Teresa Teng
Teresa Teng | |
---|---|
鄧麗君 | |
Labels |
|
Chinese name | |
Hanyu Pinyin | Dèng Lìjūn |
Bopomofo | ㄉㄥˋ ㄌㄧˋ ㄐㄩㄣ |
Hakka | |
Romanization | Then Li-kiûn |
Yue: Cantonese | |
Jyutping | Dang6 Lai6-gwan1 |
Southern Min | |
Hokkien POJ | Tēng Lē-kun |
Teng Li-chun (
With a career spanning almost 30 years, Teng established herself as a dominant and influential force in Asia throughout most of her career,[4] including East Asia, Southeast Asia, and, to some extent, South Asia.[5] Teng is credited as Asia's first musical superstar[6][7] and by some as the pioneer of modern Chinese pop music—a major force in the development of the Chinese music industry by incorporating western and eastern styles into her music,[8][9][10] replacing the most revolutionary songs then prevalent in mainland China and laying the foundation for modern Chinese popular music.[11] Teng was also instrumental in bridging the cultural gap across Chinese-speaking nations[12][13] and was one of the first artists to connect Japan to some of East and Southeast Asia by singing Japanese pop songs, according to Nippon.[14] In Taiwan, she was famous for entertaining the armed forces and singing patriotic songs that appealed to the natives of the island. Teng was nicknamed "the patriotic entertainer" and "the soldiers' sweetheart".[15][16]
Teng recorded more than 1,700 songs throughout her career, starting at age 14, not only in Mandarin, but also in Hokkien, Cantonese, Shanghainese, Japanese, Indonesian, English, and Italian.[16] To date, Teng's songs have been covered by hundreds of artists all over the world.[17]
According to available
Early life
Teng was born Teng Li-yun
The only daughter among five children, Teng was raised in a poverty-stricken family and spent her early childhood in
Teng was exposed to music at an early age through her music-loving parents. Her father was a
Career
Early beginnings and overseas tour
Teng's career commenced in 1967 as a host of the television show One Star a Day, which aired for 20 minutes from Tuesday to Sunday. She then appeared in television dramas and movies, including a leading role in the 1967 film Thank You, Manager.
By the 1970s, Teng's music style had changed; she fused pop and opera styles and incorporated western jazz in order to further expand her market.[38] Teng's popularity boomed in Asia after she released several albums in multiple languages.[39] In April 1979, Teng held her first concert in Vancouver, Canada.[40] On her next trip, Teng toured major US cities such as San Francisco and Los Angeles. In 1980, she was invited to perform at Lincoln Center in New York and the Los Angeles Music Center in California, becoming the first singer of Chinese descent to make a headline there.[41] Upon her return to Taiwan, Teng went on a Southeast Asian tour in 1981, drawing 35,000 attendees in Malaysia.[37] She continued to hold large-scale concerts in Hong Kong and the Southeast Asian region almost every year.[42] In 1983, Teng performed a series of concerts at The Colosseum at Caesars Palace in Las Vegas. They met with tremendous success.[40] Teng gave many free concerts throughout most of her career to help the less fortunate or raise funds for charities. The funds collected from her concerts were donated to public welfare.[43]
Musical move in China
For most of the previous three decades, China was both economically and culturally closed to the rest of the world. Around 1974, Teng's songs began to trickle into mainland China with the availability of radios. In 1977, her song "The Moon Represents My Heart" became one of the earliest foreign songs to arrive in the mainland.[44] In 1978, with economic reform and the opening of borders, cassette recorders and pirated recordings of Teng's songs began to flow from coastal cities to the rest of the country. Her popularity soon skyrocketed.[34] In Taiwan, Teng's songs became a propaganda tool for the KMT's psychological war against the Chinese Communist Party. Her songs were blasted from the sea-facing speakers from Kinmen Island to the residents of mainland China at a much higher volume. This propaganda practice continued throughout the 1980s.[45] In the early 1980s, continuing political tension between mainland China and Taiwan led to her music, along with that of other singers from Taiwan and Hong Kong, being banned for some years in mainland China, describing it as too "bourgeois" and "corrupt" by Chinese authorities. In spite of the ban, Teng's songs defied the censorship and penetrated China's iron curtain. Her popularity continued in China through cassettes sold on Black market, with fans paying up to a month's rent for pirated cassettes of her songs. Teng's songs continued to be played everywhere, from nightclubs to government buildings, and the ban was soon lifted. Teng became almost as well known in mainland China as the country's leader. Her fans nicknamed her "Little Deng" because she had the same family name as Deng Xiaoping; there was a saying that, by day, everyone listened to "old Deng" because they had to. At night, everyone listened to "Little Teng" because they wanted to.[46][37] Shanghai Party newspaper Wenhui Bao expressed fears that Teng's songs may erode the revolutionary spirit of the (Communist) Chinese.[47] Faced with this solid wall of popularity, China ceased its restrictions on her music from the mid-1980s onward.[48]
