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Legend of Ravaging Dynasties (L.O.R.D) is set to be released on September 30
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Fan Bingbing in ‘I Am Not Madame Bovary’
(Variety) Flaubert would certainly agree with the titular assessment of “I Am Not Madame Bovary”: His pretty, hapless bourgeoise femme has very little in common with the heroine of leading populist Chinese director Feng Xiaogang’s latest. That latter lady is a modern peasant who’s none too pretty — despite being played by Fan Bingbing, duly de-glammed for the occasion — and anything but helpless, as her grudge against a runaway spouse turns into a quest for justice that reaches the highest levels of government.
This sly comic parable, eccentrically tricked out in reductive screen formats (before finally “going wide”), is the tale of an “ant” becoming an “elephant,” one that fittingly strings a long series of small anecdotal sequences into a near-epic narrative arc. Though its marquee names and trenchant social satire will prove most potent on home turf, “I Am Not Madame Bovary” could also beguile non-Chinese audiences beyond the fest circuit with its often sublime ridiculousness.
Adapting his own novel, screenwriter Lin Zhenyun first provides a short illustrated lecture explaining how in China, “Madame Bovary” was a fictive beauty (known as Pan Jinlian) whose infidelity led to murder, her name still a byword for devious, faithless femininity. That hardly seems relevant to the plight of provincial drudge Li (Bingbing), whom we first meet when she has traipsed far in the rain to arm-twist a local official into representing her in a case against her ex-husband. It’s not exactly a simple case: She claims the two got a “fake divorce” some months earlier in order to access better housing. But once they’d achieved that goal, her hubby jumped ship for real and got married to someone else rather than re-marrying Li as agreed. In her Byzantine logic, the court must invalidate the divorce so she can remarry, then divorce, truck driver Qin (Li Zonghan) anew, this time with full malice.
The judge, however, determines that the original severance was legal, and Li’s emotional grievances aren’t sufficient cause for further official action. While disappointed, she’s willing to drop the matter if her ex will simply admit his duplicity. But when confronted, he instead publicly humiliates her with the “Madame Bovary” slur. This has the effect of fanning those dying embers of vengeance into a brand new wildfire. Li now doggedly works her way up the ladder of town, city, and province officials, adding each one to her hit list as they serially snub her cause. Finally she journeys all the way to Beijing, where chance affords her fleeting audience with a very high-ranking government figure. His sympathetic ear translates into woeful news to all the bureaucrats who’d variably evaded, dismissed, and belittled her en route.
Yet Li still isn’t satisfied. At this midpoint juncture, the film jumps forward a decade, finding our heroine’s circumstances changed in some ways, but only some — in fact every year since, she has again visited Beijing with her ever-longer petition of petty wrongs that need righting, causing great embarrassment. There are surprising turns as authorities miscalculate with Li once again, renewing her angry determination just as she was about to give up the quest for justice in favor of a marriage proposal from an old flame (Guo Tao).
Long, relatively low-key but always engaging, “I Am Not Madame Bovary” wears its expansive scale lightly. While Feng’s decision to stick with odd image formatting almost throughout – -circular “tunnelvision” for the provincial scenes, a scroll-like vertical rectangle for Beijing ones — is somewhat off-putting, it does heighten the tale’s fable-like nature, not to mention the painterly qualities of Luo Pan’s handsome compositions. (The scroll and the circle are, of course, traditional Chinese painting formats.) Further adding to the droll overall package’s distinctive tenor is a colorfully diverse slate of locations, as well as a score by Du Wei that starts out with thundering taiko-style drums, then runs a wide gamut of additional musical influences.
The men who mostly dog her are portrayed by a starry lineup (including Da Peng as the longest-suffering bureaucrat), while Bingbing’s Li is a mulishly stubborn figure whose simplicity continually manages to flummox the more powerful — they can’t quite believe she means just what she says, or that her nerve so far exceeds her social station. Usually seen in distancing long or medium shots, this character is an Everywoman in both the proletarian and superheroic sense. Actor and director (who first worked together on her 2003 breakout “Cell Phone”) seamlessly unify a tonal range that stretches from farcical absurdism to pathos. Her gender rendering her even more frightening to an all-male roster of suits, outwardly nondescript Li is a triumphant cipher: The nobody who, at least briefly, succeeds in making a slew of Big Somebodies tremble in their well-shined shoes.
