Zootopia
Byron Howard, Rich Moore, Jared Bush
The story: Animals have evolved beyond their predator-and-prey relationships. Zootopia is the metropolis where they live and work together. But when animals go missing and return to their feral state, panic threatens to tear society apart. Idealistic Judy Hopps (Ginnifer Goodwin), the first bunny to make it as a cop, has to solve the case with some grudging help from wily fox Nick Wilde (Jason Bateman).
Jackie Chan and Chris Tucker in the Rush Hour movies, Mel Gibson and Danny Glover in the Lethal Weapon series, Sandra Bullock and Melissa McCarthy in The Heat (2013). To this list of famous film buddies, add a rabbit and a fox.
Among the things that the film gives a fresh spin to is the well-worn genre of odd-couple buddy cop movie. Nick might be a small-time hustler repurposing elephantine popsicles for the lemming market, but he is reluctantly roped in to be Judy’s partner and even gets a sticker badge.
There is plenty of inventiveness and attention to detail here, from the exuberant script to the lively voice work and the bright and enticing animation.
In Zootopia, an enticingly innovative concept, there are trains with doors of varying sizes to cater to different species and different neighbourhoods from teensy-sized rodent-ville to freezing tundra land.
The animal characters come alive, thanks to the expressive artwork and voice talents such as Goodwin, who brings idealism and determination to Judy, and Bateman, who imbues Nick with dry wit and a soft side.
Keeping the pace zippy is an irresistible sense of fun and humour. There are plenty of animal puns such as a literal take on acknowledging the elephant in the room and visual jokes. Taking a dig at the Department of Motor Vehicles (DMV) in the United States, which is notorious for being frustratingly slow in its service, a hilarious slo-mo (or should it be sloth-mo) sequence features a sloth ironically named Flash at, where else, the DMV.
For the adults, there are pop culture zingers aplenty – an arctic shrew crime boss named Mr Big, who speaks like Marlon Brando in The Godfather movies; an irritated exclamation of “Let it go”, the biggest hit song from Disney’s Frozen (2013); and even a nod to meth drama Breaking Bad (2008-2013).
But maybe it would have been better to dial down the meta jokes a little, since the film is already strong enough on its own; playing “spot the reference” tends to take one out of the movie.
For all the animal antics on display here, the movie also gently broaches all-too-human issues of stereotyping, prejudice and racism. This is something worthwhile to chew over, even for younger audiences.
(ST)
Wednesday, February 17, 2016
Once upon a time, there was a well-liked and well-regarded actress. But one day, she pulled an I’m-retiring-no-lah-I’m-not stunt on social media and was faced with a barrage of criticism.
The moral of the story though is not that obvious.
The announcement by MediaCorp actress Rebecca Lim was a bolt out of the blue and it appeared on her Instagram account on Feb 12 morning. It has since been removed but here is the contentious text which accompanied a picture of her smiling with a sparkler in hand: “Hi everyone. I’ve decided to do something that will change my life. I have been thinking about it for a while now as I know it has to be done. I’m all set, and I’m retiring. I know you have questions for me and I will answer them real soon. Meanwhile, be happy for me.”
It seemed like a genuine post and her fans were soon leaving messages of support while others expressed how they felt with strings of broken heart emojis.
Ten hours later, over a telephone conference call, she revealed that she was not in fact retiring and this was merely an advertisement for an insurance company.
She said: “I feel sorry for any misunderstanding that is being caused. Unfortunately, there are many people who have misinterpreted or misunderstood... I don’t think I’m making use of the media. I’m just trying to maximise my reach as a celebrity.”
Really? Misinterpretation? Misunderstanding?
She is plainly being disingenuous as the wording was deliberately misleading.
When the Instagram post first surfaced, a few of us had debated what else she could have meant by “retiring”. Perhaps she was “retiring” to bed with confetti and sparklers, fulfilling a long-cherished fantasy and hence wanted us to be happy for her.
