‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference
Thien Pham's Graphic Novel Is an Immigration Story Told Through Food
‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership
Spike Lee: A 'Heavenly Light' Shined on Chadwick Boseman in 'Da 5 Bloods'
Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss'
Dinh Q. Lê and the Art of Weaving Memory
Cartoonist Thi Bui Weaves Together Personal And Political History
The Propeller Group Brings an Artistic View of Vietnam to San Jose
Looking Back at Jerry Rubin, the Yippie-Turned-Yuppie
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When he isn't writing or editing, you'll find him eating most everything he can get his hands on.","avatar":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twitter":"theluketsai","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["editor"]}],"headData":{"title":"Luke Tsai | KQED","description":"Food Editor","ogImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1ff591a3047b143a0e23cf7f28fcac0?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ltsai"},"achazaro":{"type":"authors","id":"11748","meta":{"index":"authors_1591205172","id":"11748","found":true},"name":"Alan Chazaro","firstName":"Alan","lastName":"Chazaro","slug":"achazaro","email":"agchazaro@gmail.com","display_author_email":true,"staff_mastheads":["arts"],"title":"Food Writer and Reporter","bio":"Alan Chazaro is the author of \u003cem>This Is Not a Frank Ocean Cover Album\u003c/em> (Black Lawrence Press, 2019), \u003cem>Piñata Theory\u003c/em> (Black Lawrence Press, 2020), and \u003cem>Notes from the Eastern Span of the Bay Bridge\u003c/em> (Ghost City Press, 2021). He is a graduate of June Jordan’s Poetry for the People program at UC Berkeley and a former Lawrence Ferlinghetti Fellow at the University of San Francisco. He writes about sports, food, art, music, education, and culture while repping the Bay on \u003ca href=\"https://twitter.com/alan_chazaro\">Twitter\u003c/a> and \u003ca href=\"https://www.instagram.com/alan_chazaro/?hl=en\">Instagram\u003c/a> at @alan_chazaro.","avatar":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twitter":"alan_chazaro","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Chazaro | KQED","description":"Food Writer and Reporter","ogImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ea8b6dd970fc5c29e7a188e7d5861df7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/achazaro"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_13950649":{"type":"posts","id":"arts_13950649","meta":{"index":"posts_1591205157","site":"arts","id":"13950649","score":null,"sort":[1705691854000]},"guestAuthors":[],"slug":"inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an","title":"‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference","publishDate":1705691854,"format":"standard","headTitle":"‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>[aside postid='arts_13950482']The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IqdAUaqbhmk\u003c/p>\n\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>[aside postid='arts_13940387']Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Long, unbroken takes depict a man's journey into the Vietnamese countryside with his young nephew. The effect is mesmerizing.","status":"publish","parent":0,"modified":1705691854,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":812},"headData":{"title":"‘Inside the Yellow Cocoon Shell’ Review: A Meditative Masterpiece | KQED","description":"Long, unbroken takes depict a man's journey into the Vietnamese countryside with his young nephew. The effect is mesmerizing.","ogTitle":"‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference","ogDescription":"","ogImgId":"","twTitle":"‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference","twDescription":"","twImgId":"","socialTitle":"‘Inside the Yellow Cocoon Shell’ Review: A Meditative Masterpiece %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Inside the Yellow Cocoon Shell’ Is a Film Where a Big Screen Makes a Big Difference","datePublished":"2024-01-19T19:17:34.000Z","dateModified":"2024-01-19T19:17:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Justin Chang","nprImageAgency":"Cercamon","nprStoryId":"1225325475","nprApiLink":"http://api.npr.org/query?id=1225325475&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/01/19/1225325475/inside-the-yellow-cocoon-shell-review?ft=nprml&f=1225325475","nprRetrievedStory":"1","nprPubDate":"Fri, 19 Jan 2024 05:00:00 -0500","nprStoryDate":"Fri, 19 Jan 2024 05:00:26 -0500","nprLastModifiedDate":"Fri, 19 Jan 2024 05:00:26 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950649/inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I try not to be too dogmatic these days about telling people that there are certain movies they should see only on the big screen. That said, if there is one movie right now that you should see in a theater if you can, it’s the transfixing new drama \u003cem>Inside the Yellow Cocoon Shell\u003c/em>, from the Vietnamese writer and director Phạm Thiên Ân.\u003c/p>\n\u003cp>It’s the kind of film that envelops you with its gorgeous images and hypnotic rhythms, and it requires close, wide-awake attention to work its peculiar magic. Give it that attention, and you may find it as overwhelming as I did — an experience that makes you feel as if you’ve been quietly transported to another world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950482","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The story begins in Saigon in 2018, at a bustling outdoor dining area next door to a soccer game. Amid the crowd, three young men are having a meal and some heavy spiritual conversation. Two of them talk about matters of faith and destiny, while a third one, named Thien, mostly remains silent and looks none too interested in the discussion. Suddenly, there’s a loud crash, and the camera pans sideways to reveal the wreckage of a fatal motorbike collision. Nearly everyone runs over to see if they can help — everyone, that is, except Thien, who remains at his table, lost in thought.\u003c/p>\n\u003cp>It’s as if Thien, who’s played by the actor Le Phong Vu, doesn’t realize yet that he’s the protagonist of this movie, or that his life is about to take a major swerve. A few hours later, Thien is informed that the woman killed in the accident was none other than his sister-in-law, Teresa. Is it some cruel coincidence that he was there when it happened, but showed such indifference? Was it an act of divine grace that spared the life of Teresa’s 5-year-old son, Dao, who survived the crash with barely a scrape?\u003c/p>\n\u003cp>Either way, Thien must deal with the fallout by temporarily taking care of his nephew. And so begins a mysterious journey into the Vietnamese countryside, where Thien and Dao attend memorial services for Teresa, who was an observant Catholic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along the way, Thien reunites with old friends, including an old flame who’s now a nun. He tries to find his brother, Teresa’s estranged husband, who apparently hasn’t been seen for years. But it gradually becomes clear that Thien isn’t just looking for a person. He’s lost, too — and now he’s searching for himself.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IqdAUaqbhmk'\n title='//www.youtube.com/embed/IqdAUaqbhmk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The beauty of \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is the way director Phạm invites us to search alongside Thien. Most of the movie is composed in long, unbroken takes, to quietly mesmerizing effect: By refusing to cut away or break his story into easily digestible segments, Phạm leaves you feeling as though you’re experiencing life through his characters’ eyes.\u003c/p>\n\u003cp>There’s one extraordinary shot that runs more than 20 minutes, in which Thien rides his bike down a dirt road, stops at the home of a village elder and goes inside for some conversation. You’re struck at first by the jaw-dropping virtuosity of the camerawork, but after a while, you forget about the technique and are simply caught up in the older man’s story. He talks about his lifelong efforts to perform acts of goodness and decency, in repentance for the violence he committed as a soldier during the Vietnam War.\u003c/p>\n\u003cp>\u003cem>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940387","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Inside the Yellow Cocoon Shell\u003c/em> is deeply invested in questions of good and evil, mortality and immortality. But while the movie offers a fascinating portrait of Vietnamese Christianity, unfolding in village homes crowded with Jesus paintings and figurines, it never suggests that the truth can be found within one religious tradition or doctrine. Taking in this movie, with its stunning landscapes and soundscapes, I was often reminded of the Thai filmmaker Apichatpong Weerasethakul, whose films, like \u003ca href=\"https://www.npr.org/2022/05/13/1098496509/memoria-is-a-marvelously-strange-sonic-detective-story\">\u003cem>Memoria\u003c/em> \u003c/a>or \u003cem>Syndromes and a Century\u003c/em>, are steeped in his Buddhist worldview.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Thien’s journey continues, the narrative seems to slip between past and present, dream and reality, in ways that are baffling but also intoxicating. What matters here, finally, isn’t whether Thien finds the answers to his questions; what matters is that, after so many years of apparent apathy, he’s asking those questions at all. \u003cem>Inside the Yellow Cocoon Shell\u003c/em> is an entrancing work of art, but it’s also wise enough to leave its deepest mysteries unsolved.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2024 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Inside+the+Yellow+Cocoon+Shell%27+is+a+film+where+a+big+screen+makes+a+big+difference&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950649/inside-the-yellow-cocoon-shell-vietnamese-movie-review-pham-thien-an","authors":["byline_arts_13950649"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_585","arts_2473"],"affiliates":["arts_137"],"featImg":"arts_13950650","label":"arts_140"},"arts_13930458":{"type":"posts","id":"arts_13930458","meta":{"index":"posts_1591205157","site":"arts","id":"13930458","score":null,"sort":[1687295942000]},"guestAuthors":[],"slug":"thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","title":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","publishDate":1687295942,"format":"standard","headTitle":"Thien Pham’s Graphic Novel Is an Immigration Story Told Through Food | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”[/pullquote]\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13905153,arts_13904835,arts_13926136']\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. [pullquote size=\"large\" align=\"right\" citation=\"Thien Pham\"]“It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.”