Month: November 2024

On October 25, 2023, a creative seminar for the television drama “City of Sunlight” was held in Beijing, hosted by the National Radio and Television Administration, the China Television Art Committee, the Publicity Department of the Hunan Provincial Committee of the Communist Party of China, and the Publicity Department of the Tibet Autonomous Region Committee.

“City of Sunlight” is a key program in the special broadcasting event celebrating the 75th anniversary of the founding of New China, themed “Walking with the Times, United with the People.” The drama tells the inspiring stories of a group of young people in Lhasa, intertwining vibrant colors to showcase Tibet’s unique natural beauty and cultural allure.

This is the first realistic drama reflecting contemporary urban life in Tibet. During its broadcast, “City of Sunlight” ranked first in audience ratings in the prime time slot on CCTV-1 for eight consecutive days, with a total viewership of 223 million. It also topped the ratings for the same time slot on Hunan TV. Viewers were drawn to the show’s portrayal of Tibet’s distinct landscapes and cultural scenes. Notably, the series helped attract nearly 1.99 million domestic and international tourists to Lhasa during its airing, marking a 7.45% increase year-on-year.

At the seminar, it was emphasized that “City of Sunlight” is an exemplary television drama that reflects the vibrant lives of the Tibetan people in the new era, developed collaboratively by the State Administration of Radio and Television, the Hunan Provincial Committee, and the Tibet Autonomous Region Committee. The production serves as a dynamic practice in fostering a shared sense of community among Chinese ethnic groups and showcases their interwoven bloodlines, beliefs, cultures, economies, and emotions. The creation and airing of “City of Sunlight” offer three significant insights for television drama production: to capture the essence of a great era and galvanize efforts towards Chinese-style modernization; to remain rooted in the populace, portraying the vivid lives of ordinary people; and to adhere to artistic principles, striving for excellence in craftsmanship.

Li Jingsheng, Vice President of the China Broadcasting and Television Social Organization Alliance, pointed out that “City of Sunlight” provides a new creative perspective for ethnic-themed productions by focusing on contemporary life and the new era. By appreciating the natural beauty and cultural richness, it explores the beauty of modern lifestyles and human connections, integrating film, television, and tourism more organically.

Gao Xiaoli, Deputy Director of the Audiovisual Committee of the Beijing Literary Criticism Association, remarked that “City of Sunlight” allows viewers to feel the vibrancy of Lhasa while also being moved by the exquisite scenery, culture, and the profound human emotions that flow from the Tibetan plateau.

Professor Lu Rong from the School of Drama and Film at Communication University of China noted that the series enriches the creative spectrum of the Tibetan plateau by using a fresh vocabulary of contemporary life, diving deep into the daily existence of Lhasa’s residents, and offering insights into the unique culture of the district.

During the seminar, the creative team behind “City of Sunlight” shared heartfelt reflections on their three-year journey in bringing the series to life. Producer Zhang Xiaoxie recalled the challenges faced while filming in Tibet, mentioning that the crew traveled across Lhasa’s three districts and five counties, interviewing 132 individuals of various ages and professions, covering a total distance of 4,126 kilometers, and accumulating over a million words of notes. Filming each scene in extreme conditions allowed them to authentically present the reality of Tibet.

Zhou You, the lead actor, expressed his dedication to embodying the character of a young Tibetan named Suolang, stating that he “surrendered himself to Tibet” by immersing himself in the local culture and learning Tibetan in advance to authentically portray the character. Wang Zhuocuo, who plays Quzong, mentioned that she meticulously crafted her character’s actions and dialogue to genuinely reflect the kindness and beauty of Tibetan women.

Screenwriter Yu Xiaoqian emphasized that “there are countless characters and stories yet to be told” across the vast landscape of Shenzhou, and that creations filled with warmth and passion will surely connect with audiences who appreciate them.

On October 22, as Chinese President Xi Jinping arrived in Kazan, Russia for the 16th BRICS summit, a significant cultural exchange event celebrating the 75th anniversary of diplomatic relations between China and Russia took place. This event was jointly organized by China Central Television (CCTV) and the All-Russia State Television and Radio Broadcasting Company. Attendees witnessed the launch of CCTV’s “What is Civilization? Encountering Liangzhu” exhibition, which is part of a global tour in 2024. Collaborative agreements were reached between CCTV and multiple Russian institutions, and joint media projects like “Meet China” and “My China Story” were announced.

