This blog introduces My Little Airport (MLA), an indie band that represents Hong Kong culture and voices the struggles of its youth. Formed in 2004 by Ah P Lam and Nicole Ou, MLA has become a significant voice in a repressed society. In this post, I analyse their music video (MV) Otaku Girls, Take to the Streets! (2010) as a political statement.
According to Railton and Watson (2011), categorisation is essential in analysing a cultural product. It helps identify a community of like-minded people united by a genre. MLA is often described as a twee-pop band, a genre originating in Glasgow. Back then, the lovers of this genre were often called the “anoraks.”. This non-mainstream style gained traction in Hong Kong in the early 2000s, with MLA gaining massive attention during the 2019 protests.
MLA’s distinctive style also contributes to their lasting impact. Their acoustic sound and unique lyrics are central to their appeal. Nicole Ou sings in a murmuring or conversational tone, while Ah P Lam writes songs inspired by daily conversations, blending colloquial language and local humour. This creative approach resonates deeply with their fans, primarily young Hong Kongers who find solace and solidarity in MLA’s expression of collective disillusionment with society.
Another reason for MLA’s impact is their courage to address politics in a heavily monitored city. Otaku Girls, Take to the Streets! is about encouraging an introverted girl living in a comic fantasy to go into the street to join the protests. The song transcends music to become a symbol of resistance.
Lyrics from the song:
The MV, categorised as an Art Music Video according to Railton and Watson (2011), amplifies its message through its visual language. Using black-and-white analogue photography, the MV documents protests, juxtaposing stark imagery with the song’s conversational tone. This interplay intensifies the emotional weight of the piece, reminding viewers of the sacrifices intrinsic to activism.
The use of black-and-white film reduces the distraction of colour, focusing on the raw emotions and actions of the protesters. The grainy textures, uneven lighting, and candid compositions lend an air of authenticity, mirroring the unpolished and chaotic nature of both protests and society. These imperfections are not flaws but reflections of reality, creating a visceral connection for the viewer.
By keeping the MV raw and imperfect, MLA reinforces the sincerity of their political statement. It serves as a reminder that, though imperfect, activism is grounded in resilience and collective effort. In this way, the black-and-white documentary photography complements the song. It becomes an integral part of its narrative, leaving an emotional impact that lingers long after the music ends.
References:
Diane Railton and Paul Watson (2011), ‘Music Video in Black and White: Race and Femininity’, Music Video and the Politics of Representation
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Digital Audiovisual Media Class Blog 
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