Anthony Fung is Professor in the School of Journalism and Communication, and Co-Director of the Institute of Asia-Pacific Studies at The Chinese University of Hong Kong. He also holds an appointment as Professor in the School of Arts and Communication at Beijing Normal University, China.Alice Chik is Senior Lecturer in the Department of Educational Studies and a core member of the Faculty of Human Sciences Multilingualism Research Centre at Macquarie University in Sydney, Australia.

"Anthony Fung and Alice Chik have put together a fine collection. Framed by critical cultural studies, it records, celebrates, and intervenes. Engaging and enlightening, the book fills a missing gap ... illustrating how the study of popular music can illuminate social, political, and artistic dynamics, along with existential dilemmas. It makes a compelling case for placing Hong Kong central to the main streams of planetary pop, identifying the impact of significant musical dialogues with mainland China and Taiwan, creative exchanges with Japan, and the contribution of the city’s people and performers to the Korean wave and K-pop."—Keith Negus, Global Media and China"Among the growing number of efforts to better document, analyse and account for the place of Hong Kong popular music within its local and trans-local settings, Made in Hong Kong is an extensive collection of well-researched and valuable essays that, taken both together and individually, make a vital contribution to English-language scholarship in HK popular music studies as well as to East Asian Studies more broadly."—François Mouillot, Popular Music

• IntroductionMainstreaming Hong Kong Popular MusicANTHONY FUNG & ALICE CHIKPART I: CANTOPOP, HISTORY, AND LEGACY Mapping sociopolitical and cultural changes through "The Daughters of Hong Kong:" From Anita Mui to Denise HoVICKY HO & MIRANDA MA Once upon a time in Hong Kong Cantopop: 1984YIU-WAI CHU Pax Musica & Mnets: Cantopop–Kpop convergences and inter-Asia cultural mobilities KAI KHIUN LIEW & MEICHENG SUN Voices shaped by the people and for the people: Cantopop and political crisis from the colonial to postcolonial era STELLA LAU & IVY MAN PART II: GENRES, FORMAT, AND IDENTITY The symbolism sound of Cantopop: Relistening to "The Fatal Irony" (1974)TING YIU WONG Rethinking Chineseness in the Cantopop of Sam HuiBRENDA CHAN Alternative music, language, and "Hong Kong" identity: The use of metaphor in English lyrics of Hong Kong independent musicLOK MING ERIC CHEUNG Covers and "One Melody, Two Lyrics" SongsJOHNSON LEOW PART III: SIGNIFICANT ARTISTS Love songs from an island with blurred boundaries: Teresa Teng’s anchoring and wandering in Hong KongCHEN-CHING CHENG Remembering Hong Kong as a queer metaphor: Leslie Cheung’s queer performativity and posthumous networked fandomHONG-CHI SHIAU Hong Kong is (no longer) my home: From Sam Hui to My Little AirportMILAN ISMANGIL MC Yan and his Cantonese conscious rapANGEL M. Y. LIN PART IV: CONTEMPORARY CANTOPOP Snapshots of multilingualism in Hong Kong popular musicPHIL BENSON & ALICE CHIK Our Little Twins Stars: Conglomerate-catalyzed cross-media stardom in the new millenniumKLAVIER J. WANG & STEPHANIE NG Performing the political: Reflections on Tatming meeting George Orwell in 2017YIU FAI CHOW, JEROEN de KLOET & LEONIE SCHMIDT The politicization of music through nostalgic mediation: The memory in "Boundless Oceans, Vast Skies"JESSICA KONG & ANTHONY FUNG CODA The globo-regional and the local in Hong Kong popular musicC. J. W.-L. WEEAfterwordCantopop is always hybrid: A conversation with Serina Ha