During his address, Shen Haixiong, Vice Minister of the Publicity Department of the Communist Party of China and Director of CCTV, emphasized the historical significance of this year, marking not only the 75th anniversary of the founding of New China but also the establishment of diplomatic ties between China and Russia and the kickoff of “China-Russia Cultural Year.” He noted that under the strategic guidance of both countries’ leaders, Sino-Russian relations have reached unprecedented heights and serve as a model for new-type major power relationships. Shen expressed CCTV’s commitment to promoting friendship between the two nations and highlighted recent collaborations with Russian media to foster cultural ties and mutual understanding.

Dubrova, President of the All-Russia State Television, spoke about the importance of media collaboration in cultural exchanges, noting the enduring partnership between his organization and CCTV. He stressed that their dialogue, based on mutual respect, has led to significant joint efforts and stronger cooperation, especially in news and film content.

Simonyan, Editor-in-Chief of RT, discussed the accelerated cooperation between China and Russia in recent years, which has elevated their bilateral relationship. She recognized the fruitful exchanges between Russian and Chinese media and expressed hope that the cultural exchange event would deepen Russia’s understanding of modern China.

Negoytch, President of the Rossiya Segodnya, mentioned that the collaboration between Russian and Chinese media has grown significantly, benefiting cultural exchanges between the two countries. He emphasized the potential for greater energy and impact in their partnership.

Pushkov, Director of International Cooperation at the Russia Today International Media Group, highlighted the friendship and mutual respect underpinning Sino-Russian relations. He underscored the importance of media collaboration as a priority and expressed confidence that joint efforts would help create a fair and objective information landscape.

Safin, President of Kazan Federal University, noted the strong grassroots support for friendly ties and mutual benefit between the two countries, especially among young students. He mentioned that Kazan Federal University has been teaching Chinese since 1837 and emphasized the role of the “China-Russia Cultural Year” in fostering educational exchanges.

In a video address, Zhang Hanhui, the Chinese Ambassador to Russia, remarked on the significance of this 75th anniversary in the context of growing bilateral relations. He emphasized that human exchanges remain a powerful catalyst for continued growth and urged for the creation of more cultural highlights to strengthen the bond between the peoples of both nations.

The special exhibition “What is Civilization? Encountering Liangzhu” was officially launched, aiming to introduce the profound history and cultural richness of Liangzhu to Russian audiences. Various collaborative agreements were signed for content production and exchange between CCTV and Russian entities, enhancing cooperation in multiple areas.

Furthermore, the joint reporting project “Meet China,” conceptualized by CCTV and Russia’s Independent Television, goes live, focusing on topics like Chinese modernization through on-the-ground storytelling from various regions in China. A documentary series titled “My China Story,” depicting personal narratives of Russian friends living in China, premiered on mainstream media in Russia.

At the event, the Ossipov National Orchestra performed traditional songs, celebrating the enduring friendship between China and Russia, which was witnessed by over 300 notable figures from various sectors of both nations, including politics, culture, and media.

With a coaching career spanning 16 years, Natalie Mitsue Nakase has made her mark in the world of basketball, including a decade spent as an assistant coach with the NBA’s Los Angeles Clippers. Recently, the newly formed Golden State Valkyries announced that Nakase will take the reins as head coach for the team’s inaugural WNBA season in 2025. As a third-generation Japanese-American born in the United States, Nakase has made history as the first Asian American head coach in the WNBA.

Previously serving as an assistant coach for the Las Vegas Aces, Nakase expressed her excitement during a press conference, stating, “Becoming the head coach for the Golden State team has been a lifelong dream of mine, and I’m thrilled to see it come to fruition.”

Reflecting on her journey, Nakase shared, “I remember telling myself that I wanted to work for the Golden State team, that I wanted to be a part of it. Fast forward nine years, and here I am, right in Golden State. If you focus and work really hard on your goals, great dreams can become a reality. I am living proof of that.”

During her three seasons with the Aces, Nakase played a pivotal role alongside renowned coach Becky Hammon, contributing to two championship wins. Her departure from the team has been met with a mix of pride and sadness from players and staff alike.

