Iâm sure there are many, many more examples of this tune being used to promote TV networks, but it seems to be a standard in at least three countries I know, and probably far more besides.
It is, of course, âStill the Oneâ, which ABC used in the US to celebrate being the top-rated network there in 1977 for the second consecutive year. It was rare for ABC to be on top, but I think the general consensus was that jiggle TV got them there.
Australia, which has always had a lot of US influences, then used it for Channel 9 in 1978 and included the original American footage. It would have been properly licensed but in the days before YouTube, and less international travel, few would have known of the origins.
It was then adapted for the Murdoch Pressâs Sky One satellite network in the UK the next decade (did they first see it in Australia?), before being revived by 9 in Australia in 1988. It was adapted once again for TVNZâs Channel 2 here in New Zealand to kick off the 1990s.
The slogan was used regularly by 9 as the 1990s dawned though new songs replaced the original, and by the end of the 1990s, both Channel 9 and its NBN sister were using the familiar tune again.
Was that the end? In 2003, WIN, another Australian network, brought it back for their promos. As far as I can tell, WIN, a regional broadcaster, doesn’t have a connection to 9, but instead has an agreement with the Ten Network there. Just to make things confusing, 9 was using it at the same time, and it continued to do so into the mid-2000s.
A quick internet search on Duck Duck Go reveals it was originally a song performed by the band Orleans in 1976, from their album Waking and Dreaming. The song was written by the then-married Johanna and John Hall. It charted at number five in the US. Given that it was used by ABC in 1977, it would have been a familiar tune to Americans at the time. I wonder if the Halls expected it would become a TV network standard in so many countries, and what did they think?
Let me know if there are other countries and networks that used thisâI’ve a feeling it went even further!
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.
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 theyâre not what he would make today. Yet I donât find myself being troubled by his and David Walliamsâs characters, since in both they are equal-opportunity about it, even going so far as to address racism head-on with Come Fly with Meâs 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 nationâs attitudes. Matt and David might not like me grouping their work in with Benny Hillâs Chow Mein character, who, while offensive to many Chinese, tended to expose the discomfort of the English âstraight manâ character, usually portrayed by Henry McGee. I canât think of one where Mein doesnât 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 nationâs attitudes (and often intolerance)âitâs often more powerful for them as itâs 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 donât 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 Powellâs sitcom Mind Your Language, set in 1970s Britain, where Barry Evansâs 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 itâs rose-coloured glasses, but I donât 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, âI loved Mind Your Language but white people said the depictions of POC were racist. Hang on, isnât it more racist to presume we canât complain ourselves? Most of the actors in that depicted their own race.
âI can only speak for my own, and I didnât 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.
âWhich, given how Leavers campaigned about Brexit, continues to be true. I get why some blackface and yellowface stuff needs to go but canât we have a say?
âTonight 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.â
However, if any minorities depicted by Matt and David are offended by their workâTing Tong, Asuka and Nanako are the only Asiatic characters they do that I can think of, so east Asians arenât even that well representedâof course I will defer to your judgement. I canât pretend to know what itâs like for someone of Pakistani heritage to see Mattâs 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.
One bonus of the lockdown was the live Easter Day concert held by Hong Kongâs own Sam Hui (èš±ć ć), perhaps fairly described as the king of Cantopop.
I had no idea this was even on if it werenât for the fire at the Baxterâs Knob transmitter that took out television transmission in our area. Faced with the prospect of no television during lockdown, and as Iâm 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 Samâs 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 isnât 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 TV31âs stream. One source suggests a total viewing audience of over 2 million.
Samâs still got the same voice, despite being in his 70sâfor 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, Samâs music was a connection, something that took me back, a tiny slice of âhomeâ that was both grounding and enjoyable.
In those early days, Samâs 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 æĄæšä»ćź” (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 âstar in it, write the theme tune, sing the theme tune.â
His solo career as an actor hit a high in the 1980s and as the video cassette boom began, I indulged in the æäœłææȘ (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 humourâand 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 1970sâthe tallest building then, Connaught Tower, is dwarfed by the International Commerce Centre a short distance awayâbut 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 cityâs 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!’
Another late-night calculation of COVID-19 cases as a proportion of total tests done, so the figures will be out of date again, and Iâve also discovered that the total testing numbers some countries are giving are out of date. The ones with asterisks below are those that havenât cited increased testing numbers (at least none that I can find; a search actually yielded lower and older figures in some cases), so I imagine the real percentages might be lower. The order of countries hasnât changed.
