The Kings and Queens of songs: who decides them anyway?

The Kings, Queens, Goddesses, Divas, and other absurd titles are attached to almost every celeb. Who named them? Who agreed to them? Record companies admit that these titles used to be given by the audience, but nowadays, the titles are more or less serving as a “goal” or “ambition” of the artist.

In the past, the titles were created by the media. For example, “The 4 Kings” of Hong Kong represents Jacky Cheung, Andy Lau, Aaron Kwok, and Leon Lai, naming them as being the four most talented and capable stars in the Hong Kong entertainment industry. Later, the singers with “Queen” status included Faye Wong, Sammi Cheng, A-Mei Chang, which were also widely accepted by the audience.

No end to titles

After the sensational hit, “Flower Heart,” Emil Chau became the “National King of songs.” With Mayday’s talent, they deserve nothing less than being called the “God of groups.” S.H.E, having been in showbiz for 9 years with 12 albums and 3 concert tours, definitely makes them the “God of girl groups.” Illustrating that titles can easily be changed, in S.H.E’s latest single, “SHERO,” which further promotes feminism, elevates them to become, “Queen Goddesses of girl groups.”

A music industry expert comments, “(We) have to consider the star’s qualities or fame when coming up with a title. Their status can be widely accepted or just to express a type of ambition.”

Creativity in titles

These titles are used to further distinguish the artist’s uniqueness or simply a marketing tactic. Jolin Tsai and ELVA are both fabulous “Little Goddesses” of dancing. Jolin later became Golden Melody’s Best Female Artist, and ELVA decided to drop “little” from her title and upgrade it to the “Trendy Dancing Goddess,” emphasizing that she is a very trendy fashion girl besides being a good dancer.

Cyndi Wang decided to promote herself from “Guru of Sweetness” to “Goddess of Sweetness,” in hope to grow out of her usual youth-style, but the obvious down side to that is she lost her quality of being “the girl next door,” and widening the distance between her and the fans.

The right title at the right time is key

The science behind these titles is that they must be used with good timing. Jolin Tsai’s “young men killer” and Rainie Yang’s “Guru of Cuteness” were both used at only certain periods of time, which will seem weird if we still cling onto them now. But if it is not yet the right time, it will make the artist seem too anxious. For example, Amber Kuo used to be called the “water girl,” which matched her pure and fairy-like image very well, but after she ventured into filming commercials, movies, and dramas in addition to singing, she suddenly became the “little queen of all-round talent.” It’s certainly a little too soon for her to carry the title.

When the “scope” of the title is too big, it spawns debate, especially stars who uses the word, “Asia,” in their title. For example, Show Luo is “Asia’s Dance King.” The title draws focus to Show’s improvement in dancing on every new album, but surely fans of Aaron Kwok can’t help but disapprove. Regardless of Show’s dancing talent or his hard work, it can only be said that using the word, “Asia,” is truly too big. With three hit albums, it’s clear that Jam Hsiao is one of the most promising up and coming singers, but his title as “Asia’s Most Popular King of Songs” is rather out of his league.

In related news, Billy’s son, Nick, will be debuting this year. His record company was trying to come up with the most fitting “title” for him, but in the end, someone with higher authority said, “When his popularity explodes after the first event, his title will naturally come.” That’s right, a title that naturally comes is one that is most accepted by the audience.

Source: UDN

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