payment from Yam, Loong provided ex-gratia payments of a few thousand dollars each year for Tang's family as a friendly gesture for years. In 1990, not long since the passing of Yam,the second Mrs. Tang sold copyright of about 34 titles, mostly those Loong performed over the years, for a 6-figure sum in HK$, contrary to the gentleman's agreement Tang made with his customers regularly as a librettist. (If HK$100,000, it would be about HK$10,000 each year for the rest of her life.) In mid-1980, Loong wrote about her conflicting emotions being the lucky one carrying the torch, probably only because Tang died so young. A simple way to put it, but not her words, could be:「生笙不識，生生不熄！」 Book deals, interviews on TV or radio, by the Press in general, academics' researches, former acquaintances, etc. became the livelihood of those, pedestrian A, not even remotely related to Tang. Instead of stealing Tang's bowl of thunder, they became known informally as something like Tang Scholars instead of successors of the sort that could come up with more decent opera scripts. In 2009, Yuen opined that Loong was the only performer of their generation could have put another librettist on the map. Unfortunately, that could have happened only if Loong were not required to stay with all the Tang's titles, good or bad, since debut as career performer. The attempts to breakthrough were resisted, in no bigger way than: 1982 The Story of Emperor Li production, Loong's successful attempt to break that mold (Only Loong's second parents supported her. Luo Pinchao commented on the debut but Yam refrained from doing so and gave a cryptic response when asked by the Press. Chinese:先說:"我不識嘢的，怎可以說什麼意見呢？" 又再一次說:"沒有，我沒有話可講。") or Mid-1970s rumored but failed attempt (since it would have otherwise opened to the world that can of worms) of Run Run Shaw to make a Dream of the Red Chamber film instead of what ended up in 1977 by another film production company or Failed attempt to make a Farewell, My Husband film in Cantonese instead of what ended up in 1970s. To people around Tang beyond immediate family, they benefited from what could be exhibit A for "...worth more dead than alive." – quote from Death of a Salesman Fong Yim Fun appeared to be the only performer who managed her collaborations with Tang best by getting the film rights and making the films as many times as