Light Exquisite Feeling and political outlook
Teng's contract with Polydor ended in 1981, and she signed a contract with Taurus Records in 1983 and made a successful comeback appearance in Japan. That same year, Teng released her most critically acclaimed album, I have one small wish. I hope everyone will like these songs so that the flourishing begonias within China's 10 million square kilometres and the treasures of this 5000-year old culture can be handed down generation through song. And through this, I hope our posterity will never forget the happiness, sadness, and glory of being a "Chinese" person.[50]
The album received a positive response from both the public and critics, commending Teng's outstanding interpretation of the ancient poems and successfully projecting classical Chinese literature into a contemporary popular music style. It was well accepted in Southeast Asia and went gold on the first day of its release in Hong Kong.[51] Yang Yanxing, a professor at Tianjin Conservatory of Music, greatly praised the album, describing it as "the finest work of the Chinese music circle".[20] In March 2012, Pu Xiqian from the China News Service called the album a "perfect combination of poems and music".[52] Later, Teng started working on completing a sequel to the album. However, due to changes in the surroundings of music, as well as her deteriorating health and other reasons, she failed to realise her wish.[53]
In 1987, Teng released the Mandarin version of the album I Only Care About You. After that, owing to her health issues, she basically stopped participating in commercial activities and gradually entered a semi-retired state.[54]
Teng performed in Paris during the 1989
Though Teng performed in many countries around the world, she never performed in
Career in Hong Kong
In 1975, Teng collaborated with
Career in Japan
Teng entered the Japanese market in 1973. On 1 March 1974, Teng released her first Japanese single "No Matter Tonight or Tomorrow", which marked the beginning of her career in Japan. The single initially received a lukewarm market response and was ranked 75th on the
After a long absence, Teng returned to the Japanese market on 21 September 1983, and released her first single
As a military singer in Taiwan
One of Taiwan's most famous cultural exports,[59][60] Teng was born to a military family in 1953, her father served as a member of the Republic of China Armed Forces during World War II. After the regime collapsed on the mainland, the Nationalist government switched to Taiwan as their base after 1949. As a child, Teng grew up in this martial environment of the 1950s. Her first mentor introduced her to singing before military audiences, a practice she continued throughout her life. In those years, Teng gave many performances for soldiers and sang patriotic songs on television programs. In February 1979, while attempting to enter Japan, Teng was caught using a fake Indonesian passport she bought on the black market. The incident was criticised both in Taiwan and Japan. She was barred for one year from entering the country by Japan's Minister of Justice.[35] In 1980, a year after the incident, she was allowed to return to Taiwan on condition of cooperation with the Taiwanese government. Teng performed for the Taiwanese troops again, and the income from her performances was donated to the "Funds for Self-Improvement and Patriotism". In August 1981, Teng performed for the troops for one month, touring military sites all over Taiwan. She visited the generals of the army, navy, and air force and sang for them. These performances were broadcast on TTV's special program named Teresa Teng on the Frontline. Due to her vigorous devotion to soldiers in Taiwan, Teng was awarded the "Patriotic Entertainer" medal by the government information office. These frequent performances for the troops garnered her the nickname "the soldiers' sweetheart" by the media. In 1988, the death of President Chiang Ching-kuo marked the end of martial rule in Taiwan. In the early 1990s, Teng returned to entertain the troops again, with her last performance being in 1994.[35]
Philanthropic causes
Teng began charity performances at a very young age. One of her first performances came on 17 August 1968, when she sang at the charity fair in Zhongshan Hall in Taipei, for the relief of the earthquake in the Philippines. The charity sale was donated on the spot. The following year, Teng was invited by the wife of the then-President of Singapore Yusof Ishak to a charity performance at the Singapore national opera house. That same year, Teng performed at the Ten-Star Charity Performance, held by the Singaporean authorities.[42] In 1971, she became the youngest person ever to be awarded the title of the "Charity Queen" of Hong Kong's Bai Hua You Arts Auction for making charity sales.