Since the early twentieth century, Hong Kong has always been an important venue for Cantonese opera development. After 1949, as a result of political turmoil in the Mainland, performers and troupes converged and resettled in the territory, leading to a tremendous prospering of Cantonese opera in the subsequent decade. This development is linked intimately with the rise of the electronic media.
Performers and troupes began to grasp the possibilities offered by film and radio to re-examine age-old performance practices with regard to acting, singing, script writing, instrumentation, and stage set-up. They brought in novel elements from the theatre and movie world, and participated in the production of films and records. With these acts, they are extending the movement to modernize Cantonese opera that began in the 1930s.
Wong Jum-sum was thoroughly immersed in the world of Cantonese opera from young. Through his close encounter with master performers like Hung Sin-nui, Ma Si-tsang, Yam Kim-fai, Pak Suet-sin and Tong Dik-sang, he witnessed first hand the modernization of Cantonese opera, and was mightily moved by the adventure and passion he saw.
作曲：林枚（陳歌辛）
作詞：裘子野（包蕾）
主唱：屈雲雲
三輪車上的小姐真美麗
西裝褲子短大衣
眼睛大來眉毛細
張開了小嘴笑嘻嘻
淺淺的酒渦叫人迷
在她身旁坐個怪東西
年紀倒有七十幾
胖胖的身體大肚皮
滿嘴的鬍子不整齊
一身都是血腥氣
你為什麼對他嬌聲嬌氣
他憑甚麼使你那樣歡喜
這究竟是甚麼道理
真叫人看了是交關惹氣
三輪車上的小姐真美麗
西裝褲子短大衣
眼睛大來眉毛細
張開了小嘴笑嘻嘻
淺淺的酒渦叫人迷
在她身旁坐個怪東西
年紀倒有七十幾
胖胖的身體大肚皮
滿嘴的鬍子不整齊
一身都是血腥氣
你為什麼對他嬌聲嬌氣
他憑甚麼使你那樣歡喜
這究竟是甚麼道理
真叫人看了是交關惹氣