But then the wording seemed sincere, and if so, this was big news for one of the brightest stars on both Channel 8 and Channel 5 to suddenly up and quit.
So we tried to verify with MediaCorp and Lim herself on the contents of the post on Feb 12. And we were consistently stonewalled.
MediaCorp’s artist managers replied with the same holding line: “Thank you for your concern about Rebecca. She will have answers to your questions soon.” Artists could not be reached for comment as they were “filming”. (In case “filming” means something different in their book the way “retiring” does.)
Lim herself promised to update “as soon as I can” but when asked specifically if it was a publicity stunt, silence.
Ten hours after the post went up, she said “sorry for any misunderstanding” – which felt a little like “sorry you were gullible” – but this was something she had the opportunity to clear up at any point, certainly when asked point blank.
Her claim of “I felt it was my responsibility to clear the air immediately” rings hollow. As it was, the revelation came too late for us as Life had already gone to print.
One can only conclude that the “misunderstanding” – the numerous online reports of her retirement flaming further curiosity – was exactly the effect intended.
Meanwhile, “sorry” seems to be the hardest word as both Lim and the insurance firm in question have stopped short of apologising for stringing fans and the media along.
She had asked her supporters to be happy for her and then all those well wishes were cavalierly crumpled and tossed into the bin. In the video posted to her Facebook account at 10.39pm on Feb 12, she looks way too chipper and incredibly enough, is still trying to peddle insurance.
So what are the lessons here?
Thou shall not use social media as an advertising platform? The ship has long since sailed on that front as bloggers and celebs hawk products with big smiles and personal discount codes.
But advertisements in newspapers, on television and over the radio have to be clearly indicated as such. Perhaps it is time for such a code of conduct to be extended to social media platforms as such Instagram and Facebook which are also used to shill products. Lim herself had previously used Instagram to sing the praises of nutritional supplements and skincare products in what were, without a doubt, paid endorsements. So clearly, she knows where the line is.
That your popularity will take a hit when you pull a stunt like this? In fact, Lim’s followers on Instagram have edged up from 229,000 on late Feb 12 night to 230,000 on Feb 16, proving the cynical aphorism that there is no such thing as bad publicity.
What is also true is that her credibility has taken a hit, even if that is harder to put a number on.
And there is also a lesson for everyone else, never take at face value what a celeb says. It turns out that a social media account is a fairy tale too and fairy tales have to be taken with a pinch of salt and a dose of reality check.
(edited on ST)
The moral of the story though is not that obvious.
The announcement by MediaCorp actress Rebecca Lim was a bolt out of the blue and it appeared on her Instagram account on Feb 12 morning. It has since been removed but here is the contentious text which accompanied a picture of her smiling with a sparkler in hand: “Hi everyone. I’ve decided to do something that will change my life. I have been thinking about it for a while now as I know it has to be done. I’m all set, and I’m retiring. I know you have questions for me and I will answer them real soon. Meanwhile, be happy for me.”
It seemed like a genuine post and her fans were soon leaving messages of support while others expressed how they felt with strings of broken heart emojis.
Ten hours later, over a telephone conference call, she revealed that she was not in fact retiring and this was merely an advertisement for an insurance company.
She said: “I feel sorry for any misunderstanding that is being caused. Unfortunately, there are many people who have misinterpreted or misunderstood... I don’t think I’m making use of the media. I’m just trying to maximise my reach as a celebrity.”
Really? Misinterpretation? Misunderstanding?
She is plainly being disingenuous as the wording was deliberately misleading.
When the Instagram post first surfaced, a few of us had debated what else she could have meant by “retiring”. Perhaps she was “retiring” to bed with confetti and sparklers, fulfilling a long-cherished fantasy and hence wanted us to be happy for her.
But then the wording seemed sincere, and if so, this was big news for one of the brightest stars on both Channel 8 and Channel 5 to suddenly up and quit.