Toronto Film Review: Fan Bingbing in 'I Am Not Madame Bovary'
Reviewed at Toronto Film Festival (Special Presentation), Sept. 8, 2016. Running time: 137 MIN. (Original language title: "Wo Bu Shi Pan Jinlian")
Production
(China) A Beijing Sparkle Roll Media Corp., Huayi Brothers Media Corp., Beijing Skywheel Entertainment Co., Huayi Brothers Pictures and Zhejiang Dongyang Mayla Media Co. presentation. (International sales: Wild Bunch, Paris.) Producer: Hu Xiaofeng. Executive producers: Wang Zhonglei, Jerry Ye.
Crew
Director: Feng Xiaogang. Screenplay: Liu Zhenyun, based on her novel "I Did Not Kill My Husband." Camera (color, widescreen, HD): Luo Pan. Editor: William Chang Suk Ping.
With
Fan Bingbing, Guo Tao, Da Peng, Zhang Jiayi, Yu Hewei, Yin Yuanzhang, Feng Enhe, Lin Xin, Zhao Yi, Zhao Lixin, Jiang Yongbo, Liu Ha, Li Zonghan, Huang Jianxin, Gao Ming, Zhang Jiayi, Tian Xiaojie, Zhang Yi, Li Chen, Hu Ming, Fan Wei. (Mandarin dialogue.)
Source: Variety by Dennis Harvey
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Photos of Jiang Yiyan
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Li Chun poses for fashion magazine
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Lin Yun poses for photo shoot
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Billboard Launches in China
Earlier this year, Billboard announced it would enter the Philippines and Thailand markets, and on Monday the expansion continued as Billboard revealed its newly formed partnership with Vision Music Ltd., a leading Chinese media company focusing on entertainment, fashion, lifestyle and sports sectors in China.
The launch follows a new initiative for Billboard products, conferences and shows to be created in Asia, Europe, the Middle East and Africa. As for China specifically, the partnership will result in several new music content channels across various platforms, including print, online and mobile; the website will be unveiled in the coming weeks.
“This expansion into China is a milestone for Billboard,” says John Amato, co-president of Billboard. He adds that through the partnership with Vision, Billboard will be able to reach the widest Chinese audience possible via a variety of platforms.
As China's rapidly growing music industry continues to expand, Chinese customers will now have a place to turn for breaking music content, says Jonathan Serbin, head of Billboard Asia. “China’s massive customer base, coupled with the rapid growth of the music sector, provides an exciting opportunity for Billboard," he said. "Chinese customers will be able to look to Billboard China for the most relevant domestic and international music content. Additionally, music fans and industry executives from around the world will be able to follow the developments in the fast-growing Chinese music business.”
Adds Tony Xu, CEO of Vision Music Ltd., “We are thrilled to partner with Billboard. For over 100 years, the Billboard brand has represented world-class music content, information and events. We look forward to launching a strong range of products and services to bring Chinese music fans the most exciting music information and experiences."
Source: The Hollywood Reporter by Lyndsey Havens
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Leehom Wang attends premiere of film "Leehom Wang's Open Fire Concert" in Toronto
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'Star Trek Beyond' dominates box office in China
“Star Trek Beyond” pulled in $23 million the first full week of September, according to film industry consulting firm Artisan Gateway. The movie earned $31.5 million in three days the previous week, when it beamed into the country.
The 13th “Trek” film should beat the Chinese box office of “Star Trek Into Darkness,” which came out in 2013 and grossed $57 million, about 12% of its $467-million haul. This time, Paramount
Pictures got help from Chinese backers Pictures and Huahua Media. Total sales already have reached almost $55 million.
The fantasy-adventure movie brought in nearly three times as much as its new runner-up, Columbia Pictures’ “The Shallows,” a survival thriller about a female surfer pursued by a great white shark.
The man vs. animal film, which features Blake Lively, came out Friday in China and made $8.5 million.
Source: Los Angeles Times by Jessica Meyers
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"A Chinese Odyssey: Part III" rules box office on Mid-Autumn Festival
(Xinhua) -- The domestic fantasy film "A Chinese Odyssey: Part III" topped the Chinese box office, earning 84 million yuan (12.6 million U.S. dollars) during the Mid-Autumn Festival on Thursday, according to China Film News.