France 109,069 of 224,254 = 48·64%*
Spain 146,690 of 355,000 = 41·32%*
UK 55,242 of 266,694 = 20·71%
USA 400,549 of 2,082,443 = 19·23%
Italy 135,586 of 755,445 = 17·95%
Sweden 8,419 of 54,700 = 15·39%*
Switzerland 22,789 of 171,938 = 13·25%
Germany 109,178 of 918,460 = 11·88%
New Zealand 1,210 of 46,875 = 2·58%
Singapore 1,623 of 65,000 = 2·50%*
South Korea 10,384 of 477,304 = 2·18%
Australia 6,013 of 319,368 = 1·88%
Hong Kong 961 of 96,709 = 1·38%*
Taiwan 379 of 40,702 = 0·93%
I was buoyed by news on what some of us have cheekily dubbed The Ashley Bloomfield Show (the Ministry of Health director-general’s press conference) that we had only 29 new COVID-19 cases in the last 24 hours here. As a sporting nation I think we understand that you canât shirk when youâre playing the second half of the match. If anything, you need to go harder. By now I suspect many of us are finding the hand-washing and other advice second nature.
Hasn’t it been revealing to hear which journalists ask crappy questions at the Bloomfield press conference? Since the pressers are watched by a huge number of New Zealanders during lockdown, I think the scales have fallen from many eyes lately to see how the stories get edited and even editorialized. And which members of the media don’t seem to want to work with the good advice being given by our government, yet have nothing solid (e.g. other experts) to counter it with. In my opinion, it’s put TV1 in a good light, and shown its reasonable balance. It also reinforces that many of our talking heads are irrelevant (see below, from The Press in Christchurch). Science is saving the day and showing loud-mouthed opinions for what they are.
As a dual national, I hope thereâs some exaggeration or selective quoting in the Bristol Post about its report of former police officer Mike Rowland, whoâs stuck in Auckland with his wife Yvonne. Apparently, New Zealand is in âpandemoniumâ and he feels like heâs in âAlcatrazâ.
As we are most certainly not in pandemonium, the British Crown may have to ponder if it needs to reopen some of the cases Mr Rowland was once involved in due to unreliable witness testimony. Then again, if it can keep a foreign national like Julian Assange indefinitely and subject him to psychological torture as well as the risk of COVID-19 infection, perhaps it wonât need to ponder a thing.
Mr Rowlandâs not a fan of our breakfast television, either, saying that it makes Piers Morgan a âgodâ. There actually is some truth to the quality of our breakfast telly depending on which channel he has come across (I wonât name names), and I recommend that he switch to another. Go a bit further up the dial, and Aljazeera English has a whole variety of ex-BBC presenters speaking in RP that might make him feel less at home.
And Iâve my own stories about the inability to get answers from the British High Commission, so I sympathize on this note.
But given the choice between being stuck in Aotearoa and being amongst the control group that is Great Britain and Northern Ireland, where the governmentâs sense of British exceptionalism meant that it delayed locking things down, so much so that the PM himself has COVID-19, I would be quite happy to be in the land Down Under.
Mr Rowland may have missed the (disputed) Murdoch Press (which usually leans right) report that suggested that Boris Johnson’s senior adviser said it was ‘too bad’ if ‘some pensioners die’, consistent with Mr Johnson’s own position that Britain would pursue a strategy of herd immunityâand consistent with what the British government initially announced, with sycophants in full agreement.
I admit Iâve called our government âa bunch of Blairitesâ but Iâd take them over their lot, including their Mr Johnson who does less convincing prime ministerial impressions than Neville Chamberlain. Their mass U-turn had to happen as it appeared the British people figured out their lives were being put in danger and forced the government’s hand.
I realize he misses the comforts of home and I would, too, in his shoes, though equally Iâd be grateful to be alive, in a country where even he acknowledges that food is readily available and we havenât suffered the extent of panic buying that the UK has seen. If only Alcatraz were this pleasant.
Olivia St Redfern has featured yours truly in her lockdown day 2, part 1 podcast, so I decided to record another response.
It brings to mind something Steve McQueen once said. âIâm not an actor. Iâm a reactor.â As in, he could react to a line from another actor.
Anyone who has seen McQueen in a film, certainly anything post-Blob, would dispute thatâthe king of cool was an excellent actor. But for now, as someone who had avoided doing a podcast for two decades, I âreactâ to Oliviaâs episodes, and recorded a response on Anchor:
At some point I might do an entry independently but considering the first has only had one listen (out of hundreds who might read a blog post of mine), then thereâs not a huge incentive! (Update: that episode has doubled its audience to two.)
History tells us that it took a while for Melrose Place to be seen as more than a 90210 spin-off, for instance. And Joey never managed it post-Friends.
