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Paula Tsui
View on Wikipediafrom Wikipedia
Paula Tsui Siu-fung (born 1 January 1949) is a Hong Kong singer, with a career spanning over 50 years.[2] She was affiliated with the TVB television station until the mid-1990s and has performed for Asia Television on several occasions since 1995. Over fourteen of her albums have been certified platinum by the IFPI Hong Kong.[3]
Key Information
Personal life
[edit]After graduating from secondary school, Tsui worked at her father's salon as a nail technician and hairstylist.[4]
Tsui was born in Hubei, but her family moved to Hong Kong when she was still a baby. Her career began in 1969 as a supporting act in a nightclub.[5] Her parents did not approve of her pursuing a career in music.[5]
Career
[edit]
After winning a contest in 1966, she soon began performing.[2] She moved from lounges to nightclubs and then to being a support act for others. A record executive was in the audience during one of her nightclub performances and offered her a lucrative contract. After signing the contract, Tsui was not allowed to perform in nightclubs again.[2]
Tsui is popularly known for her gowns.[5]
References
[edit]- ^ (in Chinese) Profile of Paula Tsui Archived 17 August 2021 at the Wayback Machine
- ^ a b c "徐小鳳成名歷程". www.paulatsui.com. Archived from the original on 17 August 2021. Retrieved 13 December 2015.
- ^ "香港本地白金唱片总销量排行榜，个个都是实力歌手" [Hong Kong local platinum record sales ranking, all of them are powerful singers]. Sohu (in Chinese). 12 January 2023. Retrieved 14 August 2024.
- ^ "封面人物-麗的藝員徐小鳳". www.paulatsui.com. Archived from the original on 17 August 2021. Retrieved 13 December 2015.
- ^ a b c Yeung, Winnie (18 February 2010). "Paula Tsui Siu-fung". HK Magazine. HK Magazine Media Ltd. Archived from the original on 7 April 2014. Retrieved 1 April 2014.
External links
[edit]
Paula Tsui
View on Grokipediafrom Grokipedia
Paula Tsui Siu-fung (徐小鳳; born 1 January 1949) is a Hong Kong Cantopop singer and occasional actress, celebrated for her distinctive husky vocals, glamorous stage presence, and a career exceeding five decades that has made her one of the genre's enduring icons.[1][2]
Born in Wuhan, Hubei Province, China, Tsui moved to Hong Kong as an infant and grew up as the eldest of six children in a poor family.[2] She left school at a young age to take on odd jobs, including work at her father's salon, while teaching herself to sing by listening to the radio without any formal music training.[1][2]
Tsui entered the music industry in the mid-1960s after winning a local singing contest, which led to nightclub performances starting in 1968.[3][2] Her recording debut came in 1970 with the Mandarin album Autumn Night, followed by a prolific output of over 60 albums by 1990, many featuring Cantonese hits that defined the era.[2] Notable songs include Season of the Wind (風的季節), Char Siu Bao (叉燒包), Flowing in the Natural Direction (順其自然), and Behind the Bridal Gown (婚紗背後).[2]
Throughout the 1970s and 1980s, Tsui rose to prominence with her unique vocal style and extravagant, often illuminated gowns that became a hallmark of her live shows, earning her affiliations with TVB and widespread acclaim across Hong Kong, Taiwan, and mainland China.[4][3] She ventured into acting in the 1970s, appearing in several Hong Kong film and television productions, though her primary legacy remains in music.[5]
Key achievements include the 1989 Golden Needle Award from RTHK's Top Ten Chinese Gold Songs, recognizing her contributions to Cantopop, and a Guinness World Record in 1992 for 43 consecutive sold-out concerts at the Hong Kong Coliseum over 37 days during her Amway Paula Tsui in Concert tour.[6] Despite a hiatus in the 1990s and early 2000s, Tsui resumed performing in 2005 and continues to draw large audiences with occasional concerts, including shows in Guangzhou as recently as 2024.[6] Her resilience and rapport with fans, affectionately calling her "Siu Fung-jeh" (Big Sister Siu-fung), have solidified her status as a timeless figure in Chinese pop culture.[2]
Early life
Family background
Paula Tsui, born Xu Yun-shu (徐郧书), entered the world on January 1, 1949, in Wuhan, Hubei province, China, as the eldest of six children, comprising three brothers and two sisters. Her family immigrated to Hong Kong shortly after her birth, when she was still an infant, amid the turbulent circumstances of post-war China.[2] Raised in a poor household, Tsui's early life was marked by humble beginnings and close family dynamics, with her father operating a modest hair salon that provided a basic livelihood for the large family. The socioeconomic challenges shaped her upbringing, fostering resilience amid limited resources.[2] While some biographical accounts vary on her birth year—listing it as 1948 or even 1950—the date of January 1, 1949, is consistently confirmed in established records.[7] Her family's modest environment also sparked an early interest in music, influenced by the sounds and stories shared at home.[2]Education and early employment