[/pullquote]\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Pham is currently also doing a \u003ca href=\"https://www.eventbrite.com/e/cartoonists836m-exhibition-opening-tickets-612684324307\">four-month artist’s residency\u003c/a> and exhibition at 836M Gallery (836 Montgomery St., San Francisco), with a focus on the history of San Francisco’s neighborhoods.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"'Family Style' documents the author's refugee journey from Vietnam to San Jose.","status":"publish","parent":0,"modified":1705005358,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":43,"wordCount":2441},"headData":{"title":"Thien Pham's Graphic Novel 'Family Style' Tells His Immigration Story Through Food | KQED","description":"'Family Style' documents the author's refugee journey from Vietnam to San Jose.","ogTitle":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","ogDescription":"","ogImgId":"","twTitle":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","twDescription":"","twImgId":"","socialTitle":"Thien Pham's Graphic Novel 'Family Style' Tells His Immigration Story Through Food %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Thien Pham's Graphic Novel Is an Immigration Story Told Through Food","datePublished":"2023-06-20T21:19:02.000Z","dateModified":"2024-01-11T20:35:58.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"¡Hella Hungry!","sourceUrl":"https://www.kqed.org/arts/tag/hella-hungry","sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/strong>\u003c/p>\n\u003cp>Nothing sustains a community more than food. It’s where all memories of home begin, and it’s how anyone who has ever been separated from their roots finds a way back — eventually.\u003c/p>\n\u003cp>For \u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">Thien Pham\u003c/a>, an Oakland-based graphic novelist, \u003ca href=\"https://www.kqed.org/arts/13897498/mama-liu-lu-rou-fan-taiwanese-food-comic\">comics\u003c/a> \u003ca href=\"https://www.kqed.org/arts/13905153/underground-vietnamese-restaurants-social-media-san-jose\">artist\u003c/a> and high school educator, it took more than 40 years after fleeing his home country, Vietnam, to gather the right ingredients needed for his life’s work: \u003ci>Family Style\u003c/i>. Packed with life lessons about family, friendship, assimilation and \u003ca href=\"https://www.kqed.org/sanjosefood\">life in San Jose\u003c/a> as a refugee, the graphic novel also serves as a love letter to his most memorable meals, from Southeast Asia to Northern California.\u003c/p>\n\u003cp>Each chapter of the story presents a thematic dish that encapsulates Pham’s experience at the time, from the “Rice and Fish” he ate as a child refugee living on a boat to the luxurious “Steak and Potatoes” he enjoyed after first arriving to the United States — and many unexpected food combinations in between.\u003c/p>\n\u003cp>Though the book grapples with traumatic topics of forced migration and diasporic displacement, it’s largely centered on the joy of communal gathering, shared culinary knowledge and family-sustained recipes for dishes like his mother’s bánh cuốn.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930698\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Image of a thin rice crepe on a plate. Text reads, "Put the pork filling in the middle, then roll, fold the rice paper with the bamboo stick. 2) A woman reaches into a bowl, assembling the banch cuon. Text reads, "Top with the fried onions, garlic, and veggies." 3) She holds out a plate with the finished banh cuon. "Add fish sauce at the end. And that's it. Here, try it." 4) Another woman in a red blouse picks up a piece with chopsticks. 5) She eats it with her eyes closed in pleasure. "It tastes like home," she says. 6) The panel zooms out to show the two of them sitting in front of a small stall made up of various cooking implements. "So do you think you're ready to do this?" the woman who prepared the banh cuon asks.\" width=\"1920\" height=\"2326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-800x969.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1020x1236.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-768x930.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1268x1536.jpg 1268w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg058-1691x2048.jpg 1691w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>There’s one poignant scene when Pham eats his first bag of potato chips with his family after they’ve worked as migrant field laborers picking strawberries. Later as an adult, he memorizes important dates in U.S. history in order to pass his citizenship test while eating lunch in the teacher’s lounge. Often, food is at the center of it all, helping to nourish Pham’s identity and feed his family’s aspirational immigrant dreams.\u003c/p>\n\u003cp>On the eve of his national book launch, I spoke with Pham about his memories of growing up in the Bay Area, his favorite San Jose restaurant and the beauty of being an immigrant.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">********\u003c/p>\n\u003cp>\u003cb>Alan Chazaro: \u003c/b>\u003cb>\u003ci>Family Style \u003c/i>\u003c/b>\u003cb>is a graphic novel about food, family, diaspora, teenage angst, American assimilation and more. As a visual storyteller, where did you begin, and how long did it take to complete?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Thien Pham: \u003c/b>I’ve wanted to tell this family story for a long time, but there were things preventing me from it in the past. I never had a tight enough connection with my parents to get the full story, my art style wasn’t where I wanted it to be and I didn’t have a fresh enough perspective. Coming to America as a Vietnamese immigrant has been told before. It’s a universal immigration story, and I didn’t know how to tell it at the level I thought it could be. I needed time to figure it all out.\u003c/p>\n\u003cp>During the pandemic, it just intersected for me in a weird way. I finally spent time with my parents and talked to them about it all, and we were all old enough to talk about the truth. I also felt at that point my art was at a level that could do the story justice. When I talked to my mom, I realized that what I told her was mostly food related. As soon as I got that last piece, I knew that was the angle for me to approach it: immigration told through food. It was the missing piece; it was already inside me.\u003c/p>\n\u003cp>After that, I just did it page by page. It was fast, in terms of drawing comics; it wasn’t agonizing or dragged out. It’s not often I get that. Maybe two or three times in my life I’ve had that feeling. That’s one of the reasons this book is so special to me. Who knows if I’ll ever have all that coming together so perfectly again? At the end of the book, there are strips of me talking to my parents and explaining how the book was created. I wanted to capture that in the book. It was magical.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg\" alt='Panels excerpted from a graphic novel: 1) A boat pulls up to a larger freighter ship. 2) A man on the boat says, \"They said they can take us as far as they can, and give us food and water for some money...\" 3) The Vietnamese refugees on the boat look stunned to receive this news. 4) They line up to receive food from a man in a baseball cap. 5) When she reaches the front of the line, one woman says, \"We have five people. Can we get some more?\" as he hands her a plate of squid and a slice of watermelon. 6) The woman and her two small children look overwhelmed as someone approaches offering two additional plates of squid and rice.' width=\"1920\" height=\"2315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-800x965.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1020x1230.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-768x926.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1274x1536.jpg 1274w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg006-1-1699x2048.jpg 1699w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Your first graphic novel, \u003c/b>\u003cb>\u003ci>Sumo\u003c/i>\u003c/b>\u003cb>, was published over a decade ago. When did you realize you were ready to illustrate and write \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>?\u003c/b>\u003c/p>\n\u003cp>Everybody has stories in them, but it’s about recognizing when it’s time to share it. That’s crucial. I didn’t have any idea about my next big graphic novel. I would start and stop with things and nothing really stuck. I can only create when I feel a major emotional pull to do it. But between those graphic novels I’ve been drawing. I did short stories, \u003ca href=\"https://eastbayexpress.com/comic-strip-i-like-eating-2-1/\">food magazines\u003c/a>. I was always honing my craft. Through these smaller projects I really found how to tell stories in my own voice. By the time the inspiration finally hit me, I was ready in terms of art and storytelling. I was at the point I could tell the story in the style I wanted.\u003c/p>\n\u003cp>\u003cb>The book includes references to recipes related to your family’s experiences. What have you realized about the connection between food and family?\u003c/b>\u003c/p>\n\u003cp>I always wanted to cook my mom’s food. I missed it. During the pandemic, you couldn’t just go to Vietnamese restaurants, so I started learning how to do it. Every day I tried to make something my mom made me when I was a kid. This is a very metaphoric thing in the book. I thought these simple meals she used to make were easy and took no time, and they were delicious. She made meals in 15 minutes for the family in between her work shifts. But when she described to me how they were made, I realized simple meals are very, very nuanced, and there are so many more things to it I never thought about.