In a heartfelt message shared on the Aces’ social media, Hammon acknowledged Nakase’s influence, stating, “She played an integral role in everything we achieved. I clearly learned a lot from her, and I hope she learned some things from me too. Her empathy, attention to detail, and infectious laughter will undoubtedly make her an exceptional head coach.”

Tyler March, an assistant coach with the Aces, also took to X to express his support: “Though you’re now an opponent, you will always be my sister. I’m proud of you; the Golden State team couldn’t have chosen a better coach to lead them. Keep breaking barriers, and know that I’ll always support you!”

Born in 1980 in Anaheim, California, Nakase developed a passion for basketball early on, inspired and encouraged by her father. She was recognized as a top player in high school, earning the title of Player of the Year in 1998. However, at only 5 feet 2 inches tall, she was not a top choice for collegiate teams. After turning down a full scholarship to UC Irvine, she opted for UCLA, where she initially played as a backup before becoming the starting point guard in her sophomore year.

After earning her degree, Nakase played two seasons in the National Women’s Basketball League, becoming the first Asian player in that league. Following knee injuries that led her to pivot towards coaching, she has built an impressive coaching career, which includes ten seasons as an assistant with the Los Angeles Clippers.

According to the Central Meteorological Administration, the tropical depression located east of the Philippines has intensified into Typhoon Trami, the 20th typhoon of the year, as of early this morning, October 22. The typhoon, categorized as a tropical storm, is named “Trami,” derived from Vietnamese, meaning a type of tree in the rose family. At 5 a.m., its center was about 720 kilometers east of Manila, Philippines, located at 13.6° N latitude and 127.6° E longitude. The maximum wind speed near the center is recorded at force 8 (18 meters per second), with a minimum central pressure of 998 hPa and a radius of the 7-level wind circle ranging from 120 to 260 kilometers.

Meteorologists predict that Typhoon Trami will proceed northwest at a speed of 10 to 15 kilometers per hour, gradually intensifying as it approaches the eastern coast of Luzon Island in the Philippines.

In addition, due to the combined effects of the southward cold air and Typhoon Trami, the next five days are expected to bring strong winds across various regions, including the Bashi Channel, the waters east of Taiwan, the Taiwan Strait, much of the South China Sea, the Gulf of Tonkin, the Qiongzhou Strait, as well as the coastal areas of Taiwan and South China. Mariners are advised to exercise caution for their safety during this period.

A state High Court in Ilorin, Kwara State, has scheduled the trial of former Governor Alhaji Abdulfatah Ahmed and former Finance Commissioner Alhaji Demola Banu to begin on December 3, 2024. The two officials face a total of 15 counts related to the alleged diversion of N3 billion in public funds during their time in office. Initially, they were arraigned at a Federal High Court in Ilorin, but the case was later moved to the state High Court.

During their re-arraignment yesterday, both Ahmed and Banu pleaded not guilty to the charges and were granted bail of N100 million each. Justice Mahmood Abdulgafar, who presided over the hearing, confirmed that the trial would commence on the set date.

In an interview following the proceedings, EFCC counsel Rotimi Jacobs explained that the transfer of the case was due to the completion of investigations into other aspects of the allegations, aimed at streamlining the legal process.

Mr. Kamaldeen Ajibade (SAN), the lead counsel for Ahmed and Banu, expressed confidence in their readiness to face the EFCC irrespective of the court handling the case, stating, “We have no skeletons in our cupboard.” He also noted that the court’s decision to grant bail with N100 million each was a generous one.

In a recent interview, we had the opportunity to delve into Ali Smith’s latest work, “Gliff,” which serves as a compelling follow-up to her acclaimed seasonal quartet. The quartet has been celebrated for its insightful storytelling that reflects the state of the nation, culminating in 2022’s “Companion Piece.” As readers mourn the conclusion of this series, Smith has taken a bold step into a dystopian future, offering a fresh narrative that resonates with contemporary issues.

“Gliff” introduces us to Bri, a precocious non-binary teen who, along with their sister Rose, grapples with a hostile society that has reached alarming levels of totalitarianism. The backdrop is a Britain marked by exclusion, where Bri and Rose are classified as “Unverifiables.” This term signifies individuals who find themselves marginalized, either due to their nationality, race, or rebellious ideology fostered by their headstrong mother, who views smartphones as liabilities rather than tools for connection.

