Yet, in pointing to Cui as countercultural antihero and breakthrough songwriter, current research apparently neglects several pre-existing and newly emergent pop song genres which also signal the rise of humanism in the decade. Compared to an older generation who had been taught to devote themselves to serve the nation at the expense of personal sacrifice, the young generation appeared to doubt the meaning of this devotion after exposed to the influence of Western humanism. The various newly emerged song genres during the period stand as a new way for young musicians to articulate humanism in their understanding. Significantly, these songs mostly appeared within mainstream expressive culture and attempted “positive” political engagement. The examples given in this chapter are a pop-style lyrical song (shuqing gequ )7 “Blood-Stained Dignity” (Xue rande fengcai ),8 a public welfare song (gongyi gequ ) “Fill the World with Love” (Rang shijie chongman ai ), and a Northwest wind song (Xibei feng ) “My Beloved Hometown” (Wo reliande guxiang ).9