\u003c/p>\n\u003cp>For example, something I thought was just fish sauce also had sugar and coconut soda and star anise. When I ate it I never picked up on those things. I realized how it mirrored our trip to America. My mom just says, “Yeah, we were on a boat and got here, and it was this and that.” But when you sit with the details, it’s like the nuance of a recipe with so much more happening. That made me realize that my parents were constantly trying to protect us when we were kids by making it look easy. Whether it’s not telling us about their hardships or making light of the work they did to provide dinner, they were trying to shield us. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“Immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Thien Pham","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, at 48 years old, I realize what an amazing cook and person my mom was. I think I always took that for granted.\u003c/p>\n\u003cp>\u003cb>What were the challenges of writing and illustrating \u003c/b>\u003cb>\u003ci>Family Style\u003c/i>\u003c/b>\u003cb>, which invariably deals with intense immigrant hardships?\u003c/b>\u003c/p>\n\u003cp>My dad surprised me when I asked him about how he maintained his hope through hardships: He said it wasn’t hard. Looking back, he’ll now admit it was tough, but in the moment he said it was so much joy and fun, even in the refugee camps while living in shacks with nothing. Because at least you have friends and family, and everyone is there and making the best of it. He recalls the refugee camps as some of his best times. When he told me that, it made me realize how immigration and refugees are always portrayed as sad and struggling. But there is also joy, opportunity and having each other. I wanted to write a story full of that hope and joy.\u003c/p>\n\u003cp>If there was a challenge, it was to convey some of the challenges while keeping a tone of joy. I didn’t want it to be about only the hardships, but seeing the fortunate side of things.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13930702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg\" alt=\"Excerpted panels from a graphic novel: 1) Kids eating lunch at a table in the cafeteria. A smiling, gap-toothed boy says, "Hey Thien! How's your first day of school going?" 2) Thien, with a perplexed expression, responds, "Okay, but for some reason everyone's calling me 'Tin.' The gap-toothed boy responds, "Ha! That's your new name! At least it sorta sounds like your name. They call me 'Tony'!" 3) Thien examines a plastic-wrapped carton of food. "What's this?" 4) While chewing, gap-toothed boy responds, "It's called sals-buree steak. Try it. I think you'll like it!" 5) Thien warily peels back the plastic wrap. 6) As prepares to put a spork-ful in his mouth, he says, "You sure? It smells funny..." "Okay, here goes..."\" width=\"1920\" height=\"2307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-800x961.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1020x1226.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-768x923.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1278x1536.jpg 1278w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/family-style-thien-pham-pg121-1704x2048.jpg 1704w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>\u003cb>Community is a major part of immigrant survival for any group. In your family’s case, you met Chu Nhan, a neighbor and social advocate, who helped you move into an apartment complex with other Viet families. I’m curious, what’s the Vietnamese community in the Bay Area currently like, and do these networks still exist for newcomers? So much has changed since your family’s arrival in 1980.\u003c/b>\u003c/p>\n\u003cp>For research, I went back to that exact apartment complex where we started. It’s still very much filled with immigrants. The immigrants aren’t only Vietnamese but Hispanic and Indian as well. So it’s more diverse, but it’s still there. It’s really great.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905153,arts_13904835,arts_13926136","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>That was one of the most defining moments of my childhood — to find a community of kids. When we first came here, we were latchkey kids in kindergarten and were home all the time. Our neighbors checked in on us, and our friends were all from around the street, and we just hung around until 9 at night when our parents finally came home from work.\u003c/p>\n\u003cp>In the Bay Area, I would say the South Bay is where most Vietnamese people live. But as I was writing this book and traveling around to promote it, I’m seeing Vietnamese immigrant populations all over the United States. I know of San Jose and Orange County, of course. But I recently discovered Houston has a huge population, and their food scene is amazing. Same with New Orleans. They brought Viet Cajun, which is one of my favorite things — those boils. There are pockets everywhere. I think that’s great. They all have their own flair and personality. California Vietnamese. Louisiana Vietnamese.\u003c/p>\n\u003cp>\u003cb>If you had to add a new chapter and dish to the book to reflect your current living situation, what would it be and why?\u003c/b>\u003c/p>\n\u003cp>I would definitely do a sushi chapter. I’m a huge sushi fan. Or tacos. I love tacos, too. The Jalisco Marisco truck in LA is one of my favorite things to eat. Or pasta. Spaghetti can be an amazing artisan experience.\u003c/p>\n\u003cp>\u003cb>As an immigrant living in the U.S., how have your experiences with food changed over time?\u003c/b>\u003c/p>\n\u003cp>I used to think Chili’s was high-end (laughs). I used to think that was making it in life. Then, when I first started dating my ex-wife, she took me to a Michelin-star restaurant in San Francisco. It blew my mind, and for so long I was looking for those beautifully refined restaurants. But I’ve journeyed back to my roots and discovered the nuance of phở or a birria taco. Those kinds of things.\u003c/p>\n\u003cp>\u003cb>You regularly contribute food-related comics to publications like \u003c/b>\u003ca href=\"https://www.kqed.org/author/tpham\">\u003cb>KQED\u003c/b>\u003c/a>\u003cb> and the \u003c/b>\u003ca href=\"https://eastbayexpress.com/author/thien-pham/\">\u003cb>\u003ci>East Bay Express\u003c/i>\u003c/b>\u003c/a>\u003cb>. You also grew up in \u003c/b>\u003ca href=\"https://www.kqed.org/arts/13904835/san-jose-immigrant-food\">\u003cb>San Jose’s diverse immigrant food communities\u003c/b>\u003c/a>\u003cb>. You’re a true OG foodie. Where do you go to eat when you’re in the mood for a soul-satisfying meal?\u003c/b>\u003c/p>\n\u003cp>I go to San Jose every Saturday. I have two nephews who have a single mother, and since the oldest has been in fourth grade, I come to see them for phở. We’ve gone to the same place for 20 years now: \u003ca href=\"https://www.instagram.com/dacphucsanjose/\">Dac Phuc\u003c/a>. One of the nephews just got married and the other just graduated from San Jose State and got a job. And the restaurant has always been there. I think it’s the best hands down. Yelp doesn’t always agree; it’s not the most fancy place (laughs). But for me and my family, there’s no better phở. It’s nostalgia. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","citation":"Thien Pham","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I just went on a trip to Detroit, and when I got home, all I wanted was Dac Phuc. I feel the most at home there. Whenever I miss those Saturdays, it knocks me off kilter. We still do it every weekend. I love San Jose.\u003c/p>\n\u003cp>\u003cb>It’s a marathon to finish any sustained creative process, so I’m sure you’re recharging your battery. But when the time arrives, what other projects or potential book ideas do you have?\u003c/b>\u003c/p>\n\u003cp>When I finished \u003ci>Family Style\u003c/i> I was thinking of how to follow it up. A really cool way felt like the opposite of what I did. This book is about me as a child immigrating from Vietnam to America, but I’ve been here for 40 years now and have never been back to Vietnam. People tell me I need to eat Vietnamese food in Vietnam. I’m told I haven’t had the real thing yet.\u003c/p>\n\u003cp>Recently, I had a life changing event when my grandma passed away. She took care of me the most in Vietnam. My relatives told me that her house, the same house where I grew up, is still there and owned by my family. I want to go back and discover the history that I don’t know about in Vietnam. I want to try the food I love at the source. It’s hard to be an immigrant in America, but it’s also the best. We walk through two cultures at once. We’re raised to eat everything. Other people are missing out.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/thiendog/?hl=en\">\u003ci>Thien Pham\u003c/i>\u003c/a>\u003ci> will be reading excerpts from \u003c/i>Family Style\u003ci> at \u003ca href=\"https://www.eventbrite.com/e/thien-pham-in-store-launch-for-his-new-ya-graphic-novel-family-style-tickets-546643624797\">Mrs. Dalloway’s\u003c/a> (2904 College Ave., Berkeley) on Tues., June 20 at 7 p.m. He will also appear at the \u003ca href=\"https://portal.cca.edu/events-calendar/thien-pham/\">California College of Arts\u003c/a> (1111 8th St., San Francisco) on Fri., July 14 and Hicklebee’s Bookstore (1378 Lincoln Ave., San Jose) on Sun., July 16. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Pham is currently also doing a \u003ca href=\"https://www.eventbrite.com/e/cartoonists836m-exhibition-opening-tickets-612684324307\">four-month artist’s residency\u003c/a> and exhibition at 836M Gallery (836 Montgomery St., San Francisco), with a focus on the history of San Francisco’s neighborhoods.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_73","arts_12276"],"tags":["arts_10278","arts_10629","arts_17573","arts_1773","arts_9054","arts_1143","arts_19019","arts_1084","arts_585","arts_2473","arts_4385","arts_15126"],"featImg":"arts_13930717","label":"source_arts_13930458"},"arts_13921333":{"type":"posts","id":"arts_13921333","meta":{"index":"posts_1591205157","site":"arts","id":"13921333","score":null,"sort":[1667590468000]},"guestAuthors":[],"slug":"colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership","title":"‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership","publishDate":1667590468,"format":"standard","headTitle":"‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership | KQED","labelTerm":{},"content":"\u003cp>If you ask playwright Dustin Chinn for his Joker origin story, he might point to that time in 2016 when \u003ci>Bon Appétit \u003c/i>released a video entitled “\u003ca href=\"https://www.facebook.com/a11in/videos/10155292990304897/?t=0\">PSA: This Is How You Should Be Eating Pho\u003c/a>.”