The rise of oppressive surveillance and bureaucracy paints a chilling landscape, as Bri and Rose navigate a world where their homes are marked and destroyed by the government. Throughout our conversation, Smith highlighted that the origins of this dystopia remain deliberately ambiguous, prompting readers to engage with the text and fill in the gaps from their own experiences.

Smith’s exploration of societal disconnect remains a recurring theme. As Bri observes, the divide between the wealthy and the impoverished has grown so vast that the affluent seem not to acknowledge the suffering of others. “It was like they all had their backs to me,” Bri reflects, capturing the isolation and alienation that permeate their world.

The narrative takes a poignant turn as we leap forward five years, where Bri has assumed the role of a factory supervisor. This new chapter reveals an even bleaker reality, with child laborers facing brutal conditions under an unyielding state. In navigating the oppressive system, Bri’s small acts of rebellion underscore the courage required to challenge totalitarianism.

“Gliff” also introduces a titular horse that symbolizes complexity and care. Bri muses about the horse’s many meanings and the idea that connection transcends language. It serves as a metaphor for the relationships we forge, even with those whose viewpoints may differ from our own.

Ultimately, the story imbues hope in Bri and Rose, representing their generation’s struggle and resilience. While Smith’s previous works may have functioned as a guide for contemporary existence, “Gliff” emerges as a stark warning, urging us to heed these lessons or face the consequences of complacency.

“Gliff” by Ali Smith is available from Hamish Hamilton, and its timely release offers both a reflection and a cautionary tale for readers navigating the complexities of the 21st century.

On October 24th, the “Explore ‘Great Systems’ with Cultural Ambassadors” campaign kicked off in Fuyang District, Hangzhou, showcasing a rural exhibition of China’s historical painting collections.

Could you tell us what the “Chinese Historical Painting Collection” is all about?

The “Chinese Historical Painting Collection” is an extensive, national cultural project that spans history and transcends borders. It compiles 12,405 pieces from 263 cultural and historical institutions, both domestic and abroad. Among the accomplishments, we’ve published a comprehensive series including the Complete Works of Pre-Qin, Han, Tang, Song, Yuan, Ming, and Qing paintings, totaling 60 volumes in 226 books. This collection is unprecedented in terms of its scope and richness in depicting Chinese painting through various eras.

How large is the exhibition and what can visitors expect to see?

The exhibition covers an area of 600 square meters and features 134 outstanding artworks that represent Fuyang’s historically significant painters, along with themes of rural aesthetics. The showcased works primarily focus on historical and cultural exploration, including pieces inspired by the renowned artist Huang Gongwang and works by artists like Dong Yuan, Dong Qichang, and Dong Bandao. This initiative aims to bolster Fuyang’s local cultural identity. The section on rural aesthetics highlights local traditions, including the culture of top scholars, filial piety, and moon-watching customs.

Can you tell us about the role of cultural ambassadors in this initiative?

This April, Zhejiang Province launched an innovative program appointing over 1,570 cultural ambassadors at various administrative levels to strengthen grassroots cultural development. In Fuyang, where the event took place, Li Chenghua, vice chair of the Design Arts Department at Zhejiang University’s School of Art and Archaeology, has been instrumental in organizing educational activities centering on the “Chinese Historical Painting Collection.” These activities include lectures and artistic experiences based on fruits depicted in the collection.

What is the goal of the rural exhibition events?

Through these rural exhibitions, we aim to make the “Chinese Historical Painting Collection” more accessible to the general public. We’re merging Fuyang’s local aesthetics with classic images from the collection to demonstrate how the seeds of civilization take root and flourish in local communities. As cultural ambassadors, we’re committed to partnering with technology ambassadors to help foster rural revitalization, planting the seeds of culture and innovation.

What’s the plan for the exhibition moving forward?

This rural exhibition will travel to various towns and communities across 11 cities in Zhejiang Province, actively promoting outstanding traditional Chinese culture. We want to immerse residents in the charm of traditional culture and encourage a sense of cultural awareness and confidence.

