While Chen Ming-chang (陳明章) is no stranger to the stage of the Huashan Music House (華山音樂館) -- a venue he just happens to co-own -- adherents of grassroots folk will get a rare opportunity to catch the local music legend brewing-up a heap of very Taiwanese vibes with a couple of very special guests tonight, when he teams up with Lee Ping-hui (李炳輝) and contemporary folk songstress, Hung Fei (黃妃) for a one-off gig at the popular Taipei venue.
A major music industry mover-and-shaker -- both behind the microphone and the mixing desk -- for the past 11 years Chen has played a major role in building the careers of both of this evening's guests. Discovering Lee and his one-handed guitarist partner, the late Wang Ying-tan
Along with establishing Chen as a studio guru, the album sold a staggering 700,000 copies nationwide and turned Lee and Wang into Taiwan's most unlikely pop-stars almost overnight. After the death of his musical partner earlier this year, however, Lee's live performances have been few and far between, which makes tonight's appearance even more exceptional, as it could be some time before the accordionist returns to the stage with his hybrid brand of nakashi.
Although he has yet to repeat the huge success he enjoyed with The King of Kinmen, Chen's constant search for originality in the recording studio saw him weaving his magic once again last year, when he collaborated with Hung on her second album, Red Peach 12 (紅桃12). Under Chen's guidance Hung veered away from the folksy pop style of her chart-topping hits Very Woman (非常女) and Chase, Chase, Chase (追追追) -- both of which were taken from her euphonious 2000 debut. Now blending traditional Taiwanese folk riffs with varying forms of music including Latin, bossa nova and mild electronica, Hung has found herself in the enviable position of being one of, if not the most, unique of all the nation's female folk artists.
Chen's longtime backing group, the Tamsui River Band (淡水走唱團), will add a heap of heavy bass licks and percussion to the evening's traditional, yet diverse folksy forms.
Chen Ming-chang, Lee Ping-hui, Hung Fei and the Tamsui River Band will hit the stage of the Huashan Music House at 8pm tonight. The venue is located at 1, Pate Rd., Sec. 1 (台北市八德路一段一號2樓). Tickets cost NT$300 and include one free drink.
In the March 9 edition of the Taipei Times a piece by Ninon Godefroy ran with the headine “The quiet, gentle rhythm of Taiwan.” It started with the line “Taiwan is a small, humble place. There is no Eiffel Tower, no pyramids — no singular attraction that draws the world’s attention.” I laughed out loud at that. This was out of no disrespect for the author or the piece, which made some interesting analogies and good points about how both Din Tai Fung’s and Taiwan Semiconductor Manufacturing Co’s (TSMC, 台積電) meticulous attention to detail and quality are not quite up to
Chinese Nationalist Party (KMT) Chairman Eric Chu (朱立倫) hatched a bold plan to charge forward and seize the initiative when he held a protest in front of the Taipei City Prosecutors’ Office. Though risky, because illegal, its success would help tackle at least six problems facing both himself and the KMT. What he did not see coming was Taipei Mayor Chiang Wan-an (將萬安) tripping him up out of the gate. In spite of Chu being the most consequential and successful KMT chairman since the early 2010s — arguably saving the party from financial ruin and restoring its electoral viability —
It is one of the more remarkable facts of Taiwan history that it was never occupied or claimed by any of the numerous kingdoms of southern China — Han or otherwise — that lay just across the water from it. None of their brilliant ministers ever discovered that Taiwan was a “core interest” of the state whose annexation was “inevitable.” As Paul Kua notes in an excellent monograph laying out how the Portuguese gave Taiwan the name “Formosa,” the first Europeans to express an interest in occupying Taiwan were the Spanish. Tonio Andrade in his seminal work, How Taiwan Became Chinese,
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