\u003c/p>\n\u003cp>You might remember the one — the white chef in a backwards baseball cap confidently dismissing anyone who adds hoisin or Sriracha to their pho broth while, in the \u003ci>very next breath\u003c/i>, explaining that he’ll squeeze as many limes into his broth as the restaurant is willing to give him (!!).\u003c/p>\n\u003cp>It was one of those classic internet moments: There was the swift backlash (much of it from Vietnamese Americans righteously peeved at some dude-bro telling them they’d been doing it wrong this whole time), the \u003ca href=\"https://www.cosmopolitan.com/food-cocktails/news/a63868/bon-appetit-pho-controversy/\">defensive non-apology\u003c/a> and, eventually, a \u003ca href=\"https://www.bonappetit.com/story/how-you-should-eating-pho\">lengthier \u003ci>mea culpa\u003c/i>\u003c/a>. For Chinn, who is Chinese American, the incident helped spark a years-long obsession with questions of appropriation, colonialism and cultural ownership in food. Eventually, it culminated in his latest play, \u003ca href=\"https://auroratheatre.org/Pho\">\u003ci>Colonialism Is Terrible, But Pho Is Delicious\u003c/i>\u003c/a>, which debuts this week at the \u003ca href=\"https://auroratheatre.org/\">Aurora Theatre Company\u003c/a> in Berkeley under the direction of Oanh Nguyen.\u003c/p>\n\u003cfigure id=\"attachment_13921339\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg\" alt=\"Headshot of an Asian man in a hoodie.\" width=\"240\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot.jpg 800w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Dustin Chinn. \u003ccite>(Courtesy of the Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp data-wp-editing=\"1\">“I think what struck me about [the video] was this particular brand of arrogance to suggest that there is a ‘right’ way [to eat pho]. And also for someone coming from the outsider perspective, who didn’t grow up in the tradition, to claim that they had ownership of it — wow, I don’t know where that comes from,” Chinn says. “Where do you cross the line to where you say, ‘I’ve got this. I’ve got this down’?”\u003c/p>\n\u003cp>The play is set up as a triptych, exploring the aforementioned themes of appropriation and ownership through scenes taken from three imagined moments in the history of pho. The first is a retelling of the dish’s creation story, which is at least partly apocryphal. Chinn’s version focuses on a French aristocrat living in Hanoi during the late 19th century, when the city was the colonial capital of French Indochina. He hires a Vietnamese cook, who has to learn how to prepare pot-au-feu, the French stew that some people believe is the dish that eventually evolved into Vietnamese pho (though this is \u003ca href=\"https://www.splendidtable.org/story/2017/03/06/evolution-of-pho-a-modern-dish-born-of-multicultural-traditions\">widely disputed\u003c/a>).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>[aside postID='arts_13905293,arts_13895488,arts_13914750']“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Dustin Chinn’s new comedy at Berkeley’s Aurora Theatre was inspired by recent controversies around cultural appropriation.","status":"publish","parent":0,"modified":1705006181,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":853},"headData":{"title":"‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership | KQED","description":"Dustin Chinn’s new comedy at Berkeley’s Aurora Theatre was inspired by recent controversies around cultural appropriation.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Colonialism Is Terrible, But Pho Is Delicious’ Is a Play About Food and Ownership","datePublished":"2022-11-04T19:34:28.000Z","dateModified":"2024-01-11T20:49:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"excludeFromSiteSearch":"Include","path":"/arts/13921333/colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you ask playwright Dustin Chinn for his Joker origin story, he might point to that time in 2016 when \u003ci>Bon Appétit \u003c/i>released a video entitled “\u003ca href=\"https://www.facebook.com/a11in/videos/10155292990304897/?t=0\">PSA: This Is How You Should Be Eating Pho\u003c/a>.”\u003c/p>\n\u003cp>You might remember the one — the white chef in a backwards baseball cap confidently dismissing anyone who adds hoisin or Sriracha to their pho broth while, in the \u003ci>very next breath\u003c/i>, explaining that he’ll squeeze as many limes into his broth as the restaurant is willing to give him (!!).\u003c/p>\n\u003cp>It was one of those classic internet moments: There was the swift backlash (much of it from Vietnamese Americans righteously peeved at some dude-bro telling them they’d been doing it wrong this whole time), the \u003ca href=\"https://www.cosmopolitan.com/food-cocktails/news/a63868/bon-appetit-pho-controversy/\">defensive non-apology\u003c/a> and, eventually, a \u003ca href=\"https://www.bonappetit.com/story/how-you-should-eating-pho\">lengthier \u003ci>mea culpa\u003c/i>\u003c/a>. For Chinn, who is Chinese American, the incident helped spark a years-long obsession with questions of appropriation, colonialism and cultural ownership in food. Eventually, it culminated in his latest play, \u003ca href=\"https://auroratheatre.org/Pho\">\u003ci>Colonialism Is Terrible, But Pho Is Delicious\u003c/i>\u003c/a>, which debuts this week at the \u003ca href=\"https://auroratheatre.org/\">Aurora Theatre Company\u003c/a> in Berkeley under the direction of Oanh Nguyen.\u003c/p>\n\u003cfigure id=\"attachment_13921339\" class=\"wp-caption alignright\" style=\"max-width: 240px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13921339\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg\" alt=\"Headshot of an Asian man in a hoodie.\" width=\"240\" height=\"336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/dustin-chinn-headshot.jpg 800w\" sizes=\"(max-width: 240px) 100vw, 240px\">\u003cfigcaption class=\"wp-caption-text\">Playwright Dustin Chinn. \u003ccite>(Courtesy of the Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp data-wp-editing=\"1\">“I think what struck me about [the video] was this particular brand of arrogance to suggest that there is a ‘right’ way [to eat pho]. And also for someone coming from the outsider perspective, who didn’t grow up in the tradition, to claim that they had ownership of it — wow, I don’t know where that comes from,” Chinn says. “Where do you cross the line to where you say, ‘I’ve got this. I’ve got this down’?”\u003c/p>\n\u003cp>The play is set up as a triptych, exploring the aforementioned themes of appropriation and ownership through scenes taken from three imagined moments in the history of pho. The first is a retelling of the dish’s creation story, which is at least partly apocryphal. Chinn’s version focuses on a French aristocrat living in Hanoi during the late 19th century, when the city was the colonial capital of French Indochina. He hires a Vietnamese cook, who has to learn how to prepare pot-au-feu, the French stew that some people believe is the dish that eventually evolved into Vietnamese pho (though this is \u003ca href=\"https://www.splendidtable.org/story/2017/03/06/evolution-of-pho-a-modern-dish-born-of-multicultural-traditions\">widely disputed\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second scene takes place in 1999 in Ho Chi Minh City, on the eve of President Bill Clinton’s visit — and right as Burger King was about to open the first American burger franchises in Vietnam. It focuses on two Americans visiting a pho cart, never having tried the dish before.\u003c/p>\n\u003cp>Finally, the last scene takes us to a Vietnamese restaurant in today’s rapidly gentrifying Brooklyn — a restaurant that, in a callback to the infamous \u003ci>Bon Appétit\u003c/i> video, refuses to provide any sauce to accompany its pho.\u003c/p>\n\u003cp>Each of the scenes deals with colonialism and the power dynamics that come into play when one culture adapts or borrows from another culture’s cuisine. Each explores questions of what kind of food is considered “fancy” and who profits — and how much they profit — off the sale and popularization of that food.\u003c/p>\n\u003cp>Chinn, for his part, doesn’t consider himself a “hardliner.” He doesn’t believe there should be any one-size-fits-all rule about who is “allowed” to cook certain types of food. He says he’s more interested in questions than in messages. That’s also why he says he wrote the play as a comedy rather than a straightforward drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13905293,arts_13895488,arts_13914750","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“I’m a Chinese American writing about Vietnamese themes,” Chinn says. “This play is not about what it means to be Vietnamese. This play is more about the gray areas within these discussions of authorship and cultural ownership.”\u003c/p>\n\u003cp>What he’s hoping is that the play will attract people who don’t typically go to the theater but who do feel invested in these kinds of issues around food culture. After all, he says, food is the one cultural topic that people get uniquely passionate about — to the point that there are some who consider it “hacky” when writers use food as a shorthand for culture.\u003c/p>\n\u003cp>For Chinn, however, it’s for good reason that food evokes those kinds of primal feelings in people. “It’s something you engage with every day, more than literature or even music. It encompasses things about family and daily needs,” Chinn says. “In lieu of religion, people get very religious about food.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Colonialism Is Terrible, But Pho Is Delicious\u003ci> is in previews until Nov. 10 at the Aurora Theatre Company (2081 Addison St., Berkeley). The official opening night is Thursday, Nov. 10 at 8 p.m., and the play runs until Dec. 4. You can \u003c/i>\u003ca href=\"https://tickets.auroratheatre.org/TheatreManager/1/online?event=0\">\u003ci>buy tickets online\u003c/i>\u003c/a>\u003ci>. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13921333/colonialism-is-terrible-but-pho-is-delicious-is-a-play-about-food-and-ownership","authors":["11743"],"programs":["arts_140"],"categories":["arts_1","arts_12276","arts_967"],"tags":["arts_1270","arts_10278","arts_19019","arts_3652","arts_1072","arts_585","arts_2473","arts_15126"],"featImg":"arts_13921335","label":"source_arts_13921333"},"arts_13892814":{"type":"posts","id":"arts_13892814","meta":{"index":"posts_1591205157","site":"arts","id":"13892814","score":null,"sort":[1613507262000]},"guestAuthors":[],"slug":"spike-lee-a-heavenly-light-shined-on-chadwick-boseman-in-da-5-bloods","title":"Spike Lee: A 'Heavenly Light' Shined on Chadwick Boseman in 'Da 5 Bloods'","publishDate":1613507262,"format":"standard","headTitle":"Spike Lee: A ‘Heavenly Light’ Shined on Chadwick Boseman in ‘Da 5 Bloods’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Spike Lee has spent the last four decades making movies that force America to confront its history. His latest film, \u003cem>Da 5 Bloods\u003c/em>, released last year on Netflix, centers on veterans who served in the Vietnam war. In the initial screenplay, the majority of the characters where white, but Lee and cowriter Kevin Willmott purposefully rewrote them as Black soldiers.\u003c/p>\n\u003cp>“The fact is that the majority of the films that dealt with Vietnam, the Black experience was not a part of the story,” Lee says. “When we got the script from the producer … Kevin and I automatically knew what we needed to do. … This would give [us] the opportunity to tell the story of the Black effort, the ‘Bloods,’ who fought and died in Vietnam.” [aside postid='arts_13881854']\u003c/p>\n\u003cp>Equal parts heist film and history lesson, \u003cem>Da 5 Bloods\u003c/em> features the late actor Chadwick Boseman in what would be his penultimate film. Lee says one scene toward the end of the movie, in which Boseman appears bathed in an otherworldly light, took on particular resonance after the actor’s death from cancer in August 2020.\u003c/p>\n\u003cp>“My wife and I, Tonya, we watched \u003cem>Da 5 Bloods\u003c/em> the next day after we heard the news [of Boseman’s death]. And seeing that last scene … it just took on … something extra,” he says. “That light there was not manmade, that was a heavenly light that was shining down though the trees in the jungle on our brother Chadwick.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D5RDTPfsLAI\u003c/p>\n\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On working with Boseman in \u003c/strong>\u003cem>\u003cstrong>Da 5 Bloods\u003c/strong>\u003c/em>\u003cstrong>, and not realizing that Boseman was battling cancer at the time \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I understand that he didn’t want to be treated differently than any of the actors. … The first battle sequence, he has to run, like, 100 yards, and I was telling him to run like \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/15/490091457/how-an-olympics-photographer-captured-usain-bolts-cheeky-grin\" target=\"_blank\" rel=\"noopener noreferrer\">Usain Bolt. \u003c/a>If I had known that he was terminally ill, I would not ask him to do that. And that’s the reason why he didn’t tell me. He didn’t want to take any shorts.\u003c/p>\n\u003cp>\u003cstrong>On the decision to make one of the veterans in the film a Trump supporter \u003c/strong>\u003c/p>\n\u003cp>As a young lad growing up in Brooklyn, N.Y., my late mother, Jacquelyn Lee, would always tell me, “Spikey, all Black people don’t look alike, think alike, act alike. Black folks are not one monolithic group.” That’s always stuck with me. So if I had this group of guys, they all can’t be lovey-dovey. So it was very simple to think of what was the one thing that would be the most combustible and that would be for Paul’s character to be a Trump-et. And another thing [in the film] that people don’t pick up, is that many people wear that hat, Paul’s [MAGA] hat. It doesn’t end with him.\u003c/p>\n\u003cp>\u003cstrong>On the origin of “Hanoi Hannah,” a Vietnamese radio personality who broadcast anti-war propaganda aimed at American troops \u003c/strong>\u003c/p>\n\u003cp>She would play popular American music, rock ‘n’ roll, soul, and in between songs, she was given a script to read. And even though some people might say it was propaganda, a lot of stuff she said was not a lie. You know, she says, why are you dying for a country that doesn’t love you? A lot of the Black soldiers, that’s how they heard, about how two or three days later, that MLK had been assassinated. That’s how they found out. And she used that, saying, “Don’t you know your sisters and brothers are rioting, burning over 100 cities in America and they’re being killed by the police?”\u003c/p>\n\u003cp>\u003cstrong>On a time earlier in his career when he would attend meetings in Hollywood and the white studio executives would bring in Black people from the mailroom so that there would be other Black people in the room\u003c/strong>\u003c/p>\n\u003cp>The white executives thought I was fooled, but there was a look between me and the brothers they brought up from the mailroom. I knew what was happening. They knew I knew. … And we both understood, you know, what the game was. And after I left the office, you know they sent their Black asses back down to the mailroom. …\u003c/p>\n\u003cp>[On] my mother’s grave, [it] happened more than once. They brought some Black people up from the mailroom. And I smelled that a mile away. And just played along with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado\u003c/em> \u003cem>and Kayla Lattimore produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee%3A+A+%27Heavenly+Light%27+Shined+On+Chadwick+Boseman+In+%27Da+5+Bloods%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Lee says one scene in his heist thriller took on particular resonance after Chadwick Boseman's death from cancer in August 2020.","status":"publish","parent":0,"modified":1705019469,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":826},"headData":{"title":"Spike Lee: A 'Heavenly Light' Shined on Chadwick Boseman in 'Da 5 Bloods' | KQED","description":"Lee says one scene in his heist thriller took on particular resonance after Chadwick Boseman's death from cancer in August 2020.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Spike Lee: A 'Heavenly Light' Shined on Chadwick Boseman in 'Da 5 Bloods'","datePublished":"2021-02-16T20:27:42.000Z","dateModified":"2024-01-12T00:31:09.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"David Lee","nprByline":"Sam Sanders","nprImageAgency":"Netflix","nprStoryId":"966319454","nprApiLink":"http://api.npr.org/query?id=966319454&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/02/15/966319454/spike-lee-a-heavenly-light-shined-on-chadwick-boseman-in-da-5-bloods?ft=nprml&f=966319454","nprRetrievedStory":"1","nprPubDate":"Mon, 15 Feb 2021 13:46:00 -0500","nprStoryDate":"Mon, 15 Feb 2021 12:04:58 -0500","nprLastModifiedDate":"Mon, 15 Feb 2021 12:05:02 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210215_fa_01.mp3?orgId=427869011&topicId=1137&d=1598&p=13&story=966319454&ft=nprml&f=966319454","nprAudioM3u":"http://api.npr.org/m3u/1968119518-117e30.m3u?orgId=427869011&topicId=1137&d=1598&p=13&story=966319454&ft=nprml&f=966319454","templateType":"standard","featuredImageType":"standard","path":"/arts/13892814/spike-lee-a-heavenly-light-shined-on-chadwick-boseman-in-da-5-bloods","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/fa/2021/02/20210215_fa_01.mp3?orgId=427869011&topicId=1137&d=1598&p=13&story=966319454&ft=nprml&f=966319454","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spike Lee has spent the last four decades making movies that force America to confront its history. His latest film, \u003cem>Da 5 Bloods\u003c/em>, released last year on Netflix, centers on veterans who served in the Vietnam war. In the initial screenplay, the majority of the characters where white, but Lee and cowriter Kevin Willmott purposefully rewrote them as Black soldiers.\u003c/p>\n\u003cp>“The fact is that the majority of the films that dealt with Vietnam, the Black experience was not a part of the story,” Lee says. “When we got the script from the producer … Kevin and I automatically knew what we needed to do. … This would give [us] the opportunity to tell the story of the Black effort, the ‘Bloods,’ who fought and died in Vietnam.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881854","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Equal parts heist film and history lesson, \u003cem>Da 5 Bloods\u003c/em> features the late actor Chadwick Boseman in what would be his penultimate film. Lee says one scene toward the end of the movie, in which Boseman appears bathed in an otherworldly light, took on particular resonance after the actor’s death from cancer in August 2020.\u003c/p>\n\u003cp>“My wife and I, Tonya, we watched \u003cem>Da 5 Bloods\u003c/em> the next day after we heard the news [of Boseman’s death]. And seeing that last scene … it just took on … something extra,” he says. “That light there was not manmade, that was a heavenly light that was shining down though the trees in the jungle on our brother Chadwick.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/D5RDTPfsLAI'\n title='//www.youtube.com/embed/D5RDTPfsLAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On working with Boseman in \u003c/strong>\u003cem>\u003cstrong>Da 5 Bloods\u003c/strong>\u003c/em>\u003cstrong>, and not realizing that Boseman was battling cancer at the time \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I understand that he didn’t want to be treated differently than any of the actors. … The first battle sequence, he has to run, like, 100 yards, and I was telling him to run like \u003ca href=\"https://www.npr.org/sections/thetorch/2016/08/15/490091457/how-an-olympics-photographer-captured-usain-bolts-cheeky-grin\" target=\"_blank\" rel=\"noopener noreferrer\">Usain Bolt. \u003c/a>If I had known that he was terminally ill, I would not ask him to do that. And that’s the reason why he didn’t tell me. He didn’t want to take any shorts.