In the ongoing conflict in Ukraine, the battlefield has transformed into an experimental lab for improvised drone modifications, as both sides engage in a competitive race for innovation. A recent report from The New York Times highlights how Ukrainian forces have equipped drones with thermite, a substance that burns at impressive temperatures of 4,400 degrees Fahrenheit (about 2,426 degrees Celsius), creating what soldiers refer to as “Dragon Drones.” This weapon is designed to drop molten metal onto Russian positions, igniting and destroying vegetation that provides cover to enemy troops.

Originally developed in the last century for welding railway tracks, thermite is notoriously difficult to extinguish once ignited. Ukrainian troops have adapted it to their drones, effectively creating a rain of burning metal that leaves Russian soldiers vulnerable to direct assaults.

The “Dragon Drone” symbolizes a revolutionary shift in the conflict, with the Ukrainian frontlines becoming a testing ground for such adaptations. Recently, soldiers have taken to social media, sharing dozens of videos showcasing the “Dragon Drones” in action, instilling fear among adversaries.

Not to be outdone, Russian forces have begun developing their own versions of “Dragon Drones.” In a recent online post, Russian politician Andrei Medvedev shared footage depicting the use of these drones against Ukrainian troops, even quoting a line from “Game of Thrones”: “Power did not make us kings, but dragons did.”

Though international law does not specifically ban the use of thermite, the United Nations’ Convention on Certain Conventional Weapons prohibits the use of such incendiary devices in civilian areas. Nevertheless, the “Dragon Drones” have reportedly been used only against military targets, which has mitigated backlash.

As both Russia and Ukraine expand their drone fleets rapidly, the two nations are engaged in a fierce arms race to produce drones that are faster, further-reaching, and increasingly lethal, with the “Dragon Drone” merely representing a fraction of this trend.

Ukrainian President Volodymyr Zelensky recently announced a goal to produce 1.5 million drones by 2024, with aspirations to boost that number to 4 million annually. Ukraine is also establishing a dedicated drone force in 2024, becoming the world’s first independent military unit specifically trained for drone warfare.

In response, Russia has shifted its economy toward a military-industrial complex, recently unveiling a 2025 budget with a 25% increase in military spending, surpassing $145 billion. This funding allows Moscow to ramp up its drone production at an astonishing pace.

In September, President Vladimir Putin met with defense industry officials, pushing for increased drone production efforts. While only 140,000 drones were delivered in 2023, Putin stated that production would increase tenfold in 2024 to reach 1.4 million.

Marina Miron, a defense researcher at King’s College London, noted that while Russia initially lagged, it is now investing heavily in research and development, enabling it to innovate more quickly than the U.S. “They are moving very fast,” she explained.

Both sides are witnessing an array of drone types appear on the battlefield. With assistance from Iran, Russian forces are reportedly receiving significant shipments of drones, with the capability to produce various models for use in the Ukrainian conflict.

High-altitude surveillance drones are providing crucial support for artillery and missile units, while Ukrainian naval drones are successfully pushing Russian forces out of significant areas in the Black Sea. Both sides are deploying drones equipped with satellite navigation for long-range attacks, capable of striking targets hundreds of miles away.

On the ground, the skies over Ukraine are filled with inexpensive, first-person view (FPV) drones that support one-time attack missions. Operated by soldiers using headsets that display live feeds, these drones can engage targets from miles away. Some are designed to explode upon impact, while others can hover over targets and drop munitions.

Captain Vyacheslav of the Ukrainian army noted that since his unit’s arrival in Pokrovsk in April, they have killed at least 3,000 Russian soldiers. “That’s just my unit,” he remarked, emphasizing the impact of their drone operations. He also shared a story about one of his soldiers suffering severe burns from a Russian drone attack, highlighting the dangers faced in the conflict.

He stressed that despite the rapid production of drones by both sides, experienced pilots are invaluable and irreplaceable. “The value of pilots is like gold; protecting them is crucial,” he concluded.

Entering the late 1980s with an audacious mix of punk, glam, and classic rock, Boys Wonder made quite the impression. Yet, they ultimately faded into obscurity just as their sound began to dominate the charts. Now, they’re back—so, is there any bitterness about the past?