[61] On 8 June 1973, Teng participated in the "Far East Top Ten Stars Charity Gala" in Singapore, gave four performances, and raised $400,000 to be used as scholarships for students in need. Teng continued performing for philanthropic causes throughout the 1970s in Singapore, Taiwan, and Hong Kong. In 1980, she raised over US$1 million for Yan Chai Hospital in Hong Kong and donated the proceeds of her show in Taiwan to that country's national trust fund.[47] In January 1982, Teng held a concert at the Queen Elizabeth Stadium in Hong Kong, and the first proceeds were used for charitable donations; in August, she donated NT$160,000 to build a water tower in a village in northern Thailand and introduce a drinking water system. In 1985, Teng held a solo concert at the NHK Hall in Tokyo, Japan, proceeds of which were donated to charity. She made a special trip to Hong Kong in July 1991 to participate in the disaster relief program of ATV's "Love for East China" as a special charity performance guest to raise funds. Teng gave her last performance in 1994 in Taiwan, a year before her sudden and unexpected death.[62]
Artistry
Influences
Teng credits
As a young child, Teng was exposed to music by her music-loving parents. Teng learned Peking opera through her father, while her mother introduced her to Huangmei opera, accompanying her to opera houses and encouraging Teng to sing in that style by purchasing songbooks for her. Alongside regional and folk styles, Teng was also influenced by shidaiqu and Japanese music.[64]
In addition to music, Teng was an admirer of Florence Nightingale, Xi Shi, and Lin Daiyu.[65]
Singing
Teng was a soprano, according to The New York Times.[66] She was known for her "soothing and crystalline" singing voice,[67][68] with her vocal trademark classified as a "quasi-whisper", which David B. Gordon characterises as a "private emotion" in her listeners—as though she were singing for each of them individually.[30] Cultural critic Rey Chow labelled Teng's voice as soft, throaty, and feminine,[69] whereas Mike Levin of Billboard described it as "soft and almost breathless".[12] Teng's voice covered a diverse range of musical styles and languages. Meredith Schweig at Emory University notes: "Teng was famously versatile: she confidently performed in multiple languages and grooved in a number of genres, such as Haipai, Enka, and Euro-American pop stylings, on dozens of hit records, and that her voice and physical appearance were revered as the apotheosis of feminine beauty and virtue."[70]
Lyrical writing
In 1987, Teng recorded the song "Summer Christmas", a cover of the Japanese song "Merry X'mas in Summer", originally recorded by Kuwata Band member Yoshisuke Kuwata. The same year, Teng recorded "River of Destiny", a cover of the Japanese original "Sadame Gawa". She composed the lyrics of both songs in Mandarin and included them on her 1987 Mandarin album, I Only Care About You.[71][72] In 1988, Teng wrote the lyrics for the song "We Are the Stars" in both Chinese and Japanese versions and sang it on stage with Japanese musician Yūzō Kayama on 29 October.[40] In 1992, Teng penned the lyrics for what was later revised into a song, "Star's Wish", after she died.[73]
Death and commemorations
On 8 May 1995, Teng died suddenly and unexpectedly while on holiday in Chiang Mai, Thailand, at the age of 42. Several sources reported a severe asthma attack as the cause of her death; however, Thai doctors attributed her death to heart failure, but no autopsy was performed. Teng had complained of having respiratory difficulties since the beginning of the year.[74] According to some witnesses, she was accompanied by her fiancé Paul Quilery, who was off scene when the attack occurred and had a rather indifferent attitude towards her sudden death. The cause of death was never confirmed, as both Teng and Quilery's families declined to allow an autopsy. Later, the case was closed by the police due to a lack of evidence.[7]
Teng's death produced a unified sense of loss throughout all of Asia, according to Billboard.[12] Her funeral in Taiwan became the largest state-sponsored funeral in the country's history, second only to that of ROC leader Chiang Kai-shek. Over 200,000 people lined up outside the funeral home, waiting to bid their last farewells to the singer, causing traffic in Taipei to come to a standstill.[20] Teng's funeral was broadcast on television stations across many Asian countries, while radio stations in Taiwan, China, and Hong Kong devoted their entire programming schedules to her music for two days.[12] Teng was given state honors at her funeral, with Taiwan's flag draped around her coffin. Hundreds of high-ranking officials and dignitaries, including commanders from three branches of the military, attended the funeral and accompanied her coffin to her grave. A day of national mourning was declared and President Lee Teng-hui was among the thousands in attendance.[75] Teng was posthumously awarded the Ministry of Defense's highest honor for civilians, the KMT's "Hua-hsia Grade One Medal", the Overseas Chinese Affairs' Commission's "Hua Guang Grade One Medal", and the president's commendation.[76] She was buried in a mountainside tomb at Chin Pao San, a cemetery in Jinshan, New Taipei City (then Taipei County) overlooking the north coast of Taiwan.[77]
According to Teng's maiden name character, Yun, the grave was named "Yun Yuan".
