Archive for the ‘Hong Kong’ category


From one émigré to the Lais, leaving Hong Kong for Scotland

31.12.2020

This final podcast of 2020 is an unusual one. First, it’s really directed a family I’ve never met: the Lais, who are leaving Hong Kong for Glasgow after the passing of the national security law in the Chinese city, as reported by Reuter. They may never even hear it. But it’s a from-the-heart piece recounting my experiences as a émigré myself, whose parents wanted to get out of Hong Kong because they feared what the communists would do after 1997. Imagine heading to a country with more COVID-19 infections and lockdowns and feeling that represented more freedom than what the Chinese Communist Party bestows on your home town.
   Secondly, it’s in Cantonese. The intro is in English but if you’re doing something from the heart to people from your own home town, it’s in your mother tongue. It seemed more genuine that way. Therefore, I don’t expect this podcast episode to have many listeners since I suspect the majority of you won’t know what I’m saying. They are themes I’ve tackled before, so you could probably guess and have a good chance of getting it right.
   If you know the Lais, feel free to share this link with them.

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COVID-19 infections as percentage of tests done, December 7

07.12.2020

It’s hard not to be in a bubble sometimes, especially when that bubble is safe in the southern hemisphere and away from wars and COVID-19.
   With TVNZ having a New York bureau, we of course hear about how poorly the US is doing with COVID-19, and we also hear from the London bureau, where the numbers aren’t as staggering, so they don’t always make the six o’clock programme. Aljazeera English mentioned South Korea’s third wave, looking worse than the second, and I knew Hong Kong’s numbers were on the up.
   However, right though the month of November, I didn’t calculate positivity rates at all, even though I had been doing them most months, sometimes multiple times a month. These were going on to my NewTumbl blog, which I’ve decided not to update for the time being, for reasons already outlined.
   Doing them again since late October gave me quite a surprise. I knew Europe was having a rough time with it, but there was quite a change in the numbers. In fact, it wasn’t long ago that these rates were trending downwards for the majority of countries that I had been tracking; that is no longer the case. It’s rising almost everywhere apart from India, the KSA (which has sensibly and surely got its first wave down—I’ve seen days of under 200 infections), Singapore, Australia, and, of course, here in New Zealand.
   For the first time since I’ve been doing these calculations, we are at the bottom of the table, a fact that I’m relieved about, but it does make me worried about the rest of the world. I have a lot of family in the US and Hong Kong.
   The data come from Worldometers and they tend to source from official parties. I believe I loaded the page around 2200 GMT.

Brazil 25·77% ↑
France 10·86% ↑
Sweden 8·07% ↑
Italy 7·50% ↑
USA 7·33% ↑
Spain 7·12% ↓
India 6·57% ↓
Germany 4·11% ↑
UK 3·79% ↑
KSA 3·62% ↓
Russia 3·12% ↑
Singapore 1·25% ↓
South Korea 1·19% ↑
Taiwan 0·64% ↑
Australia 0·27% ↓
Hong Kong 0·159% ↑
New Zealand 0·158% ↓

   The arrows are in comparison to the last set of calculations from October 26:

Brazil 24·63% ↓
France 7·651% ↑
India 7·645% ↓
Spain 7·16% ↑
USA 6·67% ↓
Sweden 5·33% ↓
KSA 4·50% ↓
Italy 3·59% ↑
UK 2·80% ↑
Russia 2·64% ↓
Germany 2·15% ↓
Singapore 1·66% ↓
South Korea 1·02% ↓
Taiwan 0·55% ↓
Australia 0·32% ↓
New Zealand 0·18% ↓
Hong Kong 0·15% ↓

which were measured against a bunch from September 2.

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Posted in China, France, Hong Kong, India, internet, media, New Zealand, TV, UK, USA | 1 Comment »


Podcast for tonight: behind the scenes on The Panel

28.08.2020

For your listening pleasure, here’s tonight’s podcast, with a bit behind the scenes on my first appearance on RNZ’s The Panel as a panellist, and ‘I’ve Been Thinking’ delivered at a more appropriate pace, without me staring at the clock rushing to finish it before the pips for the 4 p.m. news.