Hong Kong action film "Z Storm II," which debuted Wednesday, took second place, taking 34 million yuan during the festival.
"Cock and Bull," a domestic suspense movie, raked in 22 million yuan to land third place.
Domestic romance "Soul Mate" ranked fourth, earning 18 million yuan on its second day.
Rounding out the top five was the U.S. science-fiction film "Star Trek Beyond," which grossed 12 million yuan during the festival. It has taken 394 million yuan since its release on September 2.
Source: Xinhua
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Despite General Box Office Slump, Animation Sizzles In China
While overall box office growth in 2016 has been lackluster by Chinese standards, with year-over-year revenue rising just 11% in the January through August period, receipts for animated features have leaped by 63% over the same period in 2015. Year-to-date animated feature revenues now stand at $858 million, well above the previous full-year record of $698 million set last year.
The summer season was especially resilient, as animation receipts rose by 43% for the June-August season compared to the same period last year, even as the broader box office experienced an alarming 1% summer decline.
This year started strong with Dreamworks Animation’s Kung Fu Panda 3 setting a new animation record of $155 million off its late January release. That record was quickly beaten by Disney’s Zootopia, which took in $240 million in March and April. Another big performance came in June, when The Angry Birds Movie tallied $78 million. And although The Secret Life of Pets’ $58 million gross under-indexed in China relative to its $790 million worldwide total, it still handily beat Finding Dory’s disappointing $38 million cume.
Chinese and other Asian productions have also fared well this year. No local toon has come close to the $155 million gross of last year’s Monkey King Hero Is Back, but the producers of the $5 million budgeted Big Fish & Begonia (大鱼海棠) were undoubtedly thrilled when their fantastical undersea adventure—12 years in the making—fished up $84 million in summer ticket sales.
Other solid earners this year include the latest sequel in the local Boonie Bears franchise, which earned $44 million in January, and a pair of Japanese imports, Boruto-Naruto, and the latest Doraemon toon (the 36th entry in that franchise in as many years), each of which took in $15 million.
Animation in China has come a long way in just a few years. In 2009 only a dozen animated features were released in Chinese theaters and their market share was about 8% of the total national gross.
The biggest hit of that year, Ice Age: Dawn of Dinosaurs, earned $22 million. During the first eight months of 2016 nearly three dozen animated films screened in China’s multiplexes, capturing a 17% share of the market. As China phases out its one-child policy and a new, larger generation of kids comes of age, that share should continue to grow, and the animation market will continue to reach new heights.
Source: Forbes by Rob Cain
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Korean Entertainment Faces Ban in China
Some sources say these actions are China’s retaliation against South Korea for agreeing to the deployment of a missile defense system in cooperation with the United States, which is challenging China’s growing power in the Eastern Pacific. Others assume the ban is a protectionist measure against the overwhelming success of Korean content in China.
Regardless of the reason, a ban would hurt the financial interests of Korean companies. K-pop powerhouses like SM and YG have already seen their stock values decline sharply on the stock exchange.
“[A ban] would have a major impact on TV drama productions,” a Korean distributor told Variety, because pre-sale financing from Chinese money would dry up.
Meanwhile, if films co-produced by Korean companies are denied co-production status in China, they would be subjected to the country’s restrictive foreign film quota. But a ban is unlikely to be formally announced as the two nations signed a bilateral co-production treaty just two years ago.
Source: Variety by Sonia Kil
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First Chinese film festival in Italy kicks off in Milan
The festival will run at the Space Odeon Cinema in Milan until Sept. 18, while related events will also take place in Venice, Rome, Florence, and Turin, according to the organizers.
Some 40 films will overall premiere during the gala, and the selection would include the best of Chinese movies released in recent years.
Milan was chosen as host-city not only for his reputation as economic and financial capital of the country, but indeed because here lives the largest, and oldest Chinese community of Italy.
"The festival aims at providing a cultural bridge between the 'new citizens' and their 'hosts' through the universal language of cinema," the organizers said.
As such, it would offer a chance of dialogue and discussion to all those who love cinema, arts, and visual language, among both Italians and Chinese.
The event also took inspiration from Italy's long tradition in cinema.
"Besides being the 'cradle' of the Renaissance, Italy also gave birth to one of the most prestigious film festivals in modern times," the organizers added.
"The Venice Film Festival, which was established in 1932, is now one of the most relevant at European and global level. It is our role model and ultimate goal in the future," the organizers added.
