Taiwan’s top supermodel Lin Chi-ling (林志玲) has the media abuzz over a rumored engagement to Scott Qiu (邱士楷), the son of a toilet magnate. The rumor emerged when Lin was spotted at an awards ceremony last month sporting a diamond ring, reports the Liberty Times (the Taipei Times’ sister paper).
Lin’s mother, Wu Tzi-mei (吳慈美), emphatically denied the reports, even though Qiu has made numerous appearances with Lin in public, including a late-evening hot pot date. This isn’t the first time marriage rumors have surfaced for Lin, whose past romances are said to include Chinese billionaire Yang Linchuan (楊林川) and singer Jerry Yan (言承旭).
The public obsession with Cape No. 7 (海角七號) continues, but the attention has backfired slightly for the homegrown box office hit’s lead actor, Van Fan (范逸臣). The Amis pop singer has been slapped with some unwelcome comparisons this week to Hong Kong singer-actor Edison Chen (陳冠希) on Internet discussion boards, reports the Liberty Times. No, Van Fan hasn’t been filming his sexual exploits with fellow celebrities, but has been accused of plagiarism: on a poster promoting one of his upcoming concerts, Van Fan strikes a pose that resembles a past jeans advertisement featuring Chen.
Van Fan’s label, Forward Music (豐華唱片), says any similarities are a complete coincidence, and that the photo on the poster was chosen out of several thousand from a recent shoot. The accusations are unlikely to faze Van Fan, who was once rumored to be a possible replacement for Chen in the upcoming film Jump (跳出去). The film, which is being co-produced by Columbia Pictures and Stephen Chow’s (周星馳) company Star Overseas, axed the Hong Kong actor’s scenes following his “sex photo scandal.” Van Fan’s agent denies any knowledge of a potential role, however, and says the singer is sticking to concerts this month.
Meanwhile, death metal band Chthonic (閃靈) continues to enjoy international attention after its tour of Europe and the US last year. The group says that it is now being courted by record labels in Finland, the US, the UK and Germany to release its upcoming album, Mirror of Retribution, with the highest offer totaling tens of millions of NT dollars. But Taiwan’s renowned headbangers, who have another international tour planned for next year, are not rushing into any deals at the moment, saying that “there are many things to consider.”
Chthonic’s lead singer, Freddy Lim (林昶佐), has chimed in about Guns N’ Roses’ provocatively titled new album, Chinese Democracy, which has been officially banned in China. In an interview with Reuters, Lin said, “I think Guns N’ Roses’ new album shows the true rock spirit of the rock artist, of the rock culture, because we have to speak out loud our beliefs and our faith. If we believe in democracy, we believe in freedom, we should just speak out loud. Guns N’ Roses has made a perfect example.”
And as the belts tighten with the global recession, Pop Stop concludes this week with a look at how a few performers are faring in these challenging times.
William So (蘇永康) might have to think about moving to smaller venues. The Hong Kong pop singer filled about 3,000 seats at the National Taiwan University Sports Center (台大綜合體育館) last week — just over half of the stadium’s capacity.
“Reality” show pop idol Jam Hsiao (蕭敬騰) has no qualms about footing a NT$600,000 dental bill for his brother and sister, says a Liberty Times report, but as for himself? According to Hsiao’s manager, he constantly compares prices for tissues and in shopping for a piano, his first stop was a second-hand shop. On his own dentist visits, the pop crooner travels the extra distance just to save NT$7 in processing fees.
For her show last week at the Taipei Arena (台北小巨蛋), singer and actress Rene Liu (劉若英) spent NT$2 million on six different costumes (which didn’t reveal much more than her shoulders, to the disappointment of the Liberty Times’ concert reviewer). And that figure doesn’t appear to include the five Austin Minis that circled the stadium for one of her songs.
And Jolin Tsai (蔡依林) will still be laughing all the way to the bank. According to the Apple Daily, the pop starlet is reportedly ready to sign a deal with Warner Music that would exceed the value of her previous two-year contract with EMI, which was a cool NT$120 million.
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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