So we tried to verify with MediaCorp and Lim herself on the contents of the post on Feb 12. And we were consistently stonewalled.
MediaCorp’s artist managers replied with the same holding line: “Thank you for your concern about Rebecca. She will have answers to your questions soon.” Artists could not be reached for comment as they were “filming”. (In case “filming” means something different in their book the way “retiring” does.)
Lim herself promised to update “as soon as I can” but when asked specifically if it was a publicity stunt, silence.
Ten hours after the post went up, she said “sorry for any misunderstanding” – which felt a little like “sorry you were gullible” – but this was something she had the opportunity to clear up at any point, certainly when asked point blank.
Her claim of “I felt it was my responsibility to clear the air immediately” rings hollow. As it was, the revelation came too late for us as Life had already gone to print.
One can only conclude that the “misunderstanding” – the numerous online reports of her retirement flaming further curiosity – was exactly the effect intended.
Meanwhile, “sorry” seems to be the hardest word as both Lim and the insurance firm in question have stopped short of apologising for stringing fans and the media along.
She had asked her supporters to be happy for her and then all those well wishes were cavalierly crumpled and tossed into the bin. In the video posted to her Facebook account at 10.39pm on Feb 12, she looks way too chipper and incredibly enough, is still trying to peddle insurance.
So what are the lessons here?
Thou shall not use social media as an advertising platform? The ship has long since sailed on that front as bloggers and celebs hawk products with big smiles and personal discount codes.
But advertisements in newspapers, on television and over the radio have to be clearly indicated as such. Perhaps it is time for such a code of conduct to be extended to social media platforms as such Instagram and Facebook which are also used to shill products. Lim herself had previously used Instagram to sing the praises of nutritional supplements and skincare products in what were, without a doubt, paid endorsements. So clearly, she knows where the line is.
That your popularity will take a hit when you pull a stunt like this? In fact, Lim’s followers on Instagram have edged up from 229,000 on late Feb 12 night to 230,000 on Feb 16, proving the cynical aphorism that there is no such thing as bad publicity.
What is also true is that her credibility has taken a hit, even if that is harder to put a number on.
And there is also a lesson for everyone else, never take at face value what a celeb says. It turns out that a social media account is a fairy tale too and fairy tales have to be taken with a pinch of salt and a dose of reality check.
(edited on ST)
Monopoly
Hush
Taiwanese musician Hush is probably best known in Singapore for writing Mandopop queen Stefanie Sun’s shimmery ballad, Kepler. However, the former frontman of the indie band that bears his performing name is ready to be recognised as a singer in his own right.
Although it was released last year, his synth-driven debut solo album, Monopoly, had made its way to several best-of-2015 lists in Taiwan. The English title, a nod to the popular capitalist board game, serves as a metaphor for city life and modern living.
The upbeat You’re So Different Today brims with optimism, but that is merely a front with which to face the world. The elegiac Feel Of A City offers this advice: “Weave your thrills then into a rug/To warm the white at the bottom of your heart.” In the track, Island And City, the urban area is personified: “You are a lonely city/The crowds here don’t belong to you.”
His voice is by turns hushed, fragile and bright, a delicate thing of beauty threading through the sometimes spare music.
At times, the rat race seems futile. As he ponders on the title track: “Never truly know/Who is the final victor?”
But if life is a game, who is the one ultimately controlling the pieces? And what would it be like to play god?Hush wonders on On The Name List: “If you could control fate/Would you feel supremely bored?”
Not everyone can be triumphant, but Hush, whose real name is Chen Chia-wei, is already a winner with this record.
(ST)
Hush
Taiwanese musician Hush is probably best known in Singapore for writing Mandopop queen Stefanie Sun’s shimmery ballad, Kepler. However, the former frontman of the indie band that bears his performing name is ready to be recognised as a singer in his own right.
