英语翻译In the late 1980s,there was a burst of "culture shirts"

英语翻译
In the late 1980s,there was a burst of "culture shirts" - T-shirts with funny or sarcastic slogans printed on them.Its popularity ensured its demise through official pressure.
Fashion trends usually start in metropolises like Shanghai and Guangzhou and then spread inland.You can gauge the distance by estimating which fashion was in vogue in the big cities.
Things started to change in the 1990s.With growing migration and media penetration,the gap gradually vanished,and there's so much diversity now it's easier to guess,from what one wears,his profession rather than his background.
What we listened to
By any measure,Teresa Teng was a watershed,not just for pop music in China,but for cultural consciousness as a whole.Before the Taiwan chanteuse's albums became available,music on the mainland was mostly the kind you could march to.Teng showed us,more through the way she sang than through her words,that music could be about personal feelings,especially love,which had been forbidden territory.
All this was made possible by a little gadget called the cassette tape recorder.Teng's songs were never allowed on air,but people copied them,one tape at a time,and passed them on to friends and neighbors.For several years,you couldn't walk through a residential area without hearing a Teng tune wafting from one of the buildings.
If Teng put sugar in our music,Cui Jian added spice.When China's own rock star burst on the scene in the late 1980s,he created an outlet for frustration.I Have Nothing,his anthem,gave voice to a whole new "lost" generation.Rock has since gained some acceptance,if not mainstream status.Today,China's army of "angry youth" is growing by leaps and bounds,but they are venting in Internet forums rather than through rock music.
Karaoke,which appeared in the late 1980s as an import from Japan,caught on here in a big way.Whereas people in the West tend to be more expressive,we Chinese are taught to be reserved.We don't have a tradition of partying.That made karaoke an instant sensation.People who were normally reserved had a platform to let their hair down,so to speak.Suddenly,singing became a form of socializing,as humor is to Americans.
Hong Kong and Taiwan have spearheaded the Chinese mainland's pop industry,churning out a steady diet of pop idols.Beginning in 1987,pop singers from Hong Kong and Taiwan began to perform on the mainland,so fans could actually see their idols,including Hong Kong's "Four Heavenly Kings".

20世纪80年代末,有一个突发的“文化衬衫” - T恤衫滑稽或嘲讽的口号印在他们.其受欢迎程度确保其消亡通过官方的压力.
时装潮流开始在大都市通常像上海和广州,然后蔓延内陆.您可以测算距离估计这是流行时尚的大城市.
事情开始改变在上世纪90年代.随着移民和媒体渗透,这一差距逐渐消失,并有如此多的多样性现在更容易猜测,从一个穿,他的职业,而不是他的背景.
我们点击
用什么标准衡量,邓丽君是一个分水岭,而不仅仅是在中国的流行音乐,但对文化意识作为一个整体.前台湾chanteuse的相册成为可用,音乐,主要是内地的那种你可以三月.李登辉向我们表明,更多的通过,她唱的方式而不是通过她的话,音乐可以对个人的感情,尤其是爱情,已被禁止的领土.
所有这一切成为可能有点小工具称为盒式磁带录音机.邓丽君的歌曲是决不允许的空气,但人们模仿他们,一个磁带的时间,并通过他们向朋友和邻居.几年来,你不能穿过一个居民区没有听到李登辉调整飘到从一个建筑物.
如果李登辉把糖在我们的音乐,崔健说香料.当中国自己的摇滚明星爆裂现场在20世纪80年代末,他创建了一个出口的挫折感.我有什么,他的歌声,表达了一个全新的“迷失”一代.摇滚已积累了一些接受,如果不是主流地位.今天,中国军队的“愤怒的青年”是越来越多的跨越式发展,但它们在互联网论坛上发泄,而不是通过摇滚音乐.
卡拉OK ,出现在20世纪80年代末作为一个自日本进口,在这里发现了一个大的方式.而在西方的人往往更表现,我们中文授课保留.我们没有传统的聚会.这使卡拉OK的轰动.人谁通常保留了一个平台,让他们的头发,所以发言.突然,歌唱成为一种形式的社交活动,因为幽默感是美国人.
香港和台湾地区率先大陆的流行音乐工业,游客稳步饮食的偶像.开始于1987年,歌手来自香港和台湾开始执行在内地,所以球迷们可以看到他们的偶像,其中包括香港的“四大天王” .