This second one does make one point about working from home. As mentioned before, Iâve been doing this since 1987, so the only difference with the lockdown (and the days leading up to it) is that I donât feel as âspecialâ. But I also know that not everyone is enjoying their work arrangements, such as this British QC:
Day 2 of isolation. Kids coping better than me. Very happy to email anyone who wants it a copy of the essential document I needed to draft this am pic.twitter.com/QptM2ouj6r
I posted my 12 tips for working from home, but when chatting to Amanda today, there might be a bit more to it than that. Maybe thereâs something about oneâs personality that makes working from home easier.
While I have things to do each day, I donât make lists. Iâm more substantive than procedural. In the daytime, I try to answer emails or see to urgent stuff. I almost never do accounts at night: thatâs another daytime pursuit. I know to reserve time to do those but I donât religiously set it to 2 p.m., for instance. The beauty of working from home is flexibility, so why re-create a regimented schedule?
At night I tend to do more creative things, e.g. design and art direction. My work day is extended because I enjoy my work.
My advice to those making the shift is to do away with the lists. Know the direction and get things done as the inspiration hits you. Itâs meant to be calmer than the bustle of office life.
When I was 13, my father became self-employed after being made redundant at his work. By choice, my mother did the same when I was in my early 20s. They both loved the lifestyle and I imagine it was inevitable I would do the same in my career, beginning at a time when I was still studying.
As some who self-isolate because of the coronavirus pandemic say that their mental health is affected, I thought Iâd share how Iâve been based at home for over three decades.
1. For those working, make sure itâs not just one project. Thereâs nothing more wearing that having just one thing to work on the entire day. I always have a few projects on the go, and make sure I switch between them. The second project should be a lighter one or be of less importance. Even if itâs not work, make sure itâs something that gives you a bit of variety.
2. Make sure you have a decent work set-up. I find it important to have a monitor where I can read things clearly. Also I set mine on a mode that restricts blue light. If youâre working at home, itâs not a bad idea to have comfortable settings on a screen. If your monitor doesnât have a native mode to restrict blue light, thereâs always F.lux, which is an excellent tool to make screens more comfortable.
If you’re used to standard keyboards and mice, that’s great, but for me, I have to ensure my keyboard is either at around 400 mm in width or less, and my mouse has to be larger than the standard size since I have big hands. Ergonomics are important.
3. Find that spot. Find a comfortable space to base yourself with plenty of natural light and ventilation. At-home pet cats and dogs do it, take their lead.
4. Stretch. Again, the cats and dogs do it. Get out of that chair every now and then and make sure you don’t get too stiff working from your desk. Exercise if you wish to.
5. If you relax to white noise or find it comforting, there are places that can help. One friend of mine loves his podcasts, and others might like music, but I enjoy having the sound of web video. And if itâs interesting, you can always stop to watch it. One site I recently recommended is Thought Maybe, which has plenty of useful documentaries, including Adam Curtisâs ones. These give an insight into how parts of the world work, and you might even get some theories on just what landed us in this situation in 2020.
When Aotearoa had two network TV channels, I dreamed of a time when I could have overseas stations accessible at my fingertips. That reality is now here with plenty of news channels online. If thatâs too much doom and gloom, Iâm sure there are others that you can tune into to have running in the background. Radio.net has a lot of genres of music.
6. Find that hobby. No point waiting till you retire. Was there something you always wanted to learn about but thought youâd never have time? I recommend Skillshare, which has lots of online courses on different subjects. You learn at your pace so you can delve into the course whenever you want, say once a day as a treat.
7. I do some social media but generally I limit myself. Because social media are antisocial, and theyâre designed to suck up your time to make their owners rich (they look at how much attention they capture and sell that to advertisers), thereâs no point doing something draining if youâve got some good stuff to do in (1). However, they might be cathartic if you want to have some human contact or express your feelings. Personally, I prefer to blog, which was my catharsis in the mid-2000s, and which I find just as good today. It’s a pity the old Vox isn’t around these days as there’s much to be said for a long-form blogging network.
Sarb Johal started the #StayatHomeEnts hashtag on Twitter where Tweeters have been putting up some advice on what we each do to keep entertained. I just had a scroll down and they’re really good!
8. Many of us have this technology to chat to others, letâs use it. Weâre luckier in 2020 that thereâs Facetime, Skype, Google Hangouts, etc. I had thought that if we didnât have social media, weâd be finding this an ideal opportunity to connect with others around the planet and learning about other cultures. I remember in the early days of the web how fascinating it was to chat to people in chatrooms from places I had never visited. I realize these days there are some weirdos out there, who have spoiled the experience for the great majority. But Iâm sure there are some safe places, and if theyâre not around, see what friends are in the same boat and form your own virtual networks. Importantly, donât restrict yourselves to your own country.
9. Donât veg: do something creative. For those of us with a creative bent, draw, write, photograph, play a musical instrumentâsomething to de-stress. I canât get through a day without doing one creative thing.
