Posts tagged ‘music’


My 10 favourite Don Black lyrics

21.05.2021

I’ve bought Don Black’s The Sanest Guy in the Room, which is a great read—you know that it’s piqued your interest if you can do 110 pages in a single sitting. There’s more to go, and it’s entertaining learning a bit about the backgrounds to his songs, ‘Born Free’ arguably his best known. (I do know there are insurance commercials with the song, so I hope he, and the families of John Barry and Matt Monro are getting decent royalties from them—though it’s pretty bad I have no idea which company it’s for. I assume it’s a successor firm to AA Mutual.)
   Don has been very humble in this book and in one part, excerpts his favourite lyrics that others have written. In my mind, however, Don is the top man in his business, and it seems right that I highlight a few of my favourites out of his extensive repertoire and honour him. These come to mind, in no particular order. Many show a good use of rhyme, and all evoke imagery. The repetition of a root word is also clever. And they’re “singable”. As someone who works with the English language professionally they appeal to me for their ingenuity and, in some cases, brevity. Surprisingly, by the time I chose 10, I realized I had not included any of his James Bond lyrics.
   Any errors are mine as I recall the songs in my head.

But how do you thank someone
Who has taken you from crayons to perfume?
(‘To Sir with Love’, from To Sir with Love)

You’ve been dancing round my mind
Like a bright carousel.
(‘If There Ever Is a Next Time’, from Hoffman)

While your eyes played games with mine
(‘On Days Like These’, from The Italian Job)

This way Mary, come Mary,
While the sun is high,
Make this summer the summer that refused to die
(‘This Way Mary’, from Mary, Queen of Scots)

Walkabout,
And as you wander on
Reflect and ponder on
The dreams today forgot to bring.
(‘Walkabout’, from Walkabout)

The me I never knew
Began to stir some time this morning.
The me I never knew
Arrived without a word of warning.
You smiled and you uncovered
What I had not discovered.
(‘The Me I Never Knew’, from Alice’s Adventures in Wonderland)

Most people stay and battle on with their boredom
But what’s the sense in dreaming dreams if you hoard ’em?
(‘I Belong to the Stars’, from Billy)

Love has no season,
There are no rules.
Those who stop dreaming are fools.
(‘Our Time Is Now’, from the Shirley Bassey album The Performance)

Main attraction, couldn’t buy a seat
The celebrity celebrities would die to meet
(‘If I Never Sing Another Song’, as originally performed by Matt Monro)

There’s so much more for me to find,
I’m glad I’ve left behind behind.
(‘I’ve Never Been This Far Before’, from Alice’s Adventures in Wonderland)

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Cellphone apps: InShot’s Music Player may finally be the one; Über remains a total waste of time

14.05.2021

Forgetful Muzio Player has been replaced by a program (or app) called Music Player, which isn’t the best brand name considering the many other apps out there with the same name. This one’s version 2.5.6.74 and its maker is InShot Inc., so if all goes well, this is the one Meizu users should go for.
   First, a good bit: it picks up the directories on the SD card, which, till Meizu upgraded its Music app, I thought I could take for granted.
   The not-so-good bits. It doesn’t pick up the album artwork, so you have to link each cover yourself. The disadvantage is that you have to search for the cover by image, and there’s no option to search by name. Mind you, it was the same story with Meizu Music, and provided you have a rough idea of when you downloaded the album (as it displays the covers in reverse chronological order), it isn’t impossible.
   It did, however, pick up the graphics from the songs where the cover image was embedded and used them for the album covers … at least it did till today, when it forgot all about those and I spent more time relinking the dozen or so that the app forgot.
   What is it about forgetful software, or at least software that operates differently every day? Do I need to invent the dot-ini file (since it doesn’t seem to exist in this universe) or radically suggest that software follows a set of instructions, line by line, that do not vary each time?


Above: InShot’s Music Player displayed an album cover for Gone with the Wave yesterday, but today it appears to have forgotten what it was.

