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Leeson's lyrics originally used "for your eyes only" only as the final line, as the lyricist felt he could only use the phrase as a conclusion. After credit sequence artist Maurice Binder complained about having to synchronize the unveiling of the title with it being said in the theme song, Conti decided to work with Leeson to write lyrics that opened with "for your eyes only".[3] The US band Blondie had previously been asked to write the title song but it was rejected in favour of Conti's by the Bond producers. (Blondie's recording of a completely different song, also called "For Your Eyes Only", appeared on their 1982 album The Hunter).

Easton is the only artist (to date) to be seen singing the theme song to a Bond movie during its opening titles, as Maurice Binder liked Easton's appearance and decided to add her to the credits.[4] Her seductive appearance in these clips was, according to Roger Moore, more sexy than any of the Bond girls, although Easton herself states that the filming process was very unglamorous.[5][6] In particular, Binder had to attach Easton to a chair so she would be immobile during a take where the camera zooms on the singer's lips.[4]

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The first draft of Lennon's lyrics for "I'm Only Sleeping", written on the back of a letter from 1966, suggests that he was writing about the joys of staying in bed rather than any drug euphoria sometimes read into the lyrics.[8] While not on tour, Lennon would usually spend his time sleeping, reading, writing or watching television, often under the influence of drugs, and would have to be woken by McCartney for their songwriting sessions.[9] In a London Evening Standard article published on 4 March 1966, Maureen Cleave, a friend of Lennon, wrote: "He can sleep almost indefinitely, is probably the laziest person in England. 'Physically lazy,' he said. 'I don't mind writing or reading or watching or speaking, but sex is the only physical thing I can be bothered with any more.'"[10]

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In conclusion, Performing the Arts of Indonesia. Malay Identity and Politics of the Music, Dance and Theatre of the Riau Islands is a landmark publication that fills a gap in research on the performing arts of Riau. Editor Margaret Kartomi, an expert on Indonesian music, has drawn together a group of esteemed scholars and researchers from various disciplines to produce an academically deep, yet highly relevant publication. Aptly illustrated with maps, colour and black-and-white photographs, diagrams, musical transcriptions and online sources, the publication provides insights into traditional and contemporary culture across the vast reaches of the Kepri Province. The book is a delight to read. It also has important implications for understanding contemporary change and continuity in the performing arts of other Southeast Asian cultures, not only among the Riau Malays and Orang Suku Laut. tag_hash_107 2351a5e196