Some 20 professionals and experts will contribute to the festival side-events in order to address the developments of China's film market, which is expected to become the world's largest in about two years.
This rapid evolution will be discussed through different perspectives, such as the Chinese market's growth in terms of production and distribution, and the current increase in the number of theatres in China.
Chinese contemporary movies will also be analyzed in terms of contents, as a way to convey the social, cultural and economic evolution of China's society to the Italian audience.
The selected movies would compete in three different sections, including a main movie competition and a documentary section.
Prominent cinema professionals from both China and Italy will constitute the Festival's jury, including Chinese director and Berlinale Silver Bear Jury Grand Prix winner Wang Xiaoshuai, Italian Academy-Award winner production designer, art director, and costume designer Dante Ferretti, and Italian cinema journalist Maria Pia Fusco.
Along with the best movie award, and best documentary award, the jury will confer a prize to the best director, best screenwriter, best actor and actress in competition.
Source: Xinhua
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Celebrity lineups help Chinese broadcasters compete for viewership on Mid-autum night
It was a good night for music lovers of all generations, as Chinese TV networks competed for viewership on Thursday to celebrate the Mid-Autumn Festival.
China Central Television spared no effort with its annual Mid-Autumn gala. This year, a visual and musical extravaganza was broadcast from Xi'an, featuring fan favorite singers and performers across different eras.
Veteran singer Mao A-min, who has rarely made any public appearance in recent years, reunited with her fans last night. Other stars to grace the stage also included Taiwan singer Qi Qin, super boyband TFBOYS, as well as popular mainland singers Han Lei and Zhang Jie.
CCTV 4 also put on a 4-hour event ahead of the show, giving an introduction to the Mid-Autumn Festival and how it is celebrated by the Chinese people both here in China and abroad.
Meanwhile, Hunan TV put on its own spectacular presentation to attract viewers on Mid-Autumn night.
Taiwan actress Zhao Yazhi helped to open the show, with a mesh-up performance of songs.
A stunning-looking Zhao picked music that included the theme song from the series "Legend of the White Snake", which made her a household name in China, as well as a cover of a Teresa Teng classic.
Singer Sun Nan helped to wrap up the show with his rendition of an 80's classic, bringing a sense of warm nostalgia.
Not to worry if you weren't able to catch the broadcasts live last night, as they are now available on demand on the official websites of these broadcasters.
Source: CRI
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Actor Zhang Ruoyun poses for new shots
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Actress Joe Chen releases fashion shots
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Actor/singer Qiao Renliang dies from possible depression
(CRI) On Friday evening, Qiao Renliang, a Chinese actor and singer, was found dead in a Shanghai apartment. The 28-year-old is thought to have suffered severe depression. The police have ruled out homicide.
The Shanghai police announced a man was found dead in Qishun road, Shanghai on Friday. The next day Qiao's management company confirmed the 28-year-old's death, saying Qiao suffered severe depression from a combination of a heavy workload and public rumors.
In the last week, Qiao was said to be depressed and suffer mood swings. Wounds found on his body are thought to be self-inflicted.
His funeral will be held later in Shanghai.
Qiao Renliang gained popularity after taking part in the "My Hero" show and winning second place in 2007. He was chosen to sing the theme song of Microsoft's Windows 7 in the Asia-Pacific Region.
In recent years, Qiao focused on performing in TV series and films. His roles in "Legend of Lu Zhen", "To Youth 2", "Our Ten Years", and others have won him a lot of fans.
Source: CRI
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The Night Manager’s 40m views in China highlights growing drama opportunity
While the Emmy-nominated series is by no means the first from UK to break out in the market – Downton Abbey and Sherlock are among those to have previously excelled – the ratings success reinforces the growing opportunity for high end English-language drama in China, where conditions and context are creating key opportunities for international content creators.
“The Chinese market is in many ways well ahead of the west in terms of the evolution of its television landscape,” explains The Ink Factory co-CEO Simon Cornwell, producer of The Night Manager, in which Tom Hiddleston plays a Cairo hotel worker recruited to infiltrate an arms dealer’s inner circle.
“You have big streaming companies duking it out with premium offerings in a very fast-growing market, and viewers (especially those affluent and well-educated ones) migrating away from broadcasters at an incredible rate.