   Nevertheless, Music Player does “share” the chosen album cover with the individual tracks, so when they’re played, the image appears on the player screen, something that Muzio was loathe to do.
   In other words, Music Player does what Meizu Music used to do before it became a lemon and, providing it doesn’t forget all the linked album covers (all 280 of them), it’ll stay on my phone for the foreseeable future. Since it didn’t come from an app store, it won’t be “upgraded” to something inferior, either, which appears to be the path of a lot of cellphone software.
   It doesn’t look too bad, though admittedly Muzio Player’s interface remains superior.
   Linking 280 covers with each album over the course of a day and a bit sure beats linking over 1,000 of them with each song on Muzio Player, and to have three weeks’ worth of labour vanish despite the program saying, ‘Changes saved’.
   If InShot’s Music Player keeps things as they are, then it’s the replacement I’ve sought for some time. Since I didn’t hear back from Muzio Player, I’ve deleted the app.

One program I can say is a genuine waste of time is Über, if you happen to use a Meizu M6 Note like me. I’ve always resisted it, on principle. If they didn’t play silly buggers on tax, I might be more inclined to have supported them, but I’ve remained very faithful to public transport and taxis all these years.
   Because of timing and circumstances that I won’t go into here, and having had a virus all of last week that I haven’t fully shaken off (one symptom being short of breath), Über was suggested again today. My first choice was driving to the station, catching the train (being careful not to spread any of my germs about), then either a bus or cab, to pick up a press car from town. That would mean after returning home, I would have to walk to the station while not feeling 100 per cent to get my own car. I know first-hand that a cab from here in the northern suburbs can be pricey—and that’s when one even shows up, as my partner’s faced ridiculously long waits for them during the daytime. So Über was a realistic choice and I’d be suckered into helping to concentrate wealth in the hands of the few milliardaires high up at these tech firms at the expense of working people.
   Never fear, for Über is a half-baked app that cost me two missed trains and I could have been typing this an hour earlier than I am now.
   Thanks to the full factory reset that PB did last year on my phone, and my installation of Meizu’s far more advanced Chinese OS afterwards, I was able to create an account this time and log in. It didn’t keep returning the message that I had attempted too many log-ins, even after a single attempt.
   After that, it takes about half an hour to read the terms and conditions and the privacy policy on a cellphone. You can opt out of promo messages, or so they claim (to be on the safe side, I’ve done it thrice: once when reading the T&Cs before I accepted them, once after I read them, and once more from the desktop when an email with an unsubscribe link arrived).
   And that’s really about all it does. You can’t type in any destination; I later checked their instructions on a proper computer and I was doing exactly what was asked. I could feed in my home address (it came up after I began feeding in the basics), and I could feed in some favourites, but I can’t actually go to them.
   Naturally, it will take your credit card details: Über made sure that that part worked.
   Having saved the Railway Station as a destination, and attempted to order a ride to there, I got to a screen to tell me that Über isn’t available in my area. Whether that means Tawa, or Wellington, or New Zealand, I don’t know.




Above: It’s impossible to feed in a destination in Über, but it’s probably because it’s not available in Tawa.

   I have map software on my phone—both Here Maps and Baidu Maps. And my partner does successfully use Über from time to time, on a Huawei phone which, like my Meizu, is Google-free. She has no Google Maps, so I know that isn’t a prerequisite for Über. I also know Google Services aren’t, either. At least these are points in their favour. I can’t be bothered troubleshooting beyond that, since they’ll just deny everything and pass the buck.
   Eventually, when I realized Über is a monumental waste of time, I carried out plan A, and took a train an hour after the one I could have taken had I not attempted to get an Übercab. And walked in the wintry air to collect my car.
   It was an easy decision to delete my account and the app soon after. Just as well, really. Big Tech loses once again. To think, the little music player made by a small company is more reliable than the milliards behind Über.


Above: Relieved to be on a desktop computer—and hopefully I won’t need to have any connection with Über ever again.

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Facebook whistleblower gets fired; and a workaround for Meizu Music’s inability to find your SD card

19.04.2021

This is a pretty typical story: find fault with Big Tech, try to alert the appropriate people in the firm, get fired.
   Julia Carrie Wong’s excellent article for The Guardian shows a data scientist, Sophie Zhang, find blatant attempts by governments to abuse Facebook’s platform, misleading their own people, in multiple countries. Of course Facebook denies it, but once again it’s backed up by a lot of evidence from Zhang, and we know Facebook lies. Endlessly.
   Facebook claims it has taken down over ‘100 networks of coordinated inauthentic behavior,’ but I repeat again: if a regular Joe like me can find thousands of bots really easily, and report some with Facebook doing next to nothing about them, then 100 networks is an incredibly tiny number in a sea of hundreds of millions of users. Indeed, 100 networks is tiny considering Facebook itself has claimed to have taken down milliards of bots.
   And people like me and Holly Jahangiri, who found a massive number of bots that followed the Russian misinformation techniques, have been identifying these since 2014, if not before.
   Zhang reveals how likes from pages are inflating various posts—forget the bots I’ve been talking about, people have manufactured full pages on the site.
   She uncovered one in Honduras, and then:

