Canadian journalist Jonathan Campbell spent a decade immersed in Beijing's burgeoning music scene, as both a drummer and promoter. During my own time there (2005-09), I knew Campbell a bit - he played one gig with my band, Woodie Alan – and considered him one of the city's most respected, informed musical insiders. In his book "Red Rock: The Long, Strange March of Chinese Rock & Roll" (Earnshaw), Campbell traces the music's development and explains what makes Chinese rock, or "yaogun," different and distinct from its wellsprings in the West.

Campbell will be in New York to discuss the book this weekend: tonight at Brooklyn's Ran Teahouse, Monday afternoon at the college of Staten Island and Tuesday evening at The Colloquium for Unpopular Culture at NYU where he will introduce and discuss the 2008 documentary "Rock Heart Beijing" (2008).

Speakeasy caught up with Campbell to discuss his new book.

What do you consider the greatest misperceptions about Chinese rock?

There are really very few instances of no misperceptions when it comes to Chinese rock, and culture generally. When I tell people I wrote a book on Chinese rock, they are usually perplexed; it's like I switched languages. "China" and "rock" are two words that don't generally go together. Of course, the second reaction is, "Of course! Because rock is about fighting the power, and Chinese people are oppressed." Slowly, I hope, we move to the middle of those two extremes.