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Back on RNZ’s The Panel: on Hong Kong’s new national security legislation

08.07.2020


Public domain/Pxhere

What a pleasure it was to be back on The Panel on Radio New Zealand National today, my first appearance in a decade. That last time was about the Wellywood sign and how I had involved the Hollywood Sign Trust. I’ve done a couple of interviews since then on RNZ (thank you to my interviewers Lynda Chanwai-Earle and Finlay Macdonald, and producer Mark Cubey), but it has been 10 years and a few months since I was a phone-in guest on The Panel, which I listen to very frequently.
   This time, it was about Hong Kong, and the new national security legislation that was passed last week. You can listen here, or click below for the embedded audio. While we begin with the latest development of social media and other companies refusing to hand over personal data to the Hong Kong government (or, rather, they are ‘pausing’ till they get a better look at the legislation), we move pretty quickly to the other aspects of the law (the juicy stuff and its extraterritorial aims) and what it means for Hong Kong. Massive thanks to Wallace Chapman who thought of me for the segment.

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Why I don’t find the Asiatic characters on Little Britain and Come Fly with Me racist

11.06.2020


BBC

I have a problem with blackface and yellowface, generally when there are more than capable actors who could have taken the role, but I make exceptions in some situations.
   Take, for example, the news that Little Britain and Come Fly with Me are being removed from streaming services because of what are now deemed racist portrayals. Matt Lucas, who plays half the roles in each, has even said that the shows were right for the time but they’re not what he would make today. Yet I don’t find myself being troubled by his and David Walliams’s characters, since in both they are equal-opportunity about it, even going so far as to address racism head-on with Come Fly with Me’s Ian Foot, a clearly racist character.
   I always viewed everyone from Ting Tong to Precious as caricatures viewed through a British lens, and it is through their comedy that they shine a light on the nation’s attitudes. Matt and David might not like me grouping their work in with Benny Hill’s Chow Mein character, who, while offensive to many Chinese, tended to expose the discomfort of the English “straight man” character, usually portrayed by Henry McGee. I can’t think of one where Mein doesn’t get the upper hand. I like to think these characters all come from the same place.
   Sometimes, especially in comedy, you need people of the same race as most of the audience to point to their nation’s attitudes (and often intolerance)—it’s often more powerful for them as it’s not seen as preaching. Where I have a problem is when characters are founded on utterly false stereotypes, e.g. the bad Asian driver, the loud black man.
   And can you imagine the furore if every character portrayed by Matt and David in Come Fly with Me was white? They would be sharply criticized for not being representative of the many cultures at a modern British airport.
   I don’t turn a blind eye to brownface in Hong Kong (Chinese actors playing Indians) or the mangled Cantonese used to dub white actors, but the same rules apply: if it shines a light on a situation, helps open our collective eyes, and make us better people, then surely we can accept those?
   I Tweeted tonight something I had mentioned on this blog many years ago: Vince Powell’s sitcom Mind Your Language, set in 1970s Britain, where Barry Evans’s Jeremy Brown character, an ESL teacher, has to deal with his highly multicultural and multiracial class. The joke is always, ultimately, on Mr Brown, or the principal, Miss Courtenay, for their inability to adjust to the new arrivals and to understand their cultures. Maybe it’s rose-coloured glasses, but I don’t remember the students being shown as second-class; they often help Jeremy Brown out of a pickle.
   Importantly, many of the actors portrayed their own races, and, if the DVD commentary is to be believed, they were often complimented by people of the same background for their roles.
   Powell based some of his stories on real life: a foreign au pair worked for them and brought home her ESL classmates, and he began getting ideas for the sitcom.
   However, at some stage, this show was deemed to be racist. As I Tweeted tonight, ‘I loved Mind Your Language but white people said the depictions of POC were racist. Hang on, isn’t it more racist to presume we can’t complain ourselves? Most of the actors in that depicted their own race.
   ‘I can only speak for my own, and I didn’t find the Chinese character racist. Because there were elements of truth in there, she was portrayed by someone of my ethnicity, and the scripts were ultimately joking about the British not adjusting well to immigrant cultures.
   ‘Which, given how Leavers campaigned about Brexit, continues to be true. I get why some blackface and yellowface stuff needs to go but can’t we have a say?
   ‘Tonight on TV1 news, there were two white people commenting on the offensiveness of minority portrayals in Little Britain and Come Fly with Me. I hope someone sees the irony in that.’
   However, if any minorities depicted by Matt and David are offended by their work—Ting Tong, Asuka and Nanako are the only Asiatic characters they do that I can think of, so east Asians aren’t even that well represented—of course I will defer to your judgement. I can’t pretend to know what it’s like for someone of Pakistani heritage to see Matt’s Taaj Manzoor, or someone with a Jamaican heritage to see Precious Little. However, unlike some commentators, I do not presume that members of their community are powerless to speak up, and they are always welcome on this forum.

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Where does Hong Kong’s new national anthem law leave parody?