The next day, she filed an escalation within Facebook’s task management system to alert the threat intelligence team to a network of fake accounts supporting a political leader in Albania. In August [2019], she discovered and filed escalations for suspicious networks in Azerbaijan, Mexico, Argentina and Italy. Throughout the autumn and winter she added networks in the Philippines, Afghanistan, South Korea, Bolivia, Ecuador, Iraq, Tunisia, Turkey, Taiwan, Paraguay, El Salvador, India, the Dominican Republic, Indonesia, Ukraine, Poland and Mongolia.

   Facebook was inconsistent with what it did, and its own self-interest interfered with it taking action. In other words, Facebook is harmful to democracy, and not just in the US which has received most of the occidental news coverage. On Azerbaijan, Zhang wrote in a memo:

Although we conclusively tied this network to elements of the government in early February, and have compiled extensive evidence of its violating nature, the effective decision was made not to prioritize it, effectively turning a blind eye.

   She was ultimately fired for her trouble, Facebook saying she wasn’t doing the job she had been hired for.
   So if you are going to work for Big Tech, leave your conscience at the door. That blood on your hands, just ignore it. Red’s such a fetching colour when it’s not on a balance sheet.

Little Tech can be troublesome, too. Last year, Meizu updated its Music app after a few years of letting it languish (a familiar theme with this firm), and it was a real lemon. It wouldn’t pick up anything on my SD card, at the location the old Music app itself saved the files. When I could still access the Meizu (English-language) forum, I managed to post a comment about it. Only today did I realize someone had responded, with the same issue.
   I can read enough Chinese to get the phone to do a search for local music files, and the only things it could pick up are what’s on the phone RAM itself, not the card. There’s no way to point to custom locations such as a card (even though there is a custom search, but it applies to the phone only).


Above: Meizu Music will only find music on the phone’s RAM—in this case sound files that come with the dynamic wallpaper and a couple of meeting recordings I made.

   Eventually I restored the old app through the settings, and all was well. It would occasionally forget the album cover art and I’d have to relink it (who says computers remember things?), but, by and large, Music 8.0.10 did what was expected of it.
   Until this last week. The phone insisted on upgrading to 8.2.12, another half-baked version that could never locate any SD card music.
   Sure I could just move the entire directory of 1,229 songs to the phone, but I wondered why I should.
   Restoring the app would work only for a few hours (during which I would try to relink the album cover art, ultimately to no avail). Blocking the new version the app store did nothing; blocking the entire app from updating did nothing. Blocking network access to the Music app did nothing. Essentially, the phone had a mind of its own. If anyone tells you that computing devices follow human instructions, slap them.


Above: I asked the app store to ignore all updates for Meizu Music. The phone will ignore this and do what it wants, downloading the update and installing it without any human intervention.

   I had a couple of options. The first was to make Migu Music the default—and I had used that for a while before I discovered I could restore the Music app. It’s passable, and it does everything it should, though I missed the cover art.
   The other was to find a way to make Music 8.2.12 work.
   There is one way. Play every one of the 1,229 songs one by one to have Music recognize their existence.
   Using ES File Explorer, you head to the SD card, and click on each song. It asks which app you’d like to open it. Choose Music. Repeat 1,228 times.


Above: I finally got there after doing something 1,229 times. As a non-tech person I know of no way to automate this easily. I can think of a few but developing the script is beyond my knowledge.