“You only have to ride on the Beijing or Shanghai subway and see half the carriage glued to their big-screened smartphones watching their favourite TV shows (which by the way stream perfectly even deep underground) to realise how profound that transition in consumption is,” he continues.
“It is yet another reminder to us that whatever we are seeing in the US and the UK (even with Apple finally entering the market) is just the very beginning of what is in store in terms of our journey into a post-broadcast world, with all of the interesting consequences for television, for film, and indeed for the way we think about narrative form generally, that that implies.”
Shift
The market (with a population of 1.4 billion) is an increasingly important part of financiers’ recoupment plans.
For £30m-budgeted The Night Manager, China represented “one of the show’s most important territories”, acknowledges Chris Rice, partner overseeing international TV at US agency WME, which packaged the series and sold it to 188 markets via its subsidiary sales business IMG.
IMG has been known as a sports rights and production giant, with a portfolio including Wimbledon, the IPL and the Premier League, but The Night Manager marked its entrée into the drama sales business.
“China is becoming an increasingly important piece of the puzzle for international TV shows,” says the LA-based executive. “It’s early days but it feels like TV is experiencing a shift similar to that of the movie business 2-3 years ago. China has become an important - though still complicated - territory to navigate”.
The first and largest complication when it comes to selling entertainment to China remains its quota.
At present, OTT operators such as Youku Tudou, iQiyi and LeEco are the most likely homes for English-language TV. These digital giants can currently show a volume of foreign language series equivalent to 30% of their previous year’s total volume of scripted content. Further restrictions exist for primetime windows on national satellite channels and linear broadcasters are subject to the strictest quotas.
Talent
Chinese buyers can also afford to be picky, says Tom Broom, vice president, IMG Media Asia Pacific.
“The sheer volume of English language scripted content that is now produced means that Chinese entities can be selective, with the quotas providing a further funnel into content that can be sold lucratively.
“This content must compete with popular local drama and very popular Korean drama,” he continues.
“For existing hit English language series or series with a ‘driver’ talent or talents that are very popular in China, the market can be very lucrative. However, newer titles or tiles without such talent can be harder to sell on a standalone basis.”
“China is a very talent driven market,” confirms Rice. “On Chinese productions, the proportion of budget spent on talent is significantly higher than what you see in other countries. It is very celebrity and talent driven right now and that translates to their acquisitions.”
Tom Hiddleston’s exposure in China via Marvel movies The Avengers and Thor was key for The Night Manager, as Maggie Xiong, international acquisitions executive for Youku, attests.
“The talent was one of the most attractive parts,” she says, going on to also highlight the series’ subjects of “secret agents, adventure and heroism” and its bingeability (6 x 60) as other key incentives. The show, which screened with Chinese subtitles, only saw minor cuts to its sex and action scenes.
New class of show
The new distribution opportunities available to financiers are having a knock on effect on how content creators sculpt drama.
“There is a new class of TV show which we call a ‘global television show’, rather than simply a US or European show,” says Rice. “These feature movie stars, they are directed by big filmmakers and they can be set all around the world.”
The executive also highlights The Young Pope, the upcoming English-language series from HBO, Canal Plus and Sky as another to fall into this category. The project is directed by acclaimed Italian filmmaker Paolo Sorrentino and stars Jude Law playing the first American Pope.
Accordingly, high-end content creators, financiers and packagers have been shifting their company structures to accommodate the new dynamics in the market.
Warner Bros last month appointed its first managing director for the territory with a remit to oversee film and TV distribution.
WME itself is well positioned to exploit the niche thanks to its talent access and IMG’s 13 offices across Asia. Screen has learned this week that one of the company’s LA-based finance and distribution agents Joe Austin will relocate to China to help expand its entertainment sales in the market.
Last year, Sony-owned Left Bank Pictures struck a co-development deal with China International Television Corporation. Chief executive Andy Harries at the time called China “the last frontier for television”.
While local and international media outlets are still hamstrung by censorship in China and entertainment quotas remain stringent, the “last frontier” for high end drama is opening up.
Source: ScreenDaily by Andreas Wiseman
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Top 10 popular idol bands in China
Generally speaking, idol bands are music groups made up of idols or young stars. They help shape pop culture, lead the music trends and bring mellow memories for generations.
They offer young people positive role models and represent an era in the eyes of their massive and diehard fans. Their members usually have good looks, a healthy image and bewitching style.