In May 1995, Shanghai Radio host Dalù dedicated the Sunday morning broadcast to the Taiwanese singer, who died a few days earlier. Spreading her songs was banned in mainland China and the journalist was formally warned for this act.[79]
In 1995, a tribute album, A Tribute to Teresa Teng, was released, which contained covers of Teng's songs by prominent Chinese rock bands.[80]
In May 2002, a
Legacy
Her peculiarity lie in the fact that the different cultural trajectories developed by the special political background of the two sides of the Taiwan Strait merged two different trajectories in a specific time and space dislocation, so she became the favorite of many people in that era. It would not have been possible without controversy. Today, it seems that this was normal at the time. After all, it is impossible to fully accept a cultural phenomenon like Teresa Teng with the general values and consciousness of the people at that time.
—Wang Xiaofeng, Lifeweek[83]
Throughout her 30-year career and up to this point, Teng has been acknowledged by many as one of the most celebrated and influential figures in Asian music and popular culture,[42][84][85] considering her deep impact on the whole of Chinese society, with an influence extending beyond music to include both political and cultural spheres, while her Asia-wide reach is largely attributed to her multi-lingual abilities, which established her as an icon in all of Asia, heralding the era of region-wide pop superstardom that has become today's norm.[86][12]
Cultural impact
Teng emerged as one of the biggest singers in the world in her heyday of the 1970s and 1980s,[87] with many considering her the most famous Asian popstar of her time.[88][35]
Teng is credited by some as an enlightener and a pioneer of Chinese vocal performance art and modern popular music.[10][8][9] Her profound influence on Asian popular music and the Chinese cultural sphere throughout the latter half of the 20th century and thereafter[49][12] led to her being recognized as Asia's first musical superstar.[6][7]
Numerous musical and non-musical figures have cited Teng as an idol and a major influence on their work. These include singer
China (PRC)
Prior to the 1980s, foreign music and art were prohibited in mainland China for most of three decades, and love songs were almost non-existent, aside from political and
Teng's songs were centred on a range of subjects, most primarily love and human relations—the most lacking elements in mainland culture at the time.[44] By the early 1970s, as rates of radio ownership began to increase, especially of cheap and portable transistor models, listening to Teng's music became the primary attraction. Author Ah Cheng recalled hearing her music for the first time in 1975 as a sort of excitement and extreme addiction that he and his friends would press their ears to the wooden frame of a shortwave radio only to get her voice heard.[34] His account of his internal exile in the mountains of Yunnan is better representative of this phenomenon:
Yunnan was endowed with a magnificent geographical gift: you could hardly hear central people's radio, and the newspaper would take days to make its way into the mountains and then be collected at the party's secretary's house, where you could ask him to tear off a strip when you wanted to roll up a cigarette. For people who listen to enemy radio, radio from the center or the official newspaper was merely a supplemental reference. But listening to enemy radio was not about political news so much as entertainment. I remember that whenever the Australian national station broadcast a radio play of the Taiwanese film The Story of a Small Town everyone would bring their own radio because the shortwave signal would tend to drift and that way we could cover the entire frequency range and make sure we had continuous sound from at least one receiver at a time. The boys and girls sitting around that grass hut would be in tears! Especially when Teresa Teng's voice rang out, emotions would rise to a fever pitch – her voice was to die for.[34]
The popularity of Teng's music among her listeners marked the birth of China's fan culture. Without the technology to communicate, fans organised their own groups of fandom by sharing her tapes or discussing her music together. Teng's music fandom is considered the earliest stage of the development of the Chinese pop culture fandom, before which no popular media could be found.[94] In 1977, Teng's popular love song "The Moon Represents My Heart" was released; it became one of the first foreign songs to break into the country. Her songs over the following decade revolutionized Chinese popular culture, which marked the end of the extremely tight control exercised in the preceding three decades by the communist party over Chinese society and culture.[95][44]
