Unlike the first segment, this one is flooded with diegetic music—songs playing on radios, jukeboxes, and live bands. But Hou famously dubbed all the dialogue in post-production (a technique he used throughout the film). The result is a strange disjunction: the music feels immediate, but the human voices feel distant, as if the characters are ghosts trying to speak through the noise of American imperialism. This is the second “Hou Hsiao-hsien time”: historical irony disguised as nostalgia. You laugh at the retro fashion, but you cry at the entrapment.