China.org.cn has compiled a list of the top ten most popular idol bands in China in the past 30 years.
The Little Tigers (小虎队)
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The Little Tigers, a Taiwan pop boy band established in 1988, has been recognized as the most popular idol band of all time in China. The trio, which had three members, namely, Nicky Wu, Alec Su and Julian Chen, rose to fame immediately throughout Asia due to their pleasant melodic singing and healthy image. Some of their most influential songs include "Happy New Year,""Free and Unfettered to Play,""Red dragonfly,""Love" and "Starry Night." In 1997, the group split up and all members began to pursue their solo careers. In 2010, the band briefly reunited on the stage of CCTV's Spring Festival Gala, taking the limelight again with their captivating performance.
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F4, also known as JVKV, is a Taiwan boy band founded in 2001 when their TV drama "Meteor Garden," an adaptation of the popular Japanese manga series "Hana Yori Dango," gained extreme success in Asia. The group, which consists of Jerry Yan, Vanness Wu, Ken Chu and Vic Chou, has starred in a series of equally successful TV dramas and released three albums entitled "Meteor Rain (2001),""Fantasy 4ever (2002)" and "Waiting for You (2007)". In 2006, F4 became the first Asian band to receive an exclusive interview from CNN. In 2007, the group changed its name to JVKV, which used the initials of its members' first names to avoid copyright issues. The group has never been formally dissolved, and its members appear together on the stage from time to time. The group represents an era in the eyes of its massive diehard fans across the world.
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The Hong Kong Cantopop duo Twins consists of two cute girls, namely, Charlene Choi and Gillian Chung. The duo, contracted with Emperor Entertainment Group (EEG) in 2000, became famous the next year with their signature song "Open Love, Secret Love, Tutoring Institute." Some of their representative songs include "Love Is Bigger Than the Sky,""Kite and the Wind,""The Next Station is Tin Hau" and "I Really Want to Love Him." The popular idol band has a large fan base in China as well as in many other countries including Japan, Singapore, Thailand, Malaysia, the United States, Canada and Australia. In 2008, the band temporarily dissolved as Gillian Chung was involved in Hong Kong actor Edison Chen's sex scandal. In celebration of the band's 15th anniversary, the duo held a cross-year concert in Hong Kong at the end of 2015.
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The Taiwan girl group S.H.E has three members: Selina Jen, Hebe Tien and Ella Chen. The band, which is contracted with HIM International Music Inc., released their first album "Girls Dorm" in 2001 and instantly drew public attention. The premier group, dubbed "The Number One Girl Group" by the media, has gained great success with their natural compositions, cheerful style and unique vocal ranges. The group has recorded 12 albums with total sales exceeding 10 million. Some of their best-known and award-winning songs include "Don't Wanna Grow Up,""Super Star,""SHERO,""Persian Cat" and "Chinese Language." They are also actresses and TV hosts.
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Phoenix Legend is a Chinese pop music duo formed in 1997. The duo, made up of female vocalist Yangwei Linghua and male rapper Zeng Yi, features a unique music style blending folk music with rap and hip-hop elements. The duo shot to fame with their performance on the popular CCTV talent show Star Boulevard in 2005. In the same year, their first album Above the Moon became a hit in China. So far, their albums have sold more than 6 million copies. Some of their signature songs include "Above the Moon,""Fly Freely,""The Most Dazzling Folk Style,""Moonlight over the Lotus Pond" and "I am from the Grassland." These songs rank high on the country's online download charts.
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Yu Quan, the most popular pop duo on the Chinese mainland, was founded in 1998. The duo consists of Chen Yufan and Hu Haiquan, both of whom were born in 1975. The duo, with a healthy image and "next-door boy" style, has numerous fans, both old and young. The award-winning band, well-versed in music creation, demonstrates their great music talent and diversity in each of their 16 albums with total sales exceeding 12 million copies. The duo won first place in the popular Chinese reality TV show "I Am a Singer" in 2013, and served as mentors in "Sing My Song" Seasons 2 and 3 (2015-2016). Some of their signature works include "Most Beautiful,""Be Cruel to the End,""Deep Breath,""Paradise" and "Ye Zi."