05.06.2020


Steve Cadman/Creative Commons 2·0

I don’t profess to be an expert on how Hong Kong law functions these days with its mix of old British ordinances and the laws made after 1997, but one thing that struck me with at least the news reports covering the criminalizing of insults against ‘March of the Volunteers’, the national anthem of the People’s Republic of China, is whether parody—a fundamental part of free speech—will still be permitted.
   I don’t have a problem with the anthem being taught to children as it was sung long before 1949, the establishment of the PRC. It was a wartime anthem, which people like my father knew, having been born in the 1930s at the time of the Sino–Japanese War. It is historical, and it has meaning. It is arguably even more familiar to older Chinese than the Republic of China’s anthem generally sung on the island of Taiwan. But, even back then, ‘March of the Volunteers’ had picked up this parody:

起來! 買嚿牛肉蒸葱菜!

   If I recall correctly, the parody emerged when the Communists and Nationalists were trying to entice the citizenry over to their side, and the Communists were promising food.
   I won’t go in to parody and its relationship to freedom of speech here; there are plenty of resources on it online.
   But does it mean that repeating the parody lyrics would put me at risk in Hong Kong?
   Of course it has escaped no one that the law was passed on June 4, a ballsy move by Beijing.
   Meanwhile, a few members of the UK government have talked about giving BN(O) (British National [Overseas]) passport holders a pathway to British citizenship, leading some to say there would be a brain drain. What I will say here is: the British have talked about defending the rights of Hong Kong people under the joint declaration ever since 1997—indeed, even before, with the Blair-led opposition—and nothing has happened. I’ve gone into my issues entering the UK with this passport before, so you’ll excuse me if I say that actions speak more loudly than words. British politicians have been high on rhetoric for over two decades on this issue and I have no reason to believe the least trustworthy lot they have ever elected.
   I disagree that they are interfering with Chinese affairs if they are simply looking after those that identify themselves as British, but at the same time I don’t think Beijing’s foreign ministry has anything to be concerned about. The British have their own doorstep to think about, and the prospect of millions of Hong Kong Chinese heading there was too hard for them to stomach under Major or Blair, and I do not expect that attitudes have changed.

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Going beyond a blacked-out image: thoughts on Black Lives Matter

04.06.2020

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#blackouttuesday in support of Black Lives Matter. It was the only blacked out media I found on the phone. Recorded in our conservatory one night.

A post shared by Jack Yan 甄爵恩 (@jack.yan) on

Usually I find it easier to express myself in written form. For once, Black Lives Matter and the protests in the US prompted me to record another podcast entry. I’m not sure where the flat as and the mid-Atlantic vowels come from when I listened to this again—maybe I was channelling some of the passion I was seeing in the US, and I had watched the news prior to recording this.

   My Anchor summary is: ‘Personal thoughts in solidarity with my black friends in the US. Yes, I posted a blackout image on my Instagram but it didn’t seem to be enough. This is my small contribution, inspired by a Facebook post written by my white American friend Eddie Uken where he reflects on his perspective and privilege.’ Eddie’s Facebook post, which is public, is here.

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Live from Level 3

03.05.2020

Finally, a podcast (or is it a blogcast, since it’s on my blog?) where I’m not “reacting” to something that Olivia St Redfern has put on her Leisure Lounge series. Here are some musings about where we’re at, now we are at Level 3.

   Some of my friends, especially my Natcoll students from 1999–2000, will tell you that I love doing impressions. They say Rory Bremner’s are shit hot and that mine are halfway there. It’s a regret that I haven’t been able to spring any of these on you. Don’t worry, I haven’t done any here. But one of these days …

Perhaps the funniest Tweet about the safe delivery of the British PM and his fiancée’s son, for those of us who are Clint Eastwood fans:

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Light humour, dark copy

24.04.2020

I really love Hong Kong 漫畫 or manhua, and found this in one of the boxes from the move.

   This was before the days of our having a computer scanner, and I had photocopied it out of a magazine or newspaper. There were years the copier was on the blink and everything would come out way darker than it should be—it was only with a bit of photo editing in a modern program that I got it looking better.
   I swear that copier had a psychic circuit like the Tardis. My father was a technician and knew his way around the machine but could never find anything wrong with it. It was fine when new but there were years everything came out too dark. After my mother passed away, the machine went dark instantly. After a period of mourning, without warning, it brightened again and all was back to normal. The computer monitor at the time did the same thing: I had to set it to its maximum setting to see the screen properly. And around the same time, it fixed itself, and I could turn it back to where it was. Gadgets in mourning.
   Usually you just hear stories of light bulbs frying but we were more high-tech.
   When Dad’s Imac gave up the ghost days after he died (actually, that was the first time we tried to switch it on after he passed away), I didn’t bother trying to get it fixed. I had a sense it wouldn’t be worth it.

