Noting the extent that Teresa Teng had been recognized as an enka singer following the critical acclaim of “Kuukou” released in October 1974, her status as a Chinese/Taiwanese foreigner in Japan intrigued critics and scholars who regarded enka as music expressive of “the heart/soul of the Japanese.” This issue of performance and representation was remarkable in part due to her active involvement in both offering and covering enka standards, through which she engaged musically and professionally in a nation-bound cultural logic of repetition that foregrounded intimacy, hierarchy, and authenticity. On top of that, until the late 1980s, she re-recorded many of her enka covers in addition to her original enka songs with new Mandarin lyrics for commercial release in Hong Kong, Taiwan, and Southeast Asia; she made a handful of enka standards—most notably Mori Shinichi’s “Minatomachi burūsu” and her own “Toki no nagare ni mi o makase”—famous in the Sinophone as a result. This paper uses “Yu jung jeui yik”—which is Teresa Teng’s Cantonese cover of Yashiro Aki’s “Onna no machikado”—to demonstrate how, as both a discourse of music and a discourse on music, enka could contribute to the identity of a song or a singer. “Yu jung jeui yik” is a rare example of Teresa Teng covering an enka song only in a Sinitic language, not to mention that Cantonese was neither the first language (i.e., Mandarin) nor the second language (i.e., Japanese) of a singer who was also fluent in Hokkien and English. Accordingly, a musical and contextual analysis of “Yu jung jeui yik” would give insight into the prospect of transforming genre conventions into stylistic elements when the lyrics, vocal rendering, and instrumental accompaniment of an enka song are subject to different levels and degrees of cultural translation.