Although it was released last year, his synth-driven debut solo album, Monopoly, had made its way to several best-of-2015 lists in Taiwan. The English title, a nod to the popular capitalist board game, serves as a metaphor for city life and modern living.
The upbeat You’re So Different Today brims with optimism, but that is merely a front with which to face the world. The elegiac Feel Of A City offers this advice: “Weave your thrills then into a rug/To warm the white at the bottom of your heart.” In the track, Island And City, the urban area is personified: “You are a lonely city/The crowds here don’t belong to you.”
His voice is by turns hushed, fragile and bright, a delicate thing of beauty threading through the sometimes spare music.
At times, the rat race seems futile. As he ponders on the title track: “Never truly know/Who is the final victor?”
But if life is a game, who is the one ultimately controlling the pieces? And what would it be like to play god?Hush wonders on On The Name List: “If you could control fate/Would you feel supremely bored?”
Not everyone can be triumphant, but Hush, whose real name is Chen Chia-wei, is already a winner with this record.
(ST)
Jane Got A Gun
Gavin O'Connor
The story: Jane (Natalie Portman) has made a quiet life for herself with her husband Bill Hammond (Noah Emmerich) and young daughter. When John Bishop (Ewan McGregor), an unscrupulous man from their past, is on the verge of tracking them down, she picks up a gun to defend her home. She also turns to her former lover Dan Frost (Joel Edgerton) for help.
It is hard to know what kind of audience this film was gunning for.
Those expecting a standard Western with shootouts will have to put up with long stretches of talk about relationships. And those hankering for a relationship drama would not think of looking here in the first place.
The project’s appeal to star and producer Portman seems clear enough, though. The Best Actress Oscar winner for the psychological thriller Black Swan (2010) gets to portray an empowered woman in a traditionally male-dominated genre. This is essentially summed up in the title as Jane steps up to the plate after her husband is badly injured.
That message is, unfortunately, undercut by the fact that she ultimately has to turn to another man for help, her former sweetheart no less, and that opens the door to flashbacks of them acting all lovey-dovey.
The reason why Bishop is after her is eventually revealed as well.
Mostly, Portman is grim, steely and oh-so-serious as Jane, while McGregor, unrecognisable in a moustache, seems to be having some fun as the utterly villainous Bishop.
Edgerton comes off best here as he shows that he has the range to go from creepy and stalker-like on The Gift (2015) to romantic leading man/action hero here.
The payoff for sitting through all the talky bits is an action-heavy finale in which Jane and company barricade themselves inside her home and lay booby traps around it, kind of like a more violent take on the comic premise of Home Alone (1990).
There is a happy ending and even a ride into the sunset, but it feels like the film-makers have shot themselves in the foot with such an improbable conclusion.
(ST)
Gavin O'Connor
The story: Jane (Natalie Portman) has made a quiet life for herself with her husband Bill Hammond (Noah Emmerich) and young daughter. When John Bishop (Ewan McGregor), an unscrupulous man from their past, is on the verge of tracking them down, she picks up a gun to defend her home. She also turns to her former lover Dan Frost (Joel Edgerton) for help.
It is hard to know what kind of audience this film was gunning for.
Those expecting a standard Western with shootouts will have to put up with long stretches of talk about relationships. And those hankering for a relationship drama would not think of looking here in the first place.
The project’s appeal to star and producer Portman seems clear enough, though. The Best Actress Oscar winner for the psychological thriller Black Swan (2010) gets to portray an empowered woman in a traditionally male-dominated genre. This is essentially summed up in the title as Jane steps up to the plate after her husband is badly injured.
That message is, unfortunately, undercut by the fact that she ultimately has to turn to another man for help, her former sweetheart no less, and that opens the door to flashbacks of them acting all lovey-dovey.
The reason why Bishop is after her is eventually revealed as well.
Mostly, Portman is grim, steely and oh-so-serious as Jane, while McGregor, unrecognisable in a moustache, seems to be having some fun as the utterly villainous Bishop.
