very poor quality stencil instead of a xerox with the best technology available." - according to one contemporary librettist. Loong calls herself "old school" continuing to follow Yam's teaching to a T even though, as described by the Press, already "in a league of her own". The remaining other two of the six 1972 backup singers, since retiring as cast member (six pillar) of Chor Fung Ming, have been tutoring students of all backgrounds, including some with down syndrome for years in Hong Kong. They are wise not to brand themselves as representatives of Yam style or even compare themselves with Yam while sharing what they have learnt in the decades of Yam's guidance. Yam's (style or school of) AAA on stage has only been observed and commented on by third parties. There has been no authentic account yet since neither Yam nor Loong had published on the topic. Contrary to some comments by columnists/academics, some of the well-known signature acrobatics happened to be unintended consequence. Yam and Loong had/have spine damage from bending forward all the time to accommodate co-stars of very short statue. In 1952 film The Twelve Beauties, height difference was close to a foot when Yam still stood fairly straight in the Fantasy of Heaven of Parting Sorrow, ending scene of Dream of the Red Chamber. Cart Before The Horse The "a performance did take place" ("做咗") generations of performers known, per Yuen, as feel too good about themselves (Chinese: 自我感覺過份良好), would not bother to even study the script meticulously, scripts generally agreed to have all needed information from Tang, before going on stage in roles been legendary since 1950s. Instead of preparing for the task ahead by being fluent in a classic novel, they, the bottle blonde (靠黐二代), just ask for story time to attain connotations. Once upon a time, performers were illiterate and had no access to novels or other publications so readily available today. Why would contemporary performers bother? Story time is just another coat of garlic paint on top of layers of such garlic body-paint for a decade or so already. That is not bold (大膽) but plain hubris (斗膽) for someone who had been told-off getting involved in Loong's productions from the beginning other than as investor and to provide supports in areas like promotion and stage production techniques, no matter how accommodating Loong has been with the poor choices made