10. Anything in the house that you said youâd always do? Nowâs your chance to do it, and hopefully youâve got your tools and equipment at home already.
11. If you’re in a relationship, don’t get on top of each otherâhave your own spaces. Having said that, seeing my partner helps as I used to go into town a few times a week for meetings; because I see her each day, that need to meet up with colleagues to get out of your own headspace isn’t as strong.
Normally I would have a small amount of meetings during the week but as I get older, they’re actually fewer in number, so I can cope with not having them.
Do you have any extra tips? Put them in the comments and letâs see if we can build on this together.
Iâd far rather have the action taken by our governmentthan the UKâs when it comes to flattening the curve on coronavirus, and the British response reminds me of this 2018 post.
Just because the chief scientific adviser there has a knighthood and talks posh isnât a reason to trust him, his judgement or even his âexpertiseâ if science says otherwise.
When my father went into hospital in September 2019, the doctorsâ lack of treatmentâbecause they determined he was âdyingâ and that that was sufficient reason to deny him the essentials of life and that it would be a âmiracleâ if he regained consciousness, whereas my partner and I determined he was âdehydratedâ (we were right)âI was forced to ask the palliative nurse about this so-called âpolicyâ. Dad did, after all, wake up after we demanded he be given saline and sustenance within hours, leading me to wonder just why a team of doctors were so obsessed with killing him.
âWhoâs next?â I asked.
She looked at me quizzically.
âWhoâs next? Is it the differently abled? Homosexuals? Jews? Iâm sorry, but the parallels are all too evident to me.â
During this time, a Dr Mark Jones in the UK came into my Twittersphere and we exchanged a number of Tweets.
Mark essentially said that this was an unwritten UK government policy, and showed me numerous examples of elder neglect and abuse in his country. Maybe I should say âour countryâ since itâs the only one I have a current passport for, having got too busy to renew my Kiwi one (not that it would have much use at present).
The reasons were financial. The fewer OAPs there were, the less theyâd have to pay out in pensions.
Therefore, it was no surprise that Dadâs treatment at a British-run rest home compared less favourably than Te Hopai, where he wound up, although in Bupaâs defence they have taken our complaints seriously, apologized, and have invited us to see the improvements.
The less generous might have branded Mark a conspiracy theorist but Sir Patrick Vallance, the UKâs chief scientific adviser, seems to advance a position directly compatible with Markâs observations.
From what I can make out, heâs quite happy for the UK to get infected with coronavirus with the expectation that 60 per cent of the Union will develop immunityâalthough from all my reading of this approach, a proportion of older people who contract it will die. It appears a callous approach to just let a disease comeâthe UK isnât closing its borders or banning mass gatherings, but instead is welcoming its microbic visitor with crumpets and tea. Yes, they are advising those who feel sick to self-isolate, and that is sensible, but it’s the rest that makes little sense.
Prime Minister Alexander Boris de Pfeffel Johnson preempts this as he said without emotion, ‘Many more families are going to lose loved ones before their time.’
Even Jeremy Hunt appeared to break ranks with the government in one interview.
The likely result will be a thinning out of British OAPs.
When I first told my partner this, she was shocked, but I advanced my own conspiracy theory: âIf you begin with the premise that Dominic Cummings is out to destroy Britainâits institutions, and now its peopleâthen all of this fits his agenda.â
The new Chancellor of the Exchequer, Rishi Sunak, after Sajid Javid found himself in a position where even he couldnât go along with what was being peddled by 10 Downing Street, making you wonder just what horrors await, will doubtless be thrilled at the savings to the UK pension fund.
PS.: Thank you, Tomas Pueyo (the man in the screen), for reacting the way you did to Prof John Edmunds’ position that the UK has given up on containing the virus and that people will die. You have spoken, silently, for many of us.âJY
In 2013, I wrote a small note on my Tumblog about Roger Nichols’ theme to the TV series Hart to Hart. The music was played as the opening and closing themes in the pilot, and as an incidental theme to many episodes later, but few remember it. I’ve even seen websites proclaim that the Mark Snow theme that most of us know was the ‘original’, not unlike how The Love Boat attempts to exorcise the two pilot films starring Ted Hamilton and Quinn Redeker as the captains.
The tune was later commercially released by the Carpenters as ‘Now’, among the final songs recorded by Karen Carpenter. However, that was with a different set of lyrics, and the original by Leslie Bricusse has never been heard. I suggested in 2013 that the closest might have been Mariya Takeuchi’s recording in Japanese, though that has since vanished from YouTube.
However, there is now a post on YouTube at almost the original tempo, performed by Nichols himself, but the Bricusse lyrics remain unheard. You’d think that there’d be a fan somewhere who has the inside story.