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A concert that takes you home

17.04.2020

One bonus of the lockdown was the live Easter Day concert held by Hong Kong’s own Sam Hui (許冠傑), perhaps fairly described as the king of Cantopop.
   I had no idea this was even on if it weren’t for the fire at the Baxter’s Knob transmitter that took out television transmission in our area. Faced with the prospect of no television during lockdown, and as I’m not a cat in an NZI commercial, I hooked up my laptop to the old LG monitor, relocated to the lounge, and streamed that evening.
   We put on TV1 but later that night, I headed to RTHK TV31, a government-funded channel in Hong Kong, and came across the commercial for Sam’s live concert at 5 p.m. HKT on Easter Day, which translated comfortably to 9 p.m. NZST.
   Hong Kong has some COVID-19 restrictions, with the safe distance a lower 1·5 m, though most people wear masks. Even TV hosts are masked on their programmes. There isn’t a big physical audience for the concert: just Sam, his guitar, sitting atop a building on the Kowloon side, with the Hong Kong Island business district skyline as the backdrop. The host is seated a suitable distance away. Some folks are seated in a roped-off area, sitting a bit closer, though masked. There’s a four-camera set-up. For such a massive star, this might have been his smallest physical audience, though on YouTube, the concert netted a six-figure audience (160,000 when I looked) around the world, and no doubt others will have watched on their television sets, while I watched on TV31’s stream. One source suggests a total viewing audience of over 2 million.
   Sam’s still got the same voice, despite being in his 70s—for the most part, he sounds like the young guy in his 20s that I watched on TV before I emigrated, and whose cassette tapes I cherished when they arrived from Hong Kong in the first few years we were in Aotearoa.
   For someone who missed contact with my birthplace, Sam’s music was a connection, something that took me back, a tiny slice of “home” that was both grounding and enjoyable.
   In those early days, Sam’s music struck a chord with HKers because he often sang about the working class, and in plain language. Few artists had done this at the time; most lyrics tended to be in properly structured Chinese, so Sam broke new ground by singing colloquially. A skilled composer and lyricist, we saw him regularly performing his own songs on programmes such as 歡樂今宵 (Enjoy Yourself Tonight), a variety show that was a big hit back in the 1970s.
   When he broke into films with his brothers, he was frequently cast as the hero type, and could genuinely claim to ‘star in it, write the theme tune, sing the theme tune.’
   His solo career as an actor hit a high in the 1980s and as the video cassette boom began, I indulged in the 最佳拍檔 (Aces Go Places) series. Most kids in the west watching Hong Kong cinema knew about Bruce Lee or that new guy Jackie Chan, but we locals knew that Sam was who you watched if you wanted decent entertainment with a mix of action and humour—and the obligatory Sam Hui theme tune.
   Watching the Easter Day concert brought back a lot of those feelings of connection, and Sam performed plenty of those earlier hits that anyone my age would know. You never lose your connection to the land in which you were born. Hong Kong might look different to how it did in the 1970s—the tallest building then, Connaught Tower, is dwarfed by the International Commerce Centre a short distance away—but the music took you back, and thanks to the cleaner air during the pandemic, the skies even looked as clear as they did back then. The city’s character remains intact, the concert a reminder of what unites Hong Kong people both there and abroad. We have a distinct culture, one that evolved through the will and the freedom of our people, that I hope will go on regardless of one’s political stripes.

The monitor, incidentally, was much easier to view than the television, with softer colours and less brightness. No matter how I played with the settings on the TV, I couldn’t get them to match. I suspect the TV has a lot of blue light, which makes prolonged viewing difficult. I notice that one can buy blue-light glasses, highlighting once again where we have gone wrong: we humans shouldn’t be adapting to technology, it’s technology that should be adapting to us. The LG (LED) monitor isn’t new, so clearly the technology is available to make TVs calmer on the eyes. Yet no one touts this as a selling proposition. Head into an appliance shop (outside of one’s lockdown) and all the TVs are set on the brightest setting, which would completely turn me off buying one.
   Friends tell me that OLED is the way to go in terms of getting the right setting. One of these days I’m going to look into it, but I will bet you that no one who sells these things in the shops will know what a “calm” screen is. They’ll just get excited about forkay, or maybe even atekay, not someone who wants 32 inches or less who wants to preserve their eyesight. ‘Big! Big! Big!’

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