\u003c/p>\n\u003cp>\u003cstrong>On the decision to make one of the veterans in the film a Trump supporter \u003c/strong>\u003c/p>\n\u003cp>As a young lad growing up in Brooklyn, N.Y., my late mother, Jacquelyn Lee, would always tell me, “Spikey, all Black people don’t look alike, think alike, act alike. Black folks are not one monolithic group.” That’s always stuck with me. So if I had this group of guys, they all can’t be lovey-dovey. So it was very simple to think of what was the one thing that would be the most combustible and that would be for Paul’s character to be a Trump-et. And another thing [in the film] that people don’t pick up, is that many people wear that hat, Paul’s [MAGA] hat. It doesn’t end with him.\u003c/p>\n\u003cp>\u003cstrong>On the origin of “Hanoi Hannah,” a Vietnamese radio personality who broadcast anti-war propaganda aimed at American troops \u003c/strong>\u003c/p>\n\u003cp>She would play popular American music, rock ‘n’ roll, soul, and in between songs, she was given a script to read. And even though some people might say it was propaganda, a lot of stuff she said was not a lie. You know, she says, why are you dying for a country that doesn’t love you? A lot of the Black soldiers, that’s how they heard, about how two or three days later, that MLK had been assassinated. That’s how they found out. And she used that, saying, “Don’t you know your sisters and brothers are rioting, burning over 100 cities in America and they’re being killed by the police?”\u003c/p>\n\u003cp>\u003cstrong>On a time earlier in his career when he would attend meetings in Hollywood and the white studio executives would bring in Black people from the mailroom so that there would be other Black people in the room\u003c/strong>\u003c/p>\n\u003cp>The white executives thought I was fooled, but there was a look between me and the brothers they brought up from the mailroom. I knew what was happening. They knew I knew. … And we both understood, you know, what the game was. And after I left the office, you know they sent their Black asses back down to the mailroom. …\u003c/p>\n\u003cp>[On] my mother’s grave, [it] happened more than once. They brought some Black people up from the mailroom. And I smelled that a mile away. And just played along with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ann Marie Baldonado\u003c/em> \u003cem>and Kayla Lattimore produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Spike+Lee%3A+A+%27Heavenly+Light%27+Shined+On+Chadwick+Boseman+In+%27Da+5+Bloods%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13892814/spike-lee-a-heavenly-light-shined-on-chadwick-boseman-in-da-5-bloods","authors":["byline_arts_13892814"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_11327","arts_6463","arts_2473"],"affiliates":["arts_137"],"featImg":"arts_13892815","label":"arts_137"},"arts_13860055":{"type":"posts","id":"arts_13860055","meta":{"index":"posts_1591205157","site":"arts","id":"13860055","score":null,"sort":[1561210547000]},"guestAuthors":[],"slug":"musical-fusion-for-modern-ears-in-van-anh-vos-3l-love-life-loss","title":"Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss'","publishDate":1561210547,"format":"standard","headTitle":"Musical Fusion for Modern Ears in Vân-Ánh Võ’s ‘3L: Love, Life, Loss’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=8y02Rv8sQzw]\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>[aside postID='arts_11260223,arts_13850950,arts_13837387' label='Related Coverage']Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The latest multi-cultural exploration from Sangam Arts features Fremont musician and composer Vân-Ánh Võ. ","status":"publish","parent":0,"modified":1705022620,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":670},"headData":{"title":"Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss' | KQED","description":"The latest multi-cultural exploration from Sangam Arts features Fremont musician and composer Vân-Ánh Võ. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Musical Fusion for Modern Ears in Vân-Ánh Võ's '3L: Love, Life, Loss'","datePublished":"2019-06-22T13:35:47.000Z","dateModified":"2024-01-12T01:23:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13860055/musical-fusion-for-modern-ears-in-van-anh-vos-3l-love-life-loss","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Vân-Ánh Võ \u003c/a>started studying music in Vietnam at the age of four. She trained with six different musical masters. “We have 54 different ethnic groups in Vietnam, and we have so many different genres! But regardless of what regions they come from, they shared the same thing: the same quality of belief. Music doesn’t have borders. Culture doesn’t have borders.”\u003c/p>\n\u003cp>Võ lives in Fremont now with her husband and children, and her work here as a musician and composer resonates with U.S. audiences. She’s won an Emmy, collaborated with the \u003ca href=\"https://www.kronosquartet.org\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, and played at top venues like the Kennedy Center in Washington D.C. She’s even played a \u003ca href=\"https://www.npr.org/2014/01/04/259390015/van-anh-vanessa-vo-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Tiny Desk Concert\u003c/a> for NPR. (At 6:30 in, listen to her witty take on Erik Satie’s Gnossienne No. 3, performed on the \u003cem>dan Bau\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8y02Rv8sQzw'\n title='//www.youtube.com/embed/8y02Rv8sQzw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So it was the South Bay non-profit \u003ca href=\"https://sangamarts.org\" target=\"_blank\" rel=\"noopener\">Sangam Arts\u003c/a> commissioned Võ to writing something new blending the Vietnamese, Chicano and African-American cultural traditions of the Santa Clara Valley.\u003c/p>\n\u003cp>Võ started as she typically does, by interviewing people to hear their life stories. “To share the voices of immigrants, the strength that immigrants bring to this country,\u003cspan class=\"Apple-converted-space\"> \u003c/span>the ways that our immigrants built this country, right? Altogether,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The national conversation around immigration is toxic these days — even as, here in the Bay Area, we live alongside multiple cultures, many of which blend in remarkably harmonious ways.\u003cspan class=\"Apple-converted-space\"> “In a time like this, it’s important that we have more music, more stories to share, to connect everyone together,” Võ said.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13860082\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13860082 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg\" alt=\"From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh).\" width=\"2048\" height=\"1141\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-160x89.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-800x446.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-768x428.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1020x568.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1200x669.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Screen-Shot-2019-06-21-at-7.54.04-PM-1920x1070.jpeg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Mikhael Khalikulov (cello, viola, electric bass) , Jimi Nakagawa (taiko, percussion), Joshua Mellinger (frame drum, trap set, tabla, marimba), Megan Ai, Vân-Ánh Võ (đàn tranh). \u003ccite>(Courtesy of Sangam Arts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But how to communicate that idea musically without it sounding awkward, or forced? This is where you find Võ in her element as a border crossing artist.\u003c/span>\u003c/p>\n\u003cp>For instance, in her research for \u003cspan style=\"font-weight: 400\">\u003cem>3L: Love, Life, Loss, \u003c/em>\u003c/span>she discovered two traditional spiritual songs: \u003cem>Cô Côi Thượng Ngàn\u003c/em> from Vietnam, and \u003cem>Viene La Muerte Echando Rasero\u003c/em> from Mexico. Both reflect on mortality, but also resonate musically.\u003c/p>\n\u003cp>“They both start out with the major key, and then they both change into minor key when the song go into the body of it, and then they both end the phrase with the same chord structure and start the phrase with the same chord structure! They are very different in rhythm, but they actually work side by side. Isn’t that amazing?” \u003cspan style=\"font-weight: 400\">Võ said with infectious enthusiasm.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_11260223,arts_13850950,arts_13837387","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sure enough, when you hear \u003cem>Queen of the Night\u003c/em>, the second movement of \u003ci>3L: Love, Life, Los, \u003c/i>her argument is readily apparent. It is a natural fit.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> In \u003cem>3L: Love, Life, Loss,\u003c/em> Võ’s ensemble includes musicians who specialize in Japanese taiko drumming, marimba, and cello, among other things. She employs traditional Vietnamese instruments to make sounds and melodies that delight modern ears. In a similar fashion, Võ pulls forward bouncy rhythms to make heady spiritual themes accessible. \u003c/span>\u003c/p>\n\u003cp>It’s a talent she demonstrates on most of the projects she works on, like \u003cem>\u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">The Odyssey: From Vietnam to America\u003c/a>\u003c/em>, a multimedia suite about the terrors the boat people faced.\u003c/p>\n\u003cp>Võ explains she only engages in work that feel personally meaningful for her. “My work has to have a message. It has to have something for people to go home and talk about.” \u003cem>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"site-name\">\u003cem>\u003cstrong>3L: Love, Loss, Life\u003c/strong> runs June 22, 2019 at Sunnyvale Theater in Sunnyvale. For more information, click \u003cstrong>\u003ca href=\"https://www.tikkl.com/sangamarts/c/3L\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13860055/musical-fusion-for-modern-ears-in-van-anh-vos-3l-love-life-loss","authors":["251"],"categories":["arts_1","arts_835","arts_69","arts_235"],"tags":["arts_888","arts_3419","arts_1118","arts_2244","arts_596","arts_4642","arts_3001","arts_5422","arts_7695","arts_2473","arts_4385"],"featImg":"arts_13860081","label":"arts"},"arts_13850950":{"type":"posts","id":"arts_13850950","meta":{"index":"posts_1591205157","site":"arts","id":"13850950","score":null,"sort":[1550332082000]},"guestAuthors":[],"slug":"dinh-q-le-and-the-art-of-weaving-memory","title":"Dinh Q. Lê and the Art of Weaving Memory","publishDate":1550332082,"format":"audio","headTitle":"Dinh Q. Lê and the Art of Weaving Memory | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Dinh Q. Lê was born in Vietnam. He lives there now, since moving back there in 1997. But he also grew up a refugee in Simi Valley, California after the end of the Vietnam War. His memories of the Vietnam War, or what the Vietnamese call the American War, are as much informed by American news and movies as his life experience.