The band’s track “Goodbye Jimmy Dean” kicks off with a striking barrage of power chords, seemingly lifted from The Who’s “Won’t Get Fooled Again.” The opening lyrics, delivered in an unmistakable estuary accent—“I get bored so easily—that’s why I only say hello”—set the stage for an eclectic mix of influences, from the Sex Pistols to Ziggy Stardust-era David Bowie, wrapping up with an unmistakable nod to The Beatles’ “Twist and Shout.” The chorus reveals a fierce, delightfully camp opposition to the overwhelming dominance of classic American culture: “Goodbye Jimmy Dean, don’t tell me what to wear / See you later Monroe, if anybody cares.”

While this might invoke the nostalgia of Britpop’s vibrant 1990s, “Goodbye Jimmy Dean” is actually a product of Boys Wonder, a band whose rise and fall occurred between 1986 and 1988. They were a good eight years ahead of their time, struggling to fit into their musical landscape, which ultimately led to their downfall. Nonetheless, they made a significant impact in their brief existence. I personally witnessed them performing their infectious anthem “Shine on Me” on the Channel 4 comedy show Saturday Live in 1987 and was captivated. However, with the media ignoring them and the internet still nonexistent, I was left puzzled about their disappearance.

Now, I’ve learned that Boys Wonder only released four singles, with “Goodbye Jimmy Dean” being the third. Just before losing key members and trying to pivot towards a more dance-inflected sound, they experienced brief exposure. Even at the height of their popularity, journalists turned a blind eye, often dismissive of their music, as Ben Addison, the band’s lead vocalist, recalls: “We were banging our heads against a wall. And the wall won.”

However, recognition for their prescient work is finally coming. The band recently graced the stage for their first performance in 35 years, with another show on the horizon. Additionally, some of their original stage attire will be showcased in “Outlaws,” a new exhibition at London’s Fashion and Textile Museum focusing on the “fashion renegades of 80s London.” The highlight, however, is the release of “Question Everything,” a brilliant anthology featuring mostly unheard material.

During a captivating two-hour Zoom call, Addison, now a father of two living in Dusseldorf, shares the band’s story. Along with his twin brother Scott, an art school graduate from southeast London, they initially cut their musical teeth in a band called Brigandage, described by Addison as “the Sex Pistols with a female singer.” After that project fell through, they teamed up with guitarist Graham Jones, in the aftermath of the short-lived pop sensation Haircut 100. Together, they envisioned a unique sound that blended punk with an array of diverse influences.

Jones recalls how they routinely gathered at the Addison’s flat to record songs on a four-track Portastudio. “While Scott was doing his overdubs,” he says, “Ben would be in the corner with a pad and paper, sketching outfits. Our girlfriends were in fashion school, enabling some of them to create the clothes Ben designed. The music was just part of a larger creative process.”

They infused themselves with the aesthetic of their favorite music. Addison mentions iconic performances like The Who’s “My Generation” on The Smothers Brothers Show and the Sex Pistols’ “God Save the Queen” music video. Their musical tastes spanned far and wide, from Roxy Music’s flamboyant styles to pre-fat Elvis and an array of glam influences.

Initially considering a name like Batman & Robin, they settled on Boys Wonder to avoid legal issues while keeping the whimsical spirit alive. The Addison twins adapted their haircuts to a bowl-style that starkly contrasted the quiffs dominant in the ’80s. “A friend of ours, Andrew McLaughlin, had this severe bleached fringe one night at the Greenwich theater bar, and I thought, ‘That’s the bomb. That’s what we’re going to do,’” Addison recalls, which led to his unforgettable look.

“It was thrilling to be doing something no one else was,” Jones adds. Their unique vibe soon captured the attention of Seymour Stein, the legendary American music executive known for signing the likes of The Ramones and Madonna. Despite their talent, financial limitations meant their major label experience was short-lived.

Reflecting on their earlier struggles, Addison notes, “We were doing late-night recording sessions and jokingly asked Stein for more money while he lounged by a Vegas pool. He told us we were living in a dream world, and honestly, he had a point. We were more like a tax write-off than anything else.” Their brief time with Rough Trade yielded little more success.