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The teenage boy band TFBOYS, also known as The Fighting Boys, is managed by Chongqing-based entertainment agency TF Entertainment. The group, known as the youngest pop band in the Chinese entertainment industry, consists of lead singer Wang Junkai (Karry Wang), Wang Yuan (Roy Wang) and main dancer Yi Yang-qian-xi (Jackson Yi). The eldest member, Wang Junkai, was born in 1999 and the other two were born in 2000. TFBOYS, who made their official debut in August 2013, gained great popularity on the Internet thanks to the strength of social media. They quickly topped China's music charts and have built a large and loyal fan base in Southeast Asia. Some of their representative songs include "Heart,""Start to Love,""Magic Castle" and "Go for Dreams."
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Grasshopper is a Hong Kong Cantopop male trio founded in 1985. The trio consists of Edmond Chi-Wai So and brothers Calvin Yat-Chi Choy and Remus Yat-Kit Choy. In 1985, the trio was discovered by late famous singer and actress Anita Mui, who was reputed as the "Madonna of Hong Kong." They once served as back-up dancers and singers for Anita and released their first album in 1988. The veteran group, which maintained great popularity in both China and Asia during the 1980s and 1990s, has never disbanded though they began to pursue their solo careers in 2000. They have continued to hold concerts across the world throughout the years.
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Michael & Victor was a Mandopop duo made up of Michael Wong and Victor Wong. The band was founded in 1995 after the two boys' music talent was discovered by Jonathan Lee, a famous Taiwan singer, songwriter and record producer. The band split in 2000 as both members decided to pursue their solo careers. Some of their signature songs include "Palm,""Having You Beside Me" and "Wanna See You."
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Fahrenheit is a Taiwan boy band made up of Wu Chun, Calvin Chen, Jiro Wang and Aaron Yan. The band was formed in 2005 and rose to stardom as a result of acting together in the 2005 Taiwan idol drama series "KO One." The group, managed by Comic International Productions, became a trio after Wu Chun left it in 2011. Some of their signature songs include "I Have My Youth,""Superb,""Love You More and More,""Lonesome Sprint" and "Super Hot."
They offer young people positive role models and represent an era in the eyes of their massive and diehard fans. Their members usually have good looks, a healthy image and bewitching style.
China.org.cn has compiled a list of the top ten most popular idol bands in China in the past 30 years.
The Little Tigers (小虎队)
The Little Tigers, a Taiwan pop boy band established in 1988, has been recognized as the most popular idol band of all time in China. The trio, which had three members, namely, Nicky Wu, Alec Su and Julian Chen, rose to fame immediately throughout Asia due to their pleasant melodic singing and healthy image. Some of their most influential songs include "Happy New Year,""Free and Unfettered to Play,""Red dragonfly,""Love" and "Starry Night." In 1997, the group split up and all members began to pursue their solo careers. In 2010, the band briefly reunited on the stage of CCTV's Spring Festival Gala, taking the limelight again with their captivating performance.
F4
F4, also known as JVKV, is a Taiwan boy band founded in 2001 when their TV drama "Meteor Garden," an adaptation of the popular Japanese manga series "Hana Yori Dango," gained extreme success in Asia. The group, which consists of Jerry Yan, Vanness Wu, Ken Chu and Vic Chou, has starred in a series of equally successful TV dramas and released three albums entitled "Meteor Rain (2001),""Fantasy 4ever (2002)" and "Waiting for You (2007)". In 2006, F4 became the first Asian band to receive an exclusive interview from CNN. In 2007, the group changed its name to JVKV, which used the initials of its members' first names to avoid copyright issues. The group has never been formally dissolved, and its members appear together on the stage from time to time. The group represents an era in the eyes of its massive diehard fans across the world.
Twins
The Hong Kong Cantopop duo Twins consists of two cute girls, namely, Charlene Choi and Gillian Chung. The duo, contracted with Emperor Entertainment Group (EEG) in 2000, became famous the next year with their signature song "Open Love, Secret Love, Tutoring Institute." Some of their representative songs include "Love Is Bigger Than the Sky,""Kite and the Wind,""The Next Station is Tin Hau" and "I Really Want to Love Him." The popular idol band has a large fan base in China as well as in many other countries including Japan, Singapore, Thailand, Malaysia, the United States, Canada and Australia. In 2008, the band temporarily dissolved as Gillian Chung was involved in Hong Kong actor Edison Chen's sex scandal. In celebration of the band's 15th anniversary, the duo held a cross-year concert in Hong Kong at the end of 2015.