Edgerton comes off best here as he shows that he has the range to go from creepy and stalker-like on The Gift (2015) to romantic leading man/action hero here.
The payoff for sitting through all the talky bits is an action-heavy finale in which Jane and company barricade themselves inside her home and lay booby traps around it, kind of like a more violent take on the comic premise of Home Alone (1990).
There is a happy ending and even a ride into the sunset, but it feels like the film-makers have shot themselves in the foot with such an improbable conclusion.
(ST)
Wednesday, February 10, 2016
An Ideal
Li Ronghao
Since winning the Golden Melody Award for Best Newcomer for his debut album Model (2013), China’s Li Ronghao has been in more demand as a songwriter than before.
Recent compositions by him include Leo Ku’s Monster as well as Jacky Xue Zhiqian’s Ugly Freak. He has also found time to write for his own record, although one wonders if he might be stretched a little too thin.
While the tracks here are not as immediately arresting as the singles from Model and his follow-up self-titled album in 2014, there is still a thoughtfulness to the songs that comes through on closer listening.
Wild Animals, with lyrics by Hong Kong’s famed Wyman Wong, employs vivid imagery to depict the savage nature of relationships: “His bones are crushed, you fight poison with poison/In the face of love, we won’t just give in.”
Full House finds Li in a reflective mood as he contemplates the search for one’s identity, while on Father And Mother, he sings a touching tribute to his parents.
An Ideal might not be perfect, but Li remains a compelling singer-songwriter nonetheless.
(ST)
Li Ronghao
Since winning the Golden Melody Award for Best Newcomer for his debut album Model (2013), China’s Li Ronghao has been in more demand as a songwriter than before.
Recent compositions by him include Leo Ku’s Monster as well as Jacky Xue Zhiqian’s Ugly Freak. He has also found time to write for his own record, although one wonders if he might be stretched a little too thin.
While the tracks here are not as immediately arresting as the singles from Model and his follow-up self-titled album in 2014, there is still a thoughtfulness to the songs that comes through on closer listening.
Wild Animals, with lyrics by Hong Kong’s famed Wyman Wong, employs vivid imagery to depict the savage nature of relationships: “His bones are crushed, you fight poison with poison/In the face of love, we won’t just give in.”
Full House finds Li in a reflective mood as he contemplates the search for one’s identity, while on Father And Mother, he sings a touching tribute to his parents.
An Ideal might not be perfect, but Li remains a compelling singer-songwriter nonetheless.
(ST)
Saturday, February 06, 2016
Mermaid
Stephen Chow
The story: Liu Xuan (Deng Chao) is a crass mogul whose only interest is money. He buys over Green Gulf and plans to develop it. First, he has to drive away the surrounding marine fauna. Unknown to him, this wreaks havoc on the mer-people and Octopus (Show Lo) sends the naive Shan (Lin Yun) to seduce and kill Liu.
Auspicious red is the colour of Chinese New Year, but this festive offering wants you to turn green – with environmental awareness.
What is the point of making more money if you cannot take a breath of clean air or drink a drop of clean water?
The stark message here is that before humans destroy Earth with wanton development and endless appetites, they should stop and think about the consequences.
Wait a minute, is this a movie from the Hong Kong funnyman who gave viewers entertaining laugh riots such as Kung Fu Hustle (2004) and Shaolin Soccer (2001)?
Not to worry, despite the save- the-earth memo, this is very much a Stephen Chow-directed work and that means ludicrous situations and nonsensical jokes.
Some of the best bits involve Taiwanese singer-actor Show Lo gamely dressed up as a dreadlocked octopus who gets his tentacles manhandled, Liu Xuan trying desperately to convey the idea of a mermaid to two disbelieving, pedantic cops and Shan getting repeatedly thwarted as she tries to attack Liu.