Tsui received her early education in Hong Kong following her family's relocation there as an infant. She attended local schools, where she particularly enjoyed music classes, though she described herself as a rebellious student overall.[4][2] Due to the family's financial hardships, Tsui left school at a young age, around her early teens, forgoing further education to help support her parents and five younger siblings. This early departure was driven by the need to contribute to household income in their modest living situation above her father's barber shop.[2][4] In her initial employment, Tsui worked odd jobs, including at her father's barber shop, where she assisted with hairstyling and nail care to subsidize the family. These roles demanded practical skills and long hours, highlighting the challenges of transitioning from student life to labor in a low-income environment with limited opportunities. Her humble family origins instilled a resilient work ethic that persisted throughout her life.[2][4] Although lacking formal training in performing arts, Tsui gained early exposure to music through local influences such as radio broadcasts, which she listened to avidly and used to teach herself songs. This self-directed immersion fostered her innate singing ability amid her everyday responsibilities.[2]Career beginnings
Singing contest entry
In December 1965, at the age of 16, Paula Tsui participated in the "Hong Kong Nightingale" singing contest, a competition designed to identify emerging vocal talents in Hong Kong's burgeoning entertainment scene.[8][9] Despite lacking any formal vocal training, Tsui performed Bai Guang's "The Flame of Love" ("Lian Zhi Huo") and emerged as the champion, marking her first public breakthrough as a performer.[9][10] The contest highlighted Tsui's distinctive mezzo-soprano timbre, characterized by a husky, resonant quality that captivated judges and audiences, setting her apart from more conventional voices of the era.[9] This immediate acclaim for her unique vocal style—often described as magnetic and emotionally depth-filled—positioned her as a promising newcomer in local music circles, even as she navigated familial reservations about a show business career. Although the victory did not yield instant industry access due to her parents' opposition to public performance, it facilitated Tsui's shift from amateur singing to semi-professional engagements, including initial invitations to perform at local events while she sustained herself through early employment as a telephone operator.[8][2] This transitional phase underscored the contest's role as her pivotal entry into Hong Kong's entertainment landscape.Nightclub and recording debut
Following her success in a singing contest, Paula Tsui began her professional career as a nightclub singer in Hong Kong in 1968, performing Mandarin classics from the 1940s and 1950s at various nightlife venues.[8] These engagements helped her cultivate a dedicated local following, showcasing her versatile vocal style that blended emotional depth with technical precision.[2] In 1969, Tsui signed with Crown Records, marking her entry into the recording industry.[11] That same year, she released her debut EP, Autumn Night (秋夜), a collection of Mandarin covers produced by the label's Nan Guo Recording Studio in Kuala Lumpur. Her initial recordings focused primarily on Mandarin interpretations of popular Mandopop songs, reflecting the dominance of that genre in Hong Kong's music scene at the time.[8] As a newcomer, Tsui navigated a highly competitive industry where many aspiring singers struggled to sustain their careers.[2] She gradually transitioned toward Cantonese recordings in the early 1970s, adapting to the evolving local market while building on her nightclub experience.[11] This shift laid the groundwork for her broader contributions to Cantopop, though her early phase emphasized Mandarin material amid industry challenges.[8]Musical career
Rise to prominence
In the early 1970s, Paula Tsui established a strong affiliation with Television Broadcasts Limited (TVB), Hong Kong's leading television station, which provided her with extensive exposure through regular appearances on variety shows and drama theme song performances. This partnership was instrumental in elevating her profile beyond nightclub circuits, allowing her to reach a broader audience amid the burgeoning local entertainment scene.[12] Building on her debut Mandarin album Autumn Night in 1970, Tsui's recording career accelerated through affiliations with labels like Man Chi Records (1970–1973) and Wing Hang Records (1973–1978), where she released breakthrough albums that marked her transition into Cantopop. In 1978, she achieved her first platinum certifications with two albums under Wing Hang, each selling over 30,000 units and signifying her commercial breakthrough in the genre.[2][11][13] Tsui's shift to Cantopop dominance in the 1970s was characterized by her recordings of classic covers, adapting Japanese and international hits into Cantonese, which resonated deeply with local listeners. Key early successes included the 1978 track "Tycoon" (大亨), a theme song for a TVB drama composed by Joseph Koo, and other covers like "Season of the Wind" (風的季節), which exemplified her versatile vocal style and helped solidify her presence in the evolving Cantopop landscape.[13][14][8] Her ascent was amplified by widespread radio airplay and continued TVB visibility, which collectively positioned Tsui as a preeminent female vocalist in Hong Kong by the late 1970s, outpacing many contemporaries in the male-dominated industry.[15]Peak era and signature style