   Whoever said computing devices would save you time is having you on. They may have once, but there are so many systems where things are far more complicated in 2021 than they were in 2011.
   You may be asking: doesn’t ES let you select multiple files, even folders? Of course it does, but when you then ask it to play them, it ignores the fact you’ve chosen Music and plays them in its own music player.
   And even after you’ve shown Music that there are files in an SD card directory, it won’t pick up its existence.
   It’s at odds with Meizu’s Video app, which, even after many updates, will find files anywhere on your phone.
   For a music player with the same version (8) it’s vastly different, and, indeed, inferior to what has come before.
   How’s the player? Well, it connects to the car, which is where I use it. But so many features which made it appealing before are gone. Editing a song’s information is gone. Half the album cover art is unlinked (including albums legitimately downloaded through the old Meizu music service), and there’s no way of relinking it. European accented characters are mistaken for the old Big 5 Chinese character set.
   The only plus side is that some songs that I had downloaded years ago with their titles in Big 5, as opposed to Unicode, now display correctly. That accounts for a few songs (fewer than 10) of the 1,229.
   I know Meizu will do nowt, as its customer service continues to plummet. I may still file something on its Chinese BBS (the western one is inaccessible and, from what I can tell, no longer maintained by anyone from their staff), but it’s highly unlikely I’ll be brand-loyal. It’s yet another example of a newer program being far, far worse, by any objective measure, than its predecessor, giving credence to the theory that some software developers are clueless, have no idea how their apps work, have no idea how people use their apps, or are downright incompetent. It’s a shame, as Meizu’s other default and system apps are generally good.
   In the future, I’m sure someone else in China will be happy to sell me a non-Google phone when it’s time to replace this one.

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I can finally identify with the main character in a New Zealand TV show

31.03.2021

While I care much more about when John Simm will grace our screens again (pun intended), it was hard to avoid the reality TV that gets beamed into our living rooms during prime-time. There is the disgusting Married at First Sight Australia, where I am speechless with shock that fellow Scots alumnus John Aiken appears to dispense mansplaining without conscience, but, on the other channel, the far more pleasant The Bachelor New Zealand, where, finally, for the first time on our airwaves, I see a Kiwi male that I can identify with. Apart from the times when I appeared on telly (I realize that this sentence sounds wanky, but if you can’t identify with yourself, then there’s something wrong).
   While Zac the lifeguard from a few years ago seemed like a lovely chap, he was in many ways the usual stereotype: sporty, unfazed, carefree, white, with a great smile. Moses Mackay is cultured, worldly, considered, respectful, humble, well dressed, and, surprisingly for this show, wasn’t quick to snog every contestant. It was also nice to see a bachelor who’s a person of colour on our screens for a change. He grew up poor and that’s not an unfamiliar story to many of us. He’s comfortable talking about his relationship with God. Heck, he even croons for a living.
   I’m no Matt Monro but I’ve serenaded my partner—just get us at the James Cook when the elderly gent is banging out tunes by Michel Legrand, or, as I call him, Big Mike, on the lobby piano. And yes, for some of us, this is perfectly normal. Just ask Moses.
   For all of us fellas who wanted to see an example of a cultured Kiwi gentleman on our screens—and as the fêted star, not the comic relief—our wishes were finally granted.
   I’ve no idea whom he picked, although I knew one of the contestants who didn’t make it—New Zealand is that small. I could say the same about Zac’s season as well. I’m sure not knowing the outcome also puts me in a minority. But I wish him well.

I’m reminded of my friend Frankie Stevens, since I mentioned Matt Monro above. I once did the same to Frankie and he said something along the lines of, ‘I was touring with Matt. We were in Spain, and he’d come in the morning with a glass of whisky.’ Another time I mentioned John Barry. ‘I worked with Johnny and Don Black. On The Dove. I sang the theme tune but Gregory Peck wanted someone else.’
   For my overseas readers: you don’t usually have these conversations in Aotearoa with a guy who’s not only met your musical heroes, but worked with them. All I could do was show I had the theme on my phone.
   With apologies to Lyn Paul, but Frankie would have been great (and indeed better) singing the theme to The Dove.

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When Sibelius started our TV day

04.12.2020

If I hadn’t mentioned this on Twitter, I might not have had a hunt for it. When I first came to this country, this was how TV1 started each morning—I believe at 10.30 a.m. prior to Play School. I haven’t seen this since the 1970s, and I’m glad someone put it on YouTube.