\u003c/p>\n\u003cp>As Lê told Western Washington University students a couple of years ago (about 22 minutes in to the video below), it came as a shock to him to realize he “remembered” helicopters he never saw.\u003cbr>\n[youtube https://www.youtube.com/watch?v=wLEHheUf-QI]\u003cbr>\n“From \u003cem>Apocalypse Now\u003c/em>! It’s not my personal experience! So where is my memory of the Vietnam War today?” he said.\u003c/p>\n\u003cp>He’s working on it, literally. The Vietnamese American artist has made a career weaving together photographs using a technique his aunt taught him to make grass mats. He pairs disparate images to highlight the argument or conversation between disparate views of history and culture.\u003c/p>\n\u003cp>\u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" target=\"_blank\" rel=\"noopener\">\u003ci>True Journey is Return\u003c/i>\u003c/a> on view at the San Jose Museum of Art offers a wide-ranging collection of Lê’s work, perhaps none more striking than \u003cem>Crossing the Farther Shore\u003c/em>.\u003c/p>\n\u003cp>Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They aren’t Lê’s family photos, but they might as well be, abandoned by families like his, fleeing South Vietnam after the fall of Saigon. The images depict weddings, vacations, first days of school: the quotidian stories that constitute history as much as any war.\u003c/p>\n\u003cp>Some of the cards are flipped to feature original notes, but also snippets of recollections that speak to the South Vietnamese experience before the end of the Vietnam War. The text was drawn from interviews conducted by the \u003ca href=\"https://sites.uci.edu/vaohp/\" target=\"_blank\" rel=\"noopener\">Vietnamese-American Oral History Project \u003c/a>as well as the \u003ca href=\"https://haaa.rice.edu\" target=\"_blank\" rel=\"noopener\">Houston Asian American Archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13850997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-800x533.jpg\" alt=\"In Crossing the Farther Shore, Dinh Q. Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets. Some of the cards are flipped to feature snippets of poetry and other ideas that speak to the South Vietnamese experience before the end of the Vietnam War. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Crossing the Farther Shore, Dinh Q. Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets. Some of the cards are flipped to feature snippets of poetry and other ideas that speak to the South Vietnamese experience before the end of the Vietnam War. \u003ccite>(Photo: Courtesy of Ben Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who read Vietnamese will also recognize passages from the epic poem, \u003cem>The Tale of Kieu\u003c/em>, by Nguyên Du (1766-1820). The poem tells the story of Thúy Kiêu, a beautiful woman who sold herself into a grim marriage to save her family from ruin. After trials and tribulation, she makes it home to reunite with her original family.\u003c/p>\n\u003cp>“Lê honors the past. He honors all of those lives that were lost. But he also celebrates those that are living and are thriving,” says Associate Curator Rory Padeken.\u003c/p>\n\u003cp>This show also celebrates Lê’s more abstract works. “I’m a big fan of abstraction because I think it can speak to many different issues, particularly difficult ones like loss, trauma, death. There’s no one image that’s dominating. It’s always in flux, because that’s how memory functions in the human mind,” Padeken says.\u003c/p>\n\u003cp>The exhibition also features documentary work by Lê, including \u003cem>Light and Belief\u003c/em>, a survey of the work of Communist Vietnamese artists who drew bucolic tableaus and portraits of soldiers in moments of rest between battles. The illustrations seem ripped from a children’s book, and collectively, they build a narrative as fictional as \u003cem>Apocalypse Now \u003c/em>and other Hollywood films.\u003c/p>\n\u003cfigure id=\"attachment_13851001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851001\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-800x553.jpeg\" alt=\"Still from Dinh Q. Lê's "Light and Belief: Voices and Sketches of Life from the Vietnam War" (2012)\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1.jpeg 921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dinh Q. Lê’s “Light and Belief: Voices and Sketches of Life from the Vietnam War” (2012) \u003ccite>(Photo: Courtesy of Dinh Q. Lê)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But unlike American fictions, typically focused on white men working out their psychological travails in a country foreign to them, these paintings served a practical purpose: depicting men and women as they might want to be remembered in the event of their death at war. Lê is drawing attention to their work as a genuine, if contested, version of history.\u003c/p>\n\u003cp>Lê co-founded a collective called \u003ca href=\"https://www.facebook.com/SanArtVN/\" target=\"_blank\" rel=\"noopener\">San Art\u003c/a> in Ho Chi Minh City, one of several institutions launched in recent years as young Vietnamese educated abroad immigrate back and breathe new life into the fine art scene in Vietnam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s local benefit but a lot of the work travels, too. Lê and the other artists of San Art, including \u003ca href=\"http://www.trfineart.com/artist/tiffany-chung/\" target=\"_blank\" rel=\"noopener\">Tiffany Chung\u003c/a> and \u003ca href=\"https://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of the \u003ca href=\"https://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener\">Propeller Group\u003c/a>, are crafting new narratives of Vietnam’s past and present for consumption at home and abroad.\u003c/p>\n\u003cdiv class=\"src-routes-Site-routes-Post-components-Post-___Post__post_Body___Bkfwv\">\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv class=\"src-routes-Site-routes-Post-components-Post-___Post__post_Body___Bkfwv\">\n\u003cp>\u003cem>‘Dinh Q. Lê: True Journey is Return’ is on view at the San Jose Museum of Art through April 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\n","blocks":[],"excerpt":"Dinh Q. Lê's work explores suffering, loss and resilience in Vietnam during and after the war.","status":"publish","parent":0,"modified":1705026587,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":839},"headData":{"title":"Dinh Q. Lê and the Art of Weaving Memory | KQED","description":"Dinh Q. Lê's work explores suffering, loss and resilience in Vietnam during and after the war.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dinh Q. Lê and the Art of Weaving Memory","datePublished":"2019-02-16T15:48:02.000Z","dateModified":"2024-01-12T02:29:47.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio//2019/02/20190216local935AM.mp3","sticky":false,"audioTrackLength":100,"path":"/arts/13850950/dinh-q-le-and-the-art-of-weaving-memory","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dinh Q. Lê was born in Vietnam. He lives there now, since moving back there in 1997. But he also grew up a refugee in Simi Valley, California after the end of the Vietnam War. His memories of the Vietnam War, or what the Vietnamese call the American War, are as much informed by American news and movies as his life experience.\u003c/p>\n\u003cp>As Lê told Western Washington University students a couple of years ago (about 22 minutes in to the video below), it came as a shock to him to realize he “remembered” helicopters he never saw.\u003cbr>\n\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLEHheUf-QI'\n title='//www.youtube.com/embed/wLEHheUf-QI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cbr>\n“From \u003cem>Apocalypse Now\u003c/em>! It’s not my personal experience! So where is my memory of the Vietnam War today?” he said.\u003c/p>\n\u003cp>He’s working on it, literally. The Vietnamese American artist has made a career weaving together photographs using a technique his aunt taught him to make grass mats. He pairs disparate images to highlight the argument or conversation between disparate views of history and culture.\u003c/p>\n\u003cp>\u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" target=\"_blank\" rel=\"noopener\">\u003ci>True Journey is Return\u003c/i>\u003c/a> on view at the San Jose Museum of Art offers a wide-ranging collection of Lê’s work, perhaps none more striking than \u003cem>Crossing the Farther Shore\u003c/em>.\u003c/p>\n\u003cp>Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They aren’t Lê’s family photos, but they might as well be, abandoned by families like his, fleeing South Vietnam after the fall of Saigon. The images depict weddings, vacations, first days of school: the quotidian stories that constitute history as much as any war.\u003c/p>\n\u003cp>Some of the cards are flipped to feature original notes, but also snippets of recollections that speak to the South Vietnamese experience before the end of the Vietnam War. The text was drawn from interviews conducted by the \u003ca href=\"https://sites.uci.edu/vaohp/\" target=\"_blank\" rel=\"noopener\">Vietnamese-American Oral History Project \u003c/a>as well as the \u003ca href=\"https://haaa.rice.edu\" target=\"_blank\" rel=\"noopener\">Houston Asian American Archives\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13850997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-800x533.jpg\" alt=\"In Crossing the Farther Shore, Dinh Q. Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets. Some of the cards are flipped to feature snippets of poetry and other ideas that speak to the South Vietnamese experience before the end of the Vietnam War. