleased a new Mandarin single “Lonely Warrior” ( cô dũng giả ), which became super hit not only among the usual Mandopop fans, but also mega hit among the children, becoming an annual phenomenon in the Mandopop scene. Although Eason Chan did not make any appearance for promotion (except one online performance ten months after the release), this song still gained huge popularity in mainland China, Taiwan and Malaysia etc. Some said short videos on App like DouYin helped boost the popularity to a large extent. There were numerous short videos using the song as background music, playing the song with various adaptations, and hand gestures dance etc. Children, in particular, were attached to these. The popularity spread from children to parents, gaining widespread attention. Short video platform had emerged as contemporary media for music promotion.[55][56]

Characteristics[edit]

Instruments and setups[edit]

Shidaiquoriginated as a fusion of Chinese traditional music and European popular music, and therefore instruments from both genres were used from the very beginning of Mandopop. Songs performed in the traditional style employed traditional Chinese instruments like theerhu,pipa,andsanxian,such as in the recording of "The Wandering Songstress"( thiên nhai ca nữ ) byZhou Xuan,whereas more Western orchestral instruments such as trumpets, violins, and piano were used in songs like "Shanghai Nights" ( đêm Thượng Hải ), also by Zhou Xuan.Big bandandjazzinstruments and orchestrations from theswing erawere common in the early years. Chinese and Western instruments were also combined in some recordings.

In the 1960s, theelectric guitarbegan to be used. Starting around the 1970s,electronic organs/synthesizersbegan to be heavily featured, which characterized the Mandopop music of the era. Today's Mandopop arrangements are generally westernized, covering many musical styles, includingR&B,hip hop,ballads, andPop.Mandopop switched from simple imitation to adjusting the melodies and lyrics creatively in short time. Some pop stars became famous because they were presented to meet the Chinese aesthetics standard and culture features.[57]A few Chinese pop musicians—most notablyJay Chou,Lin Jun Jie,David Tao,Leehom Wang—have experimented with fusing traditionalChinese instrumentswith Western styles (such as hip hop beats and progressive rock) all over again in a new style known asChina Wind music(zhongguofeng), influencing many Chinese singers worldwide.

Industry[edit]

Labels[edit]

Popular musicrecord labelsincludes independent labels such as JVR Music, Linfair Records, B'In Music and subsidiaries of major labels such as Sony Music Taiwan, Universal Music Taiwan, Warner Music Taiwan. In the past few years, mainland labels such as EE-Media, Huayi Brothers, Taihe Rye Music, Show City Times, Idol Entertainment, and Tian Hao Entertainment have also emerged.

Music distribution outside Asia[edit]

Mandopop titles are also available outside of Asia. Chinese communities established in North America have made Mandopop music accessible through local businesses. In the United States, Canada and Australia they are easily found in many major urban areas, such asSan Francisco Bay Area,Los Angeles,San Diego,New York City,Vancouver,Toronto,Sydney,andMelbourne[citation needed].

Charts[edit]

TheGlobal Chinese Pop Chartis arecord chartorganised since 2001 by 7 radio stations from Beijing, Shanghai, Guangdong, Hong Kong, Singapore, Taipei and Kuala Lumpur.

InTaiwan,G-Music Chart(Chinese: Phong Vân bảng fēngyúnbǎng) is the most popular music ranking.[58][59][60][61][62][63]It was first officially published on 7 July 2005, and compiled the top physically sold CD releases in Taiwan (including both albums and physically released singles). Only the top 20 positions are published, and instead of sales, a percentage ranking is listed next to each release.

Awards[edit]

Mandopop radio stations[edit]

Station Location Frequencies and Platform
Kiss Radio Taiwan Kaohsiung, Taiwan 99.9 FM, 99.7 FM, 97.1 FM, 98.3 FM and Internet live streaming
Hit Fm Taipei, Taiwan 90.1 FM, 91.5 FM, 101.7 FM and Internet live streaming
CNR Music Radio Nationwide, China 90.0 FM (Beijing) and Internet live streaming
Beijing Music Radio Beijing, China 97.4 FM and Internet live streaming
Shenzhen Radio Station Shenzhen, China 97.1 FM and Internet live streaming
Shanghai Media Group Shanghai, China 101.7 FM and Internet live streaming
KAZN Los Angeles, USA Sometimes
KSFN San Francisco, USA 1510 AM
KSJO San Francisco, USA 92.3 FM
KSQQ San Francisco, USA 96.1 FM
UFM100.3 Singapore 100.3 FM and Internet live streaming
YES 933 Singapore 93.3 FM and Internet live streaming
883Jia Singapore 88.3 FM and Internet live streaming
My Malaysia Frequencies vary according to location
Radio Cakrawala Jakarta, Indonesia 98.3 FM
Radio Strato Surabaya, Indonesia 101.9 FM
Radio Manila 99.9 Manila, Philippines 99.9 FM
MandarinRadio Internet live streaming (also available oniTunesRadio)

See also[edit]

References[edit]

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External links[edit]

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