It's no secret that Hong Kong singer/actress Anita Mui (梅艷芳) has had some health problems of late, but Next Magazine (壹週刊) seems to be wandering onto thin legal ice in its latest issue by announcing that Mui is suffering from cervical cancer.
Mui has tried to silence the reports in the Hong Kong media about her health problems, to no avail, and threatened to sue anyone who writes erroneous stories on the subject. Never one to fear a lawsuit, Next references unnamed sources to back its claim that Mui has come down with the deadly disease. As evidence, the report says her family allegedly has been burning a lot of ghost money and carrying out various prayer rituals. Also, she's wearing black-bead bracelets that carry religious significance, and spent a night in hospital two weeks ago, where she received numerous mid-night hospital visits from famous friends like William So (蘇永康) and Nicholas Tse (謝霆鋒).
Mui said, however, that her hospital stay was not to treat anything as serious as the tabloids were suggesting. But so far, she hasn't clearly stated what ailment she is suffering from. The ominous element in the story is the fact that her sister died of cervical cancer three years ago at the age of 41.
Leaving the serious stuff behind and diving into the inane news that Pop Stop enjoys most, the gloves have come off and the claws are out in the battle between Sun Yanzi (孫燕姿) fans and S.H.E. fans after the g-music billboard chart was released last week. The chart showed that Yanzi had edged out the cutesy trio of Selina (S), Hebe (H) and Ella (E) to grab first place in sales and since then S.H.E. fans have been going for the jugular in online chat rooms. In the first week of its release on Aug. 22, Yanzi's album The Moment sold over 250,000 copies, just a few thousand more than S.H.E.
Selina and Hebe may have fed the flames of their fans' ire by telling media after the results came out that no matter what the chart says, "S.H.E.'s album will always be number one in our hearts and in the hearts of our fans."
The messages posted by rabid fans were so vitriolic, top executives for Yanzi and S.H.E.'s respective record labels tried to urge restraint from fans and praised their competitors. The calls for harmony are nice, but Pop Stop is really hoping for a rumble in Hsimenting between the two camps.
Leaving the pettiness of Taiwan teenie bopper fans behind, doe-eyed singer Jolin Tsai (蔡依林) took her show to Las Vegas, of all places, for a one-off concert last weekend at the Mandalay Bay resort and casino. It's not certain how many Chinese music fans made the trek to Las Vegas for the show, but she probably doesn't care, the one-hour show earned her a cool NT$2.5 million.
Also earning a quick American buck recently is Lee Hom Wang (王力宏), who signed up with McDonald's for the company's new international ad campaign. Lee Hom will be the voice in Chinese-speaking areas for the four-minute ditty composed by McDonald's headquarters. Just for recording the song, Lee Hom is reportedly raking in over seven figures, albeit in NT dollars.
Lee Hom will be performing in Taipei on Oct. 11 so if you haven't seen the ad on TV by then, you can probably hear the song at the show.
If we're to believe the Liberty Times (自由時報), the past week has seen an invasion of foreign stars looking to run off with Taiwanese people's money.
"If Taiwan's entertainment industry can't improve itself and create a larger space for the arts, then sooner or later, foreign artists will run away with our money," said the paper's column "Scissors" (剪刀) in its edition last Thursday. The column followed up on Tuesday in a piece titled "Korean stars aren't gods" by pillorying Korean TV star Han Jae-seok (韓在石) for failing to show up at a press conference. According to the column, the actor, who was reported to have had to attend an urgent meeting at the time, was not showing the proper respect to the Taiwanese press.
Pop Stop will be curious to see if "Scissors" has anything to say about Japanese E-cup porn star Asakawa Ran coming to Taiwan to launch a new career. Whatever she does, it won't be porn, because that's illegal here, and anyway, the market was cornered by that Taiwan Plumber (台灣水電工) movie that's all over the Web.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
Hourglass-shaped sex toys casually glide along a conveyor belt through an airy new store in Tokyo, the latest attempt by Japanese manufacturer Tenga to sell adult products without the shame that is often attached. At first glance it’s not even obvious that the sleek, colorful products on display are Japan’s favorite sex toys for men, but the store has drawn a stream of couples and tourists since opening this year. “Its openness surprised me,” said customer Masafumi Kawasaki, 45, “and made me a bit embarrassed that I’d had a ‘naughty’ image” of the company. I might have thought this was some kind
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,
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