On Saturday next week, Urban Nomad Film Festival begins proceedings with a party. The lineup includes Taiwanese American DJ Mochipet on his first visit to Taiwan. Hailing from San Francisco, the glitch-hop and dubstep artist is heavily into bass and dresses like a purple dinosaur.
He’ll be joined by Taiwan’s own Funky Brothers (who perform with between eight to 10 members on stage at any given time), DJ Marcus Aurelius, and the electro-diva grrrls of Go Chic, which has toured extensively and is producing an album in Berlin with the help of Canada’s foremost electro artist Peaches.
Headlining the night is Japanese art-dance-fashionista-freaks Trippple Nippples. Think Lady Gaga triplets crossed with gross-out band Gwar, and you still aren’t even close.
Photo courtesy of Takeru Kihara
The three lead singers of the band make their own costumes, which have included rotten spaghetti and latex dresses, and rice encrusted headgear and body armor, by hand.
“The process we take while we are making the costume, etc, is the most uncolorful, sweatshop-ish part,” said band member Orea Nippple. “It’s like Third World, but we love it so I guess we can’t complain.”
The group’s wild stage antics and messy costumes have had them kicked out of various venues. “You should think about how you could mess us up rather than worrying about how you can get away from getting messed up,” warned Yuka Nippple, who describes the group’s music as “headache and stomachache and strawberry ice cream.”
The canonical shot of an East Asian city is a night skyline studded with towering apartment and office buildings, bright with neon and plastic signage, a landscape of energy and modernity. Another classic image is the same city seen from above, in which identical apartment towers march across the city, spilling out over nearby geography, like stylized soldiers colonizing new territory in a board game. Densely populated dynamic conurbations of money, technological innovation and convenience, it is hard to see the cities of East Asia as what they truly are: necropolises. Why is this? The East Asian development model, with
Desperate dads meet in car parks to exchange packets; exhausted parents slip it into their kids’ drinks; families wait months for prescriptions buy it “off label.” But is it worth the risk? “The first time I gave him a gummy, I thought, ‘Oh my God, have I killed him?’ He just passed out in front of the TV. That never happens.” Jen remembers giving her son, David, six, melatonin to help him sleep. She got them from a friend, a pediatrician who gave them to her own child. “It was sort of hilarious. She had half a tub of gummies,
The wide-screen spectacle of Formula One gets a gleaming, rip-roaring workout in Joseph Kosinski’s F1, a fine-tuned machine of a movie that, in its most riveting racing scenes, approaches a kind of high-speed splendor. Kosinski, who last endeavored to put moviegoers in the seat of a fighter jet in Top Gun: Maverick, has moved to the open cockpits of Formula One with much the same affection, if not outright need, for speed. A lot of the same team is back. Jerry Bruckheimer produces. Ehren Kruger, a co-writer on Maverick, takes sole credit here. Hans Zimmer, a co-composer previously, supplies the thumping
No more elephant and monkey acts. No more death-defying motorbike stunts. No more singing or acting on stage. Several hundred spectators still clapped constantly when acrobats with Dongchoon Circus Troupe, South Korea’s last and 100-year-old circus, twirled on a long suspended fabric, juggled clubs on a large, rotating wheel and rode a unicycle on a tightrope under the big top. “As I recall the hardship that I’ve gone through, I think I’ve done something significant,” Park Sae-hwan, the head of the circus, said in a recent interview. “But I also feel heavy responsibility because if Dongchoon stops, our country’s circus, one genre
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