A groundbreaking song about a girl’s sexual craving for a stranger. It challenged the traditionally reserved nature of Cantonese love songs and was once banned in China for its “pornographic” nature.
Although she passed away a decade ago, Anita Mui is still revered as the most influential Cantopop female singer of all time. Known for her revolutionary fashion style, impressive vocal range, and extraordinary artistry, Mui is a gem that shone brightly in film, television, and music, an achievement few entertainers can accomplish. She has been crowned by worldwide fans as the “Madonna of Asia,” a title she justly deserves and a compliment that accompanied her until her tragic and much-lamented death.
“壞女孩” (Bad Girl) is a groundbreaking song about a girl’s sexual craving for a stranger. It challenged the traditionally reserved nature of Cantonese love songs and was once banned in China for its “pornographic” nature. The romantic encounter it describes – which is dangerous but enticing – enthralls the female protagonist and urges her to throw away the “good girl” label that forbids such midnight adventures. Contrasts are frequently used to illustrate her inner struggles, as she is torn between desire and sanity. “Help me, 我快變罪人” (Help me, I’m about to become a sinner) is contrasted to: “我愛午夜長 太漂亮” (I love midnights, midnights are beautiful). The former line is an obvious cry for help against a tempting trap, while the latter is an expression of yearning for the physically-attractive stranger. Elsewhere, “淑女” (fine lady) is offset by “太壞” (turns bad), as angel and devil wrestle each other. Thus, a rather conflicting scenario is presented through the deliberate use of contrasting pairs to accentuate the theme of irresistible seduction.
The lyricist also attempts to establish a charming image of the stranger through sensory details, taking us on a personal journey with the protagonist: “他將身體緊緊貼我” (He grinds his body closer to mine), “還從眉心開始輕輕親我” (He started kissing me from my brows), and “他一雙手一起暖透我” (His hands warm my body) are vivid images and feelings that render authenticity to the lusty encounter. Another interesting feature in this song is the use of code-mixing. This has long been incorporated into the usual linguistic practices of local people, since Hong Kong, once a British colony, values English. So, many English terms have entered into the Cantonese lexicon. The insertion of “Why, why, tell me why” into the lyrics not only fits the rhythm but creates a taste of exoticism. This line remains the catchiest in the song, and introduced the technique of code-mixing into the lyrics of Cantonese songs.