There are also throwaway jokes, such as when a command to “gun kai” (get lost) is obeyed by underlings literally rolling (“gun”) away (“kai”).
What does not quite work is a bland Kitty Zhang (previously seen in Chow’s CJ7, 2008) as a vampish businesswoman who wants to get into bed with Liu on Green Gulf.
And despite China star Deng’s (The Four, 2012) best efforts at big expressions, one cannot help but wonder if the film would have been funnier if Chow, who can be both exaggerated and supremely deadpan, had acted instead.
But he would probably have been criticised for lining up a romance with the 19-year-old Lin had he done so – not the kind of splash he would want Mermaid to make.
(ST)
Stephen Chow
The story: Liu Xuan (Deng Chao) is a crass mogul whose only interest is money. He buys over Green Gulf and plans to develop it. First, he has to drive away the surrounding marine fauna. Unknown to him, this wreaks havoc on the mer-people and Octopus (Show Lo) sends the naive Shan (Lin Yun) to seduce and kill Liu.
Auspicious red is the colour of Chinese New Year, but this festive offering wants you to turn green – with environmental awareness.
What is the point of making more money if you cannot take a breath of clean air or drink a drop of clean water?
The stark message here is that before humans destroy Earth with wanton development and endless appetites, they should stop and think about the consequences.
Wait a minute, is this a movie from the Hong Kong funnyman who gave viewers entertaining laugh riots such as Kung Fu Hustle (2004) and Shaolin Soccer (2001)?
Not to worry, despite the save- the-earth memo, this is very much a Stephen Chow-directed work and that means ludicrous situations and nonsensical jokes.
Some of the best bits involve Taiwanese singer-actor Show Lo gamely dressed up as a dreadlocked octopus who gets his tentacles manhandled, Liu Xuan trying desperately to convey the idea of a mermaid to two disbelieving, pedantic cops and Shan getting repeatedly thwarted as she tries to attack Liu.
There are also throwaway jokes, such as when a command to “gun kai” (get lost) is obeyed by underlings literally rolling (“gun”) away (“kai”).
What does not quite work is a bland Kitty Zhang (previously seen in Chow’s CJ7, 2008) as a vampish businesswoman who wants to get into bed with Liu on Green Gulf.
And despite China star Deng’s (The Four, 2012) best efforts at big expressions, one cannot help but wonder if the film would have been funnier if Chow, who can be both exaggerated and supremely deadpan, had acted instead.
But he would probably have been criticised for lining up a romance with the 19-year-old Lin had he done so – not the kind of splash he would want Mermaid to make.
(ST)
Wednesday, February 03, 2016
Transition
Quis
Transition marks the debut of home-grown band Quis, formed in 2008 as a Japanese pop-rock band to take part in a local contest.
The closer, For This Time, is a nod to the quintet’s roots as the English track features some lyrics in Japanese.
While the band are still firmly ensconced in the pop-rock milieu, their songs here are mostly in Mandarin.
Overcome is an energising opener propelled by electric guitars and drums: “I’ve seen the brilliant rainbow after the rain/I’ve overcome the nightmare of hurt and despair, about to wake.”
Vocalist Samuel Tan has an emotive and versatile voice that gives the material a lift. But he might want to cut back on the drawling – which tends to pop up on the faster-paced numbers – as it comes across as an unnecessary affectation.
(ST)
Quis
Transition marks the debut of home-grown band Quis, formed in 2008 as a Japanese pop-rock band to take part in a local contest.
The closer, For This Time, is a nod to the quintet’s roots as the English track features some lyrics in Japanese.
While the band are still firmly ensconced in the pop-rock milieu, their songs here are mostly in Mandarin.
Overcome is an energising opener propelled by electric guitars and drums: “I’ve seen the brilliant rainbow after the rain/I’ve overcome the nightmare of hurt and despair, about to wake.”
