Anyway, even now I have the feeling that it's a rather "emotional" construction, in Mandarin at least, expressing a certain degree of frustration, right? Maybe that's why my first feeling usually leads me to using 不管...還 if I want to say "no matter how...", and hardly ever 怎麼...怎麼
Just thought of another native construction in Hoklo:
"khah X mã sĩ Y"
e.g. "Khah siám mã sĩ kiaⁿ."
And does it make a semantic difference whether you say gún or guán?
Yes and no. The word "goán" doesn't exist in Coanciu Hoklo and Coanciu-type dialects, such as the Taipak-based dialect of 20th century TWese pop music. In those dialects, it's ALL gún.
In Mainstream TWese, goán is WE (excl.); gún is OUR. Gún can also mean "I" in either dialect. Outside of song lyrics, I'm pretty sure this last usage is reserved for womankind -- not so kosher for masculine usage.
The Coanciu-type usage "gún" meaning WE (excl.), coming out of a man's mouth, actually sounds effeminate to people from districts down-island where everybody says "goán" for WE (excl.). Someone wrote a blog article last yr explaining how this is a misconception.
But I guess as long as I keep reminding yourself of this, the damage should be limited, I guess
As learners, we still all need to get good input from somewhere. Unfortunately, that somewhere is not pop music. And that is really a shame.
But in songs I am not that confident, also because I'm not used to tones being taken into consideration in songs at all.
Tone levels are taken into consideration in Cantonese, Siamese, and Vietnamese song writing and, traditionally, in Hoklo song writing as well. But not in Mandarin.
A lot of people were so sick of the 20th century enka style of Hoklopop that they've really embraced the "Mandopop in Hoklo" wave of the last 10 yrs... But failure to look at tone levels is one of the "sins" of the "Mandopop in Hoklo" wave, right behind "lack of originality".
¡Go, go, go Hokkien!