During the 1980s, Paula Tsui reached the commercial zenith of her career, releasing a series of highly successful albums that solidified her status as a leading figure in Cantopop. Several of her recordings from this period achieved platinum certification from the International Federation of the Phonographic Industry (IFPI) Hong Kong, reflecting strong sales and widespread popularity among audiences in Hong Kong and beyond.[16] For instance, her album Xu Xiaofeng earned 2x platinum status, selling over 80,000 units, which underscored the era's demand for her music.[16] This decade marked her peak output, with Tsui transitioning between labels such as Contec Sound Media (1982–1985) and PolyGram (1986–1991), producing emotive tracks that resonated deeply with listeners.[17] Tsui's signature style extended beyond her music to her elaborate stage presence, particularly her preference for voluminous, glittering gowns that became visual trademarks during performances. These opulent costumes, often featuring expansive silhouettes and shimmering fabrics, enhanced her commanding aura on stage and contributed to her iconic image in the Cantopop scene.[3] In a 2012 interview, Tsui reflected on these outfits, noting their role in her earlier shows while humorously acknowledging changes in her physique over time.[3] Her vocal prowess, characterized by a husky timbre and wide range, profoundly influenced the Cantopop genre, setting a standard for emotional depth and expressiveness. Tsui's deep register and distinctive tones allowed her to excel in heartfelt ballads, such as Feng De Ji Jie (Season of the Wind), which showcased her ability to convey profound sentiment through strong, emotive delivery.[18] These qualities not only captivated audiences but also inspired subsequent artists in Hong Kong's pop landscape, where her style emphasized raw emotional connection over technical virtuosity.[2] By 1990, Tsui had amassed a substantial discography exceeding 60 albums across her career up to that point, with the decade's releases forming the core of her most acclaimed work.[15] A notable example from this late peak period is her album Tears of Civilization (文明淚), released in 1991, which captured the introspective and poignant themes typical of her mature artistry.[19] This body of work highlighted her enduring impact, blending personal vulnerability with broad appeal in Cantopop's evolving soundscape.[17]Later recordings and reduced activity
Tsui released her final major original album, Tears of Civilization (Wen Ming Lei), in 1991, marking the end of her prolific period of new recordings during the 1980s Cantopop boom. Following this, her output became sporadic, with no further full-length original albums, as she shifted away from active studio production amid advancing age and evolving industry dynamics in Hong Kong's music scene.[8] In the ensuing decades, Tsui's musical contributions centered on compilations and reissues that highlighted her extensive catalog, including peak-era hits like "Season of the Wind" that continued to resonate with fans. Notable examples include the Paula Tsui 2000 Collection in 2008, a 42-track retrospective, and Yi Lu Qing Si in 2010, which curated selections from her earlier works. Additional releases, such as Xin Qu + Jing Xuan in 2011 and The Complete CBS Sony Collection in 2014, further emphasized remastered tracks and greatest-hits packages rather than new material.[12] Despite perceptions of retirement, Tsui has maintained that she has no plans to fully step away from her profession, continuing selective engagements into her later years.[20] Her last significant musical projects in the 2010s underscored a career spanning over 50 years since her 1970 debut, solidifying her status as a Cantopop enduring figure.[11]Acting career
Film appearances
Paula Tsui's foray into film was limited, spanning nine appearances primarily in Hong Kong cinema, where she took on supporting or cameo roles that often incorporated her singing talents.[21] Her acting career remained secondary to her musical pursuits, with no lead roles, and her performances typically featured her as a singer-performer or guest star, blending her vocal skills with narrative elements.[22] This crossover was facilitated in part by her long-standing affiliation with TVB, which opened doors to film opportunities.[23] Tsui debuted on screen in Dragon Inn (1967). Subsequent early appearances included Love Is Smoke (1972) and Bravest Fist (1974), where she played Chang Hsiao Fung. She appeared as a nightclub singer in the martial arts drama Bruce Lee and I (1976), directed by Lo Wei, marking an early blend of music and acting in a biopic about the iconic martial artist.[24] Later roles included a supporting part as Auntie Paula in the holiday comedy Merry Christmas (1984), alongside Danny Lee and Cherie Chung. In 1987, she featured as Designer Feng in the action-comedy The Thirty Million Dollar Rush, directed by Michael Hui and centered on a lottery scam. One of her roles came in the 1988 comedy Chicken and Duck Talk, directed by Clifton Ko, where Tsui appeared as Hui's customer in the chaotic narrative involving rival families. After a period of reduced activity, Tsui returned to cinema in 2006 with The Shopaholics, directed by Wai Ka-fai, portraying Dr. Phoenix Luk, a psychologist aiding shopaholic protagonists in this romantic comedy starring Cecilia Cheung and Jordan Chan.[25]| Film Title | Year | Role | Notes |
|---|---|---|---|
| Dragon Inn | 1967 | Actress | Debut film.[21] |
| Love Is Smoke | 1972 | Actress | .[21] |
| Bravest Fist | 1974 | Chang Hsiao Fung | .[21] |
| Bruce Lee and I | 1976 | Nightclub Singer (uncredited) | Martial arts biopic.[24] |
| Let's Do It! | 1976 | Actress | .[21] |
| Merry Christmas | 1984 | Auntie Paula | Holiday comedy.[21] |
| The Thirty Million Dollar Rush | 1987 | Designer Feng | Action-comedy.[21] |
| Chicken and Duck Talk | 1988 | Hui's customer | Ensemble comedy.[21] |
| The Shopaholics | 2006 | Dr. Phoenix Luk | Romantic comedy; later career return.[25] |