Even though her stage clothes are all close-fitting, Tsui is not a picky eater she loves food, and when she faces pressure, she eats chocolates and sweets to release stress. Paradoxically, though she cares about the clothes, she also wants the audiences to focus on her music performance. She values the stage effect of her big dresses and will practise moving in them until she feels comfortable with the excess weight. If she does not approve of her outfit, she will not show it to anyone. As a result, she is very conscientious in choosing what she wears on stage. Tsui is popularly known for her jaw-dropping gowns on stage. After signing the contract, Tsui was not allowed to perform in nightclubs again. A record executive was in the audience during one of her nightclub performances and offered her a lucrative contract.
She rejected the 'famous' label to avoid putting too much pressure on herself. She considered doing her best was a basic requirement. That's why a lot of people think she has personal high standards, but she does not think like that. Tsui could perform more than 400 songs, and while she did not set out to, she eventually memorised them all.
She moved from lounges to nightclubs and then to being a support act for others. Tsui performing at the "Glittering Bright Paula Tsui Live in Concert 2006" at the MGM Grand Garden Arena in Las Vegas on 29 January 2006.Īfter winning a contest in 1966, she soon began performing. Tsui was then already a renowned singer, while Cheng was still relatively unknown at that time. It was not until the 1990s that was discovered that she had been secretly married to Hong Kong radio host and legislator Albert Cheng between 19. Tsui is private about her personal life, especially in regards to her romantic life. Show business had a lot of temptations and this promise kept a firm focus on her singing. Tsui felt so grateful to her parents reluctance and from it came a promise with her family to become a successful singer. Finally her family agreed with her choice to become a singer. However, Tsui promised her family that she would not change her mind and principles. Īt the same time, Tsui's parents did not approve of her becoming a singer, because they thought musically performing was a shameful career, and that is the reason why Tsui refused to let her family see her performances. Then finally, Tsui won that contest came out the champion. Initially, she was reluctant to join the competition, but her friends kept persuading her, and said that they would not participate without Tsui. The thing that changed her life was a singing contest when Tsui entered one in 1965. She believes this attitude stems from not knowing what she wanted to do, and that makes her memory of youth unclear, she only remembers frequently changing jobs. For example, she only enjoyed music classes, enjoying her natural singing talent but refused to sing the school hymns, instead singing pop songs. She recalls being a mischievous and rebellious child. Tsui was born in Hubei, but her family moved to Hong Kong when she was still a baby. After graduating from secondary school, she worked at her father's salon as a nail technician and hairstylist. Here is my recipe for a Canto Cocktail.Tsui is the eldest of six children, having three brothers and two sisters. He drew from different songs, commenting on the repetition within Cantopop. More recent medleys include ‘Hong Kong Elegy’ (2005) by Cedric Chan.
Inspired by Lam, Chow Yun Fat released another medley, ‘12 minutes and 10 inches’ (1988). If I push the medley form to the extreme, adding more songs, adopting shorter phrases, and deconstructing and recreating it with a computer, will it still be Cantopop? How will it be perceived by the public? This work is a commentary on Cantopop and an investigation of its formulas.ġ) For example, George Lam combined twenty songs into the medley ‘10 minutes and 12 inches’ (1985). 1 Typically, they are combinations of dozens of phrases from existing songs, and their often playful content can vary widely. They consist of previously released songs that have been strung together in a sequence. Medleys, or cocktail songs, were often hits on the Cantopop scene in the 1980s and 1990s. What would machine-generated music be like? I wondered how it would sound if Cantopop were produced by a computer. I studied engineering, and exploring the structures of songs inspired me to create a Cantopop generator. This creates a sense of familiarity even when I’m improvising. As I play, I discover that Cantopop songs are often structurally similar to one another. Many songs don’t have sheet music, so I just play them by ear. I like Cantopop, and I especially like playing it on the piano.
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