Their new anthology reveals that, despite the setbacks, Boys Wonder’s music never faltered in quality. Their defining sound combined punk, glam, and perfect pop aesthetics across not only “Goodbye Jimmy Dean” but also hits like “Shine on Me” and “Now What Earthman?” Their lyrical creativity shone through titles like “Lady Hangover” and “Baby It’s No Joke,” while songs like “Soho Sunday Morning” foreshadowed the direction 90s British music would take.

Fast forward to the mid-’90s, the Addison twins formed the band Corduroy, releasing music that retained a distinct London feel while exploring different genres. Watching bands like Blur, Suede, and Pulp rise to fame, Addison reflects, “If it weren’t for Corduroy, I might have been more blue about it all. Blur even sampled our song ‘London, England’ for their intro tape and invited us to their Alexandra Palace gig, which I’m grateful for.”

There’s a more personal connection to Britpop; Addison recalls a memorable gig where Boys Wonder was supported by a then-unknown Blur, who performed under the name Seymour. “I don’t want to claim anything,” he laughs, “but that’s what happened. There was a strange correlation between us; Britpop felt so unglamorous. Everyone was in Adidas shell toes and plain shirts, which lacked the style we embodied.”

As he speaks about the band’s upcoming reunion, Addison reflects on the passage of time. “I’m way older now. I’m not jumping around as much, and I won’t be doing the eyebrows again. But there’s a new confidence in our music. It feels exciting to revisit our old glories.”

Interestingly, this return has led him to question generational norms. “I’m not on a mission,” he says with a grin, “but I think there’s something to be said: your grandparents were a lot more interesting than you are.”

Boys Wonder will perform at the 100 Club in London on October 23, with their anthology “Question Everything” set to release on November 1.

The flag of the Republic of China has been proudly displayed in front of San Jose City Hall since October 25th, marking a week-long celebration. This significant event, the San Jose Double Tenth National Day flag-raising ceremony, was organized as a tribute by San Jose City Council member Peter Ortiz, who expressed his gratitude to the Chinese American Traditional Foundation for their dedicated fundraising efforts to restore the damaged Chinese Cultural Park, which had fallen into disrepair due to homelessness during the pandemic.

Ortiz took it upon himself to cover the expenses for the ceremony. His district is home to the Chinese Cultural Park, a gift from the Republic of China government to San Jose, established in 1971. The park features traditional Chinese structures, all built with materials sourced from Taiwan. In light of the damage caused during the pandemic, the Chinese American Traditional Foundation has initiated fundraising efforts this year, aiming to restore key structures like the Chiang Kai-shek Memorial Hall.

“In San Jose’s history, we have seen significant leadership from the Taiwanese community, in politics, business, and technology,” Ortiz remarked, emphasizing his appreciation for the foundation’s role in driving the park’s restoration.

The restoration of the Cultural Park will be organized by the Chinese American Traditional Foundation, which has laid out a two-phase plan with an initial fundraising goal of $3 million. The first phase of construction is slated to begin on June 1, 2025, focusing on the critically important Chiang Kai-shek Memorial Hall, with completion expected by June 30, 2026. The foundation will also continue to raise funds for the park’s ongoing maintenance.

San Jose Mayor Matt Mahan acknowledged the contributions of the Taiwanese community, highlighting the special 40-year sister city relationship between San Jose and Tainan City, Taiwan. He noted that the relationship has flourished through cultural and economic exchanges, underpinning the vital role Taiwanese companies, including NVIDIA, AMD, and TSMC, have played in establishing Silicon Valley’s success.

Lin Darui, president of the Chinese American Traditional Foundation, expressed his thanks to Mayor Mahan and Ortiz for their support. He pointed out that the establishment of the Chinese Cultural Park over the past 50 years has provided a remarkable venue to celebrate Chinese culture. The upcoming restoration efforts are intended to revive this historically significant site for future generations to appreciate and inherit the rich Chinese cultural heritage.

The flag-raising ceremony featured a lion dance performance by the Liang Guan Bai He Lion Dance Troupe, an honor guard from the Air Force, and a rendition of the national anthem by the National Taiwan University alumni choir. Distinguished guests included Zhu Yongchang, Deputy Director of the Economic and Cultural Office in San Francisco, Fremont City Council member Shao Yang, and various community leaders and political representatives, all coming together to honor this cultural milestone.