   I had no idea, till I was told on Twitter by Julian Melville, that this was adapted from the National Film Unit’s very successful 1970 Osaka Expo film, This Is New Zealand, which was quite a phenomenon, but before my time here. And I wouldn’t have given it any thought if it weren’t for American Made airing on TV last weekend, where the RPO’s ‘Hooked on Classics’ was used in the score, and I got to thinking about Sibelius’s ‘Karelia Suite’, op. 11, which was contained within that piece. I’m not sure if our lives were enriched by these interconnected thoughts or whether YouTube and this post have just sucked up more time.

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The ‘A’ (Aotearoa) Team

09.06.2020

Now that Aotearoa New Zealand has lifted our COVID-19 restrictions after getting rid of the virus on our shores, other than keeping our border closed, I Tweeted:

and between Cachalot on Twitter and I, we actually wound up with a variation of the song (incidentally, he was first with the chorus, showing that great minds think alike).

Then back to the refrain.
   Out of respect to the language in which the song was composed, te reo Māori, here are the original, poignant lyrics. It’s a beautiful, heart-wrenching song. There’s a further explanation to it here.

Pōkarekare ana,
ngā wai o Waiapu
Whiti atu koe hine,
marino ana e.

Refrain
   E hine e,
   hoki mai ra.
   Ka mate ahau
   I te aroha e.

Tuhituhi taku reta,
tuku atu taku rīngi,
Kia kite tō iwi
raru raru ana e.

Refrain

Whati whati taku pene
ka pau aku pepa
Ko taku aroha
mau tonu ana e.

Refrain

E kore te aroha
e maroke i te rā
Mākūkū tonu i
aku roimata e.

Refrain

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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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Facebook exploits COVID-19 for profit, and viral thoughts

01.05.2020

A lot of the world’s population has come together in the fight against COVID-19. Except Facebook, of course, who is exploiting the virus for profit. Facebook has done well in the first quarter of 2020 with positive earnings. Freedom From Facebook & Google co-chairs Sarah Miller and David Segal note (the links are theirs): ‘Facebook has exploited a global pandemic to grow their monopoly and bottom line. They’ve profited from ads boasting fake cures and harmful information, allowed ad targeting to “pseudoscience” audiences, permitted anti-stay-at-home protests to organize on the platform, and are now launching a COVID “Data for Good” endeavour to harvest even more of our personal information.
   ‘Make no mistake, Facebook having more of your data is never “good”, nor will they just relinquish the collected data when the pandemic’s curve has been flattened. Rather, they’ll bank it and continue to profit from hyper-targeted ads for years to come.’

It’s been a few weeks (April 19 was my last post on this subject) since I last crunched these numbers but it does appear that overall, COVID-19 infections as a percentage of tests done are dropping, several countries excepting. Here is the source.

France 167,178 of 724,574 = 23·07%
UK 171,253 of 901,905 = 18·99%
Sweden 21,092 of 119,500 = 17·65%
USA 1,095,304 of 6,391,887 = 17·14%
Spain 239,639 of 1,455,306 = 16·47%
Singapore 17,101 of 143,919 = 11·88%
KSA 22,753 of 200,000 = 11·38%
Switzerland 29,586 of 266,200 = 11·11%
Italy 205,463 of 1,979,217 = 10·38%
Germany 163,009 of 2,547,052 = 6·40%
South Korea 10,774 of 623,069 = 1·73%
Australia 6,766 of 581,941 = 1·16%
New Zealand 1,479 of 139,898 = 1·06%
Taiwan 429 of 63,340 = 0·68%
Hong Kong 1,038 of 154,989 = 0·67%

Emmerdale fans will never forgive me. I’ve not been one to watch British soaps, finding them uninteresting. However, in this household, we have had Emmerdale on since it’s scheduled between TV1’s midday bulletin and the 1 p.m. government press conference on COVID-19, or, as some of us call it, The Ashley Bloomfield Show, named for our director-general of health who not only has to put up with all of this, but took a hit to one-fifth of his pay cheque. Naturally, one sings along to the Emmerdale theme, except I have no clue about its lyrics. Are there lyrics?

Not a single like on Twitter or Mastodon. I’ve offended a heck of a lot of people.

We are supposedly at Level 3, which someone said was Level 4 (the full lockdown) with takeaways. However, we’ve gone from the 1960s-style near-empty motorways to this almost immediately.

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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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Roger Nichols performs the original Hart to Hart theme

13.03.2020

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.

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