Vocalist Samuel Tan has an emotive and versatile voice that gives the material a lift. But he might want to cut back on the drawling – which tends to pop up on the faster-paced numbers – as it comes across as an unnecessary affectation.
(ST)
The Monkey King 2
Soi Cheang
The cast: Aaron Kwok, Gong Li, Feng Shaofeng, Kris Phillips (aka Fei Xiang)
The story: In this sequel to the 2014 hit, the well-known Journey To The West finally gets under way. Released by Tang Sanzang (Feng) from imprisonment, the monkey king Sun Wukong (Kwok) is tasked to escort the monk on his pilgrimage to collect scriptures. Along the way, Sun has to protect his master from the soul-sucking White Bone Demon (Gong) even as she pits teacher against disciple with her cunning manoeuvres.
The appeal: This is an improvement of leaps and bounds over the first instalment.
In just two years, the CGI is no longer risible, but has advanced to the point where the depictions of a ferocious tiger, a horse-eating dragon and the White Bone Demon as a billowing surge of smoke are remarkably realistic.
Kwok, who played the Bull Demon King in the first outing, takes over from Donnie Yen and is persuasive as the proud simian deity, while Gong is resplendent as the silky villain.
(ST)
Soi Cheang
The cast: Aaron Kwok, Gong Li, Feng Shaofeng, Kris Phillips (aka Fei Xiang)
The story: In this sequel to the 2014 hit, the well-known Journey To The West finally gets under way. Released by Tang Sanzang (Feng) from imprisonment, the monkey king Sun Wukong (Kwok) is tasked to escort the monk on his pilgrimage to collect scriptures. Along the way, Sun has to protect his master from the soul-sucking White Bone Demon (Gong) even as she pits teacher against disciple with her cunning manoeuvres.
The appeal: This is an improvement of leaps and bounds over the first instalment.
In just two years, the CGI is no longer risible, but has advanced to the point where the depictions of a ferocious tiger, a horse-eating dragon and the White Bone Demon as a billowing surge of smoke are remarkably realistic.
Kwok, who played the Bull Demon King in the first outing, takes over from Donnie Yen and is persuasive as the proud simian deity, while Gong is resplendent as the silky villain.
(ST)
Monday, February 01, 2016
Stella Zhang Qing Fang Live In Singapore 2016
Singapore Indoor Stadium
Last Saturday
After a long wait of 20 years, fans here finally had the chance to hear Taiwanese singer Stella Chang perform live in Singapore again.
Remarkably, as the evening went on, her voice grew in strength and vibrance.
She said that fans who had caught her earlier shows had wondered if it was due to some nourishing concoction she was imbibing throughout the concert.
Actually, it was just water. “It’s because I practise,” she added simply.
It was during the late 1980s and early 1990s that her star shone brightly.
From her debut album, After The Passion (1985), she won fans over with her clear and crystalline high-pitched voice, and she went on to slay Chinese pop’s Heavenly Kings when it came to record sales.
Time has not dimmed her vocals and growing older, she turns 50 this year, suits her.
The two-time Golden Melody Award winner for Best Mandarin Female Singer has never been a cutesy teen idol and her soaring love ballads have an emotional maturity which has stood the test of time.
Then again, there are tracks such as I’m Still Young, which she admitted to being a little embarrassed about singing.
The audience of about 7,000 would probably have been happy just to listen to her belting out hits such as California Sunshine, Getting Married and Hard Not To Think Of You.
But it was clear that much thought and effort had gone into the show, partly because Chang did not know when she might have the chance to perform again.
After marrying banker Sung Hsueh-jen in 2005 and settling down in Hong Kong, she has largely stayed out of show business. The couple have two sons.
She joked: “For you, I have abandoned my husband and children.”
Singapore was the final stop in her tour after Taipei and Kaohsiung. She embarked on it only because famed producer Jonathan Lee was finally able to be her concert music director.
Some of her songs were presented in a new light, such as Young Everyday, with its big-band arrangement.
