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.
Composer: Dimitri Tiomkin
Lyricist: Paul Francis Webster
Vocalists: Dean Martin, Ricky Nelson
The sun is sinking in the west
The cattle go down to the stream
The redwing settles in the nest
It's time for a cowboy to dream
Purple light in the canyons
That's where I long to be
With my three good companions
Just my rifle, pony and me
Gonna hang (gonna hang)
My sombrero (my sombrero)
On the limb (on the limb)
Of a tree (of a tree)
Coming home (coming home)
Sweetheart darling
(sweetheart darling)
Just my rifle, pony and me
Just my rifle, my pony and me
(Whippoorwill in the willow
Sings a sweet melody
Riding to Amarillo)
Just my rifle, pony and me
No more cows (no more cows)
To be roping (to be roping)
No more strays will I see
Round the bend (round the bend)
She'll be waiting (she'll be waiting)
For my rifle, pony and me
For my rifle, my pony and me