S.H.E
The Taiwan girl group S.H.E has three members: Selina Jen, Hebe Tien and Ella Chen. The band, which is contracted with HIM International Music Inc., released their first album "Girls Dorm" in 2001 and instantly drew public attention. The premier group, dubbed "The Number One Girl Group" by the media, has gained great success with their natural compositions, cheerful style and unique vocal ranges. The group has recorded 12 albums with total sales exceeding 10 million. Some of their best-known and award-winning songs include "Don't Wanna Grow Up,""Super Star,""SHERO,""Persian Cat" and "Chinese Language." They are also actresses and TV hosts.
Phoenix Legend (凤凰传奇)
Phoenix Legend is a Chinese pop music duo formed in 1997. The duo, made up of female vocalist Yangwei Linghua and male rapper Zeng Yi, features a unique music style blending folk music with rap and hip-hop elements. The duo shot to fame with their performance on the popular CCTV talent show Star Boulevard in 2005. In the same year, their first album Above the Moon became a hit in China. So far, their albums have sold more than 6 million copies. Some of their signature songs include "Above the Moon,""Fly Freely,""The Most Dazzling Folk Style,""Moonlight over the Lotus Pond" and "I am from the Grassland." These songs rank high on the country's online download charts.
Yu Quan (羽•泉)
Yu Quan, the most popular pop duo on the Chinese mainland, was founded in 1998. The duo consists of Chen Yufan and Hu Haiquan, both of whom were born in 1975. The duo, with a healthy image and "next-door boy" style, has numerous fans, both old and young. The award-winning band, well-versed in music creation, demonstrates their great music talent and diversity in each of their 16 albums with total sales exceeding 12 million copies. The duo won first place in the popular Chinese reality TV show "I Am a Singer" in 2013, and served as mentors in "Sing My Song" Seasons 2 and 3 (2015-2016). Some of their signature works include "Most Beautiful,""Be Cruel to the End,""Deep Breath,""Paradise" and "Ye Zi."
TFBOYS
The teenage boy band TFBOYS, also known as The Fighting Boys, is managed by Chongqing-based entertainment agency TF Entertainment. The group, known as the youngest pop band in the Chinese entertainment industry, consists of lead singer Wang Junkai (Karry Wang), Wang Yuan (Roy Wang) and main dancer Yi Yang-qian-xi (Jackson Yi). The eldest member, Wang Junkai, was born in 1999 and the other two were born in 2000. TFBOYS, who made their official debut in August 2013, gained great popularity on the Internet thanks to the strength of social media. They quickly topped China's music charts and have built a large and loyal fan base in Southeast Asia. Some of their representative songs include "Heart,""Start to Love,""Magic Castle" and "Go for Dreams."
Grasshopper (草蜢)
Grasshopper is a Hong Kong Cantopop male trio founded in 1985. The trio consists of Edmond Chi-Wai So and brothers Calvin Yat-Chi Choy and Remus Yat-Kit Choy. In 1985, the trio was discovered by late famous singer and actress Anita Mui, who was reputed as the "Madonna of Hong Kong." They once served as back-up dancers and singers for Anita and released their first album in 1988. The veteran group, which maintained great popularity in both China and Asia during the 1980s and 1990s, has never disbanded though they began to pursue their solo careers in 2000. They have continued to hold concerts across the world throughout the years.
Michael & Victor (无印良品)
Michael & Victor was a Mandopop duo made up of Michael Wong and Victor Wong. The band was founded in 1995 after the two boys' music talent was discovered by Jonathan Lee, a famous Taiwan singer, songwriter and record producer. The band split in 2000 as both members decided to pursue their solo careers. Some of their signature songs include "Palm,""Having You Beside Me" and "Wanna See You."
Fahrenheit (飞轮海)
Fahrenheit is a Taiwan boy band made up of Wu Chun, Calvin Chen, Jiro Wang and Aaron Yan. The band was formed in 2005 and rose to stardom as a result of acting together in the 2005 Taiwan idol drama series "KO One." The group, managed by Comic International Productions, became a trio after Wu Chun left it in 2011. Some of their signature songs include "I Have My Youth,""Superb,""Love You More and More,""Lonesome Sprint" and "Super Hot."
Source: china.org By Zhang Junmian
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Zhang Huiwen keeping fit
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Street shots of Huang Cancan
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