Author Ah Cheng cited Teng's songs, an inspiration for the revival of popular culture on the mainland.[96] Wu'erkaixi, a Chinese political commentator of Uyghur heritage, asserted that the youngsters who listened to her songs discovered the desire for the pursuit of freedom through her singing voice. He adds that "to the Chinese, Deng Lijun was a great person. If Deng Xiaoping brought economic freedom to China, she brought liberation of the body and free thinking to China."[97]
According to
Beyond Greater China
Teng became popular in
In 1974, Teng entered the Japanese market, two years after Japan severed diplomatic ties with Taiwan. She was extremely popular in Japan throughout the 1970s and 1980s, having lived off her royalties in the country after semi-retiring in the late '80s. During this tenure, Teng recorded and performed Japanese pop songs, often termed as
Hirano Kumiko, an author at Nippon writes:[14]
For Japanese, Teresa Teng was more than just a popular singer. By performing kayōkyoku, she connected Japan to its Asian neighbors. She taught us about the profundity of Chinese culture, whether in her birthplace of Taiwan, her ancestral home of China, or Hong Kong, which she loved throughout her life. We, her Japanese fans, will never forget her velvety voice and the brief, beautiful radiance of her life.
In 2007, Teng was inducted into the "Popular Music Hall of Fame" at the
In 2015, on an occasion to commemorate the 20th death anniversary of the singer, Akira Tada from Nikkei Asia wrote, "Asia has undergone significant changes in the past 20 years, with the flow of people, goods, and information having increased considerably. At the same time, new political frictions have developed. Teng, who continues to be loved across national and ethnic boundaries, still shines as a voice uniting Asia through song."[109] In 2018, The Guardian wrote, "In 20th-century pop music, the voice of Elvis Presley is as iconic and identifiable in the west as that of Teresa Teng is in the east."[110] Andrew N. Weintraub and Bart Barendregt described her as "a model of inter-Asian modernity whose voice crossed linguistic, national and generational borders",[103] whereas John F. Copper called her "the most heard singer in the world ever" during her time.[111]
Achievements and honors
Considered a "brilliant linguist" by The New York Times,
The 1996 Hong Kong film Comrades: Almost a Love Story, directed by Peter Chan, features the tragedy and legacy of Teng in a subplot to the main story. The movie won best picture in Hong Kong, Taiwan, and at the Seattle International Film Festival in the United States.[117] In 2007, TV Asahi produced a drama series entitled Teresa Teng Monogatari (テレサ・テン物語) to commemorate the 13th anniversary of her death. Actress Yoshino Kimura starred as Teng.[118]
In 2002, Teng's commemorative statue was erected in Fushou Garden,
In 2015, a temple in
On 29 January 2018, a Google Doodle was released across Japan, China, Taiwan, Thailand, Malaysia, Singapore, Indonesia, India, Philippines, Australia, New Zealand, Sweden, Bulgaria, and Iceland to honor Teng on what have been be her 65th birthday.[124][125][126]
To date, Teng's stamps have been issued by countries across the world, including
Teng has a street in her name in Ivry-sur-Seine, Grand Paris. The name was adopted by the vote of the Municipal council of France held on 17 February 2022.[24]
Personal life
Like her maternal grandmother Mary Chang (張守鑫),
In 1971, Teng met her first boyfriend, Lin Zhenfa[spelling?] (林振發), a Malaysian paper tycoon, and they soon fell in love. In 1978, he died of a heart attack. Later, Teng, accompanied by her close friends, went to the cemetery to pay respects to her boyfriend.[131]
In 1980, while in the US, Teng met Jackie Chan, who was filming in Hollywood. However, due to their personality differences, their relationship was short-lived and they parted ways.[132]
In 1982, Teng was engaged to Beau Kuok, a Malaysian businessman and the son of multi-billionaire Robert Kuok. However, Beau's grandmother imposed several conditions on their union, including that Teng cease her career as an entertainer as well as fully disclose her biography and all her past relationships in writing. But Teng turned down the proposal, and the marriage was called off.[7][30]
In 1990, Teng met French photographer Paul Quilery in France, who was a friend of a guitarist in her band. They dated for five years and got engaged a month before Teng died on 8 May 1995.[133]
Discography
Awards
Teng received the following selected awards:
Japan:[134]
- 1974: 16th Japan Record Awards: New Artist Award for "Kūkō" (空港)
- Japan Cable Awards: Grand Prix for "Tsugunai" (つぐない) in 1984: "Aijin" (愛人) in 1985; and "Toki no Nagare ni Mi o Makase" (時の流れに身をまかせ) in 1986. Teng's fourth Grand Prix for "Walare no Yokan" in 1988 was only for the All Japan Wired Cable Awards' year first-half award show (上半期)
- 1986: 28th Japan Record Awards: Gold Award for "Toki no Nagare ni Mi o Makase" (時の流れに身をまかせ).