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35282_44129490425_f538f4c9d4_o-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In Crossing the Farther Shore, Dinh Q. Lê strings together Vietnamese family photographs taken in Vietnam during the 1940s-1980s into structures resembling mosquito nets. Some of the cards are flipped to feature snippets of poetry and other ideas that speak to the South Vietnamese experience before the end of the Vietnam War. \u003ccite>(Photo: Courtesy of Ben Blackwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who read Vietnamese will also recognize passages from the epic poem, \u003cem>The Tale of Kieu\u003c/em>, by Nguyên Du (1766-1820). The poem tells the story of Thúy Kiêu, a beautiful woman who sold herself into a grim marriage to save her family from ruin. After trials and tribulation, she makes it home to reunite with her original family.\u003c/p>\n\u003cp>“Lê honors the past. He honors all of those lives that were lost. But he also celebrates those that are living and are thriving,” says Associate Curator Rory Padeken.\u003c/p>\n\u003cp>This show also celebrates Lê’s more abstract works. “I’m a big fan of abstraction because I think it can speak to many different issues, particularly difficult ones like loss, trauma, death. There’s no one image that’s dominating. It’s always in flux, because that’s how memory functions in the human mind,” Padeken says.\u003c/p>\n\u003cp>The exhibition also features documentary work by Lê, including \u003cem>Light and Belief\u003c/em>, a survey of the work of Communist Vietnamese artists who drew bucolic tableaus and portraits of soldiers in moments of rest between battles. The illustrations seem ripped from a children’s book, and collectively, they build a narrative as fictional as \u003cem>Apocalypse Now \u003c/em>and other Hollywood films.\u003c/p>\n\u003cfigure id=\"attachment_13851001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851001\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-800x553.jpeg\" alt=\"Still from Dinh Q. Lê's "Light and Belief: Voices and Sketches of Life from the Vietnam War" (2012)\" width=\"800\" height=\"553\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RS35280_30210673628_e6357dca24_o-1.jpeg 921w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dinh Q. Lê’s “Light and Belief: Voices and Sketches of Life from the Vietnam War” (2012) \u003ccite>(Photo: Courtesy of Dinh Q. Lê)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But unlike American fictions, typically focused on white men working out their psychological travails in a country foreign to them, these paintings served a practical purpose: depicting men and women as they might want to be remembered in the event of their death at war. Lê is drawing attention to their work as a genuine, if contested, version of history.\u003c/p>\n\u003cp>Lê co-founded a collective called \u003ca href=\"https://www.facebook.com/SanArtVN/\" target=\"_blank\" rel=\"noopener\">San Art\u003c/a> in Ho Chi Minh City, one of several institutions launched in recent years as young Vietnamese educated abroad immigrate back and breathe new life into the fine art scene in Vietnam.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s local benefit but a lot of the work travels, too. Lê and the other artists of San Art, including \u003ca href=\"http://www.trfineart.com/artist/tiffany-chung/\" target=\"_blank\" rel=\"noopener\">Tiffany Chung\u003c/a> and \u003ca href=\"https://www.tuanandrewnguyen.com\" target=\"_blank\" rel=\"noopener\">Tuan Andrew Nguyen\u003c/a> of the \u003ca href=\"https://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener\">Propeller Group\u003c/a>, are crafting new narratives of Vietnam’s past and present for consumption at home and abroad.\u003c/p>\n\u003cdiv class=\"src-routes-Site-routes-Post-components-Post-___Post__post_Body___Bkfwv\">\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv class=\"src-routes-Site-routes-Post-components-Post-___Post__post_Body___Bkfwv\">\n\u003cp>\u003cem>‘Dinh Q. Lê: True Journey is Return’ is on view at the San Jose Museum of Art through April 7, 2019. \u003ca href=\"https://sjmusart.org/exhibition/dinh-q-le-true-journey-return\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13850950/dinh-q-le-and-the-art-of-weaving-memory","authors":["251"],"programs":["arts_140"],"categories":["arts_1","arts_235","arts_70"],"tags":["arts_1118","arts_596","arts_4642","arts_1084","arts_2473"],"featImg":"arts_13850996","label":"arts_140"},"arts_13838187":{"type":"posts","id":"arts_13838187","meta":{"index":"posts_1591205157","site":"arts","id":"13838187","score":null,"sort":[1533231723000]},"guestAuthors":[],"slug":"cartoonist-thi-bui-weaves-together-personal-and-political-history","title":"Cartoonist Thi Bui Weaves Together Personal And Political History","publishDate":1533231723,"format":"standard","headTitle":"Cartoonist Thi Bui Weaves Together Personal And Political History | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Cartoonist \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener\">Thi Bui\u003c/a>‘s Eisner Award-nominated graphic memoir is called \u003ca href=\"https://www.kqed.org/forum/2010101861939/struggles-of-a-vietnamese-refugee-family-told-in-illustrated-memoir\" target=\"_blank\" rel=\"noopener\">\u003cem>The Best We Could Do\u003c/em>\u003c/a>; it’s the story of her family in the years before, during and after the Vietnam War. The Eisners — mainstream comics’ top award — are given out every year at San Diego Comic-Con, where Bui was one of this year’s featured guests.\u003c/p>\n\u003cp>Alone on stage for her spotlight panel at the convention, Bui invites audience members to come up and read passages from her novel. “There are several voices and I would like to not do them all,” she says. “I’m going to try to entertain you before I make you sad.” And her story is sad. Her parents lost nearly everything during the war, and ended up fleeing Vietnam in the late 1970s, when Bui was just a small child.\u003c/p>\n\u003cfigure id=\"attachment_13838190\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838190 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg\" alt=\"Thi Bui says telling her parents she was writing a book about their lives helped break the ice.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui says telling her parents she was writing a book about their lives helped break the ice. \u003ccite>(Gabe Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I meet up with Bui outside the San Diego Convention Center, as people in costumes rush to line up for more panels, and men ring bells on ice cream carts. She says the novel began with a grad school project. “I was a graduate student at NYU, deconstructing all of the bad representations of Vietnamese people in the Vietnam War in movies and pop culture and American scholarship, so it was a very academic grumpiness that I had at the beginning.”\u003c/p>\n\u003cp>[contextly_sidebar id=”yT7lEVAlqsuEmn7bLjt5grsxzvPiujUs”]\u003c/p>\n\u003cp>Bui wanted to do more with that research, to make it accessible to a wider audience. And she says graphic memoirs — like Art Spiegelman’s \u003cem>Maus\u003c/em>, about the Holocaust, and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, about growing up during Iran’s Islamic Revolution — inspired her. “I really wanted to do what they did,” she says, “weave the personal and the political and the historical to tell a story of the Vietnam War and all the things that caused it, in a way that I felt like I hadn’t seen before.”\u003c/p>\n\u003cblockquote>\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy … so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” — Thi Bui\u003c/p>\u003c/blockquote>\n\u003cp>So Bui interviewed the closest sources she had — her parents. She says telling them she was writing a book about their lives helped break the ice. “It’s really hard to sit your parents down and say ‘Tell me all about your painful history,’ but if you tell them, ‘I’m working on a book, could you help me with my school project,’ then they’ll oblige … your oblique Asian strategies!”\u003c/p>\n\u003cfigure id=\"attachment_13838188\" class=\"wp-caption alignright\" style=\"max-width: 901px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838188 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg\" alt=\"'The Best We Could Do,' by Thi Bui\" width=\"901\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg 901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-520x390.jpg 520w\" sizes=\"(max-width: 901px) 100vw, 901px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best We Could Do,’ by Thi Bui\u003c/figcaption>\u003c/figure>\n\u003cp>The book delves as much into her family’s history as it does Vietnam’s; traumatic things her parents had seen as children and young adults in the years before and during the war. Bui says she asked basic questions to get the connective tissue of her parents’ stories: “Was it hot, were you hungry, how did the sand feel on your feet after you lost your slippers in the boat?” These questions helped her parents recall rich details that Bui wove into the graphic novel. Details like the executions of political prisoners her father witnessed, how much money her mother got for selling her valuables, the dimensions of the boat her family took to flee Vietnam.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy, and I would often hear them at times when I wasn’t ready, so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” Bui says she struggled with those stories of war and trauma and hardship, that they cast a shadow over her life. Then she had a son, and that experience shifted the way she approached \u003cem>The Best We Could Do\u003c/em>. “I think that maybe if I had done it as not a parent, I might have been happy to just dwell in my trauma, but with a baby in hand, I was really concerned with not passing on that trauma myself, and so I needed to filter stuff out so I could pass on something cleaner.”\u003c/p>\n\u003cp>And part of that healing came from examining her identity as a child of survivors, and especially as a person who’d left the place she’d been born. “That identity is like being the child of two divorced parents who won’t talk to each other,” Bui says. “I really yearn for reconciliation between people on both sides of that civil war. It’s been my whole life, so understanding that your perspective is not the entire truth is an important stepping stone to getting there.”\u003c/p>\n\u003cp>For now, she’s reconciled her story with her parents’ — and she says hopes her book can provide a starting point for others to do the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jolie Myers and