In a nod to a major musical influence on her, she performed a medley of folk songs beautifully accompanied by guitars and strings. And then showing her diva side, she introduced a medley of classic hits from the 1990s, such as Michelle Pan’s Am I The One You Love The Most, by saying they would have been even more popular if she had sung them.
Another highlight of the evening was when home-grown pop star JJ Lin showed up as her guest star and played the piano as she duetted with him on his hit ballad, Remember. His smooth pipes were a nice counterpoint to her bright vocals.
The staging for the show was elegant and classy and the various elements all came together for the finale. Dressed in a vermillion gown and framed by a giant gazebo with a huge wall of flowers as a backdrop, she cut a striking figure as red confetti drifted down lazily.
Having waited such a long time for her to perform here, her fans roared for an encore after her final song.
Visibly moved when she returned to the stage, she joked: “How am I to go back to my kids like that?”
She performed one more track, A Woman’s Fate, and then placated her fans with an energetic “See you next time”.
The first number of the more than 21/2-hour-long concert had been Do You Like My Songs.
There was never any doubt what the answer was.
(ST)
Singapore Indoor Stadium
Last Saturday
After a long wait of 20 years, fans here finally had the chance to hear Taiwanese singer Stella Chang perform live in Singapore again.
Remarkably, as the evening went on, her voice grew in strength and vibrance.
She said that fans who had caught her earlier shows had wondered if it was due to some nourishing concoction she was imbibing throughout the concert.
Actually, it was just water. “It’s because I practise,” she added simply.
It was during the late 1980s and early 1990s that her star shone brightly.
From her debut album, After The Passion (1985), she won fans over with her clear and crystalline high-pitched voice, and she went on to slay Chinese pop’s Heavenly Kings when it came to record sales.
Time has not dimmed her vocals and growing older, she turns 50 this year, suits her.
The two-time Golden Melody Award winner for Best Mandarin Female Singer has never been a cutesy teen idol and her soaring love ballads have an emotional maturity which has stood the test of time.
Then again, there are tracks such as I’m Still Young, which she admitted to being a little embarrassed about singing.
The audience of about 7,000 would probably have been happy just to listen to her belting out hits such as California Sunshine, Getting Married and Hard Not To Think Of You.
But it was clear that much thought and effort had gone into the show, partly because Chang did not know when she might have the chance to perform again.
After marrying banker Sung Hsueh-jen in 2005 and settling down in Hong Kong, she has largely stayed out of show business. The couple have two sons.
She joked: “For you, I have abandoned my husband and children.”
Singapore was the final stop in her tour after Taipei and Kaohsiung. She embarked on it only because famed producer Jonathan Lee was finally able to be her concert music director.
Some of her songs were presented in a new light, such as Young Everyday, with its big-band arrangement.
In a nod to a major musical influence on her, she performed a medley of folk songs beautifully accompanied by guitars and strings. And then showing her diva side, she introduced a medley of classic hits from the 1990s, such as Michelle Pan’s Am I The One You Love The Most, by saying they would have been even more popular if she had sung them.
Another highlight of the evening was when home-grown pop star JJ Lin showed up as her guest star and played the piano as she duetted with him on his hit ballad, Remember. His smooth pipes were a nice counterpoint to her bright vocals.
The staging for the show was elegant and classy and the various elements all came together for the finale. Dressed in a vermillion gown and framed by a giant gazebo with a huge wall of flowers as a backdrop, she cut a striking figure as red confetti drifted down lazily.
Having waited such a long time for her to perform here, her fans roared for an encore after her final song.
Visibly moved when she returned to the stage, she joked: “How am I to go back to my kids like that?”
She performed one more track, A Woman’s Fate, and then placated her fans with an energetic “See you next time”.
The first number of the more than 21/2-hour-long concert had been Do You Like My Songs.
There was never any doubt what the answer was.
(ST)
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