- 1987: Japan Cable Awards: The Outstanding Star Award for "Wakare no Yokan" (別れの予感)
- 1987, 1988: The Cable Radio Music Award for "Wakare no Yokan".
- 1995: The Cable Radio Special Merit Award (有線功労賞) for three consecutive Grand Prix wins.
Taiwan:
- 1980: 15th Golden Bell Awards: Best Female Singer[135]
Hong Kong:
- 1978: RTHK Top 10 Gold Songs Awards for "Siu Cyun Zi Lyun" (小村之戀)[136]
- 1995: Golden Needle Award (posthumously)[137]
Notes
References
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a shrine to the woman he considers a goddess: the Taiwanese pop singer Teresa Teng, one of Asia's most celebrated artists.
- Schweig, Meredith (7 September 2022). Renegade Rhymes: Rap Music, Narrative, and Knowledge in Taiwan. ISBN 978-0-226-82058-3. Archivedfrom the original on 25 April 2023. Retrieved 30 January 2023.
the late Teng (1953-1995), a star of the greatest luminosity throughout East and Southeast Asia,
- Frater, Patrick (21 October 2014). "Digital Domain Expands Into Performance Hologram Sector". Variety. Archived from the original on 14 February 2023. Retrieved 10 January 2023.
TNT Production, to produce performance holograms of top Asian singing star Teresa Teng
- "Remembering 5 of Teresa Teng's songs, 25 years after her death". South China Morning Post. 6 May 2020. Archived from the original on 15 February 2023. Retrieved 15 February 2023.
the Taiwanese cultural icon is considered one of the greatest singers in Asian recording history
- Hernández, Javier C. (21 January 2019). "In the Heart of Beijing, a Taiwanese Pop Idol Makes Fans Swoon".
- ^ "Remembering 5 of Teresa Teng's songs, 25 years after her death". South China Morning Post. 6 May 2020. Archived from the original on 15 February 2023. Retrieved 15 February 2023.
- ^ Chu, Karen (13 November 2018). "Fox Networks Group Asia to Produce Miniseries Inspired by Taiwanese Singer Teresa Teng". Billboard. Retrieved 8 April 2024.
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Born in Taiwan to mainland Chinese parents, Teng is considered the archetype of modern Chinese pop music
- ^ "Google Doodle Celebrates Singing Sensation Teresa Teng". Time. 28 January 2018. Archived from the original on 14 February 2023. Retrieved 11 October 2021.
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- ^ "任时光匆匆流去,我只在乎邓丽君" [As time flies by, I only care about Teresa Teng]. BBC News 中文 (in Traditional Chinese). 29 April 2010. Archived from the original on 14 February 2023. Retrieved 19 June 2022.
According to recorded statistics, Teresa Teng's total album sales have exceeded 48 million (according to IFPI statistics, excluding sales data in mainland China).
- ^ a b "Hologram brings diva back to life". The Daily Telegraph. 7 September 2013. Archived from the original on 14 February 2023. Retrieved 4 October 2021.
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當時保羅作為鄧麗君錄音團隊中一個吉他手的朋友前來探班時,經介紹認識後,保羅就當上了鄧麗君的專職攝影師,更進而產生戀情...就這樣他們一起走過5年的時光;在鄧麗君去世前的一個月,他們還在泰國的寺廟中舉辦了訂婚儀式。
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External links
- Teresa Teng Foundation 鄧麗君文教基金會
- Teresa Teng at AllMusic
- Teresa Teng discography at MusicBrainz
- Teresa Teng at IMDb