Even though the Cultural Revolution has been over, the Chinese are shown stumbling over what it means to be a good party member or an artist. Being an artist, even when it is done solely in the name of Mao is suspect. A son tell his mother that her mind should be liberated - the mother's response is that the son should practice self-criticism. A father reads from the introduction of a comic book version of Camille that indicates that Dumas' story was made available as a critique of Western politics and culture, alarmed that his son is reading about Paris and prostitutes.

Simultaneously to the changes in art was the change of the purpose of art, in this case, music. The first song, performed presumably for an audience that was required to be there, was meant to raise nationalistic pride. As the decade progresses, the songs become more personal. Love of the state is replaced by one person's love for another. What links several of the songs is that they are about travel, going to a particular destination, or knowing someone is at a distance, both literally and metaphorically. No longer a government entity, the group finds itself in a quandry of having the benefit of total control of their art, but dependent on needing to sell themselves to an audience that doesn't understand or want them. Platform is about people who are fueled by the dreams of worlds beyond their province, who sing about travel, but ultimately never leave home.