◆ Best Newcomer 最佳流行音樂演唱新人獎
Lin Yu-chung (林宇中／林宇中個人首張專輯)
◆ Best Aboriginal Album
最佳原住民語流行音樂演唱專輯獎
Halei-Ludamagan (哈雷-路達瑪幹 原住民創作專輯)
◆ Best Instrumental Album 最佳流行音樂演奏專輯獎
Yi Hu (意湖／山風音樂有限公司)
◆ Best Crossover Album 最佳跨界音樂專輯獎
Lin Yu-chung (林宇中／林宇中個人首張專輯)
◆ Best Newcomer 最佳流行音樂演唱新人獎
Jing Che (驚蟄)
◆ Best Hakka Singer 最佳客語演唱人獎
Liu Shao-hsi (劉劭希／果果台客)
◆ Best Aboriginal Singer 最佳原住民語演唱人獎
Ludamagan (路達瑪幹／哈雷-路達瑪幹 原住民創作專輯)
◆ Best Classical Music Album 最佳古典音樂專輯獎
Yuan ? Luo Wei-dao Chorus Compositions
(源－駱維道合唱作品集)
◆ Best Folk Music Album 最佳民族樂曲專輯獎
Taking Ina's Hands (牽Ina的手)
◆ Best Traditional Operatic Album
最佳戲曲曲藝專輯獎
Wu Dang Suo Zong (吳党所蹤下回分解)
◆ Best Children's Music Album 最佳兒童樂曲專輯獎
Love and Hope, Power of Life
(愛與希望，生命的原動力)
◆ Best Religious Music Album 最佳宗教音樂專輯獎
If Open The Window Gently (如果輕啟這扇窗)
◆ Best Composer 最佳作曲人獎
Lee He-pu
(李和莆／台灣是寶島第一篇：草螟弄雞公《歐陽伶宜
First Taiwanese Cello Quartet》)
◆ Best Lyricist 最佳作詞人獎
Gao Jun-ming
(高俊明／莿帕互火燒《源─駱維道合唱作品集》)
◆ Best Singing Performer 最佳演唱獎
The Formosa Aboriginal Song and Dance Troupe
(原舞者／牽Ina的手)
◆ Best Performer 最佳演奏獎
Ouyang Ling-yi, Chang Pei-jie, Chen Yu-han and
Hsu Shu-hsian (歐陽伶宜，張培節，陳昱翰，許書閑／
歐陽伶宜First Taiwanese Cello Quartet)
◆ Best Song 最佳年度歌曲
Winds from Pacific Ocean from In a Flash
(太平洋的風《匆匆》)
◆ Best Taiwanese-language Album 最佳台語流行
音樂演唱專輯獎
The Fish that Loves Dreaming (愛作夢的魚)
◆ Best Mandarin-language Album 最佳國語流行音
樂演唱專輯獎
The Great Leap Forward 2005 (太平盛世)
◆ Best Hakka Album 佳客語流行音樂演唱專輯獎
Hohak Carnival (好客戲／角頭文化事業股份有限公司)
◆ Best MV Director 最佳音樂錄影帶導演獎
Hsu Jun-ting (徐筠庭／表面的和平《華麗的冒險》)
◆ Best Composer 最佳作曲人獎
Penny Tai (戴佩妮／愛瘋了《愛瘋了》)
◆ Best Lyricist 最佳作詞人獎
Hu De-fu (胡德夫／太平洋的風《匆匆》)
◆ Best Arrangement 最佳編曲人獎
Hung Sheng-wen (洪晟文／暗舞《哈雷媽媽》)
◆ Best Producer 最佳專輯製作人獎
Chung Cheng-hu (鍾成虎／華麗的冒險)
◆ Best Taiwanese Male Singer 最佳台語男演唱人獎
Wu Bai (伍佰／雙面人)
◆ Best Mandarin-language Album 最佳國語流行音
樂演唱專輯獎
The Great Leap Forward 2005 (太平盛世)
◆ Best Mandarin Male Singer 最佳國語男演唱人獎
Wang Lee-hom (王力宏／蓋世英雄)
◆ Best Taiwanese Female Singer
最佳台語女演唱人獎
Huang Yi-ling (黃乙玲／甲你作伴)
◆ Best Band 最佳樂團獎
The Chairman (董事長樂團／找一個新世界)
◆ Best Singing Group 最佳演唱組合獎
Miss Gold Digger (拜金小姐／拜金小姐 2005)
◆ Best Producer 最佳專輯製作人獎 (Traditional and
Art Music Category)
Hung Rui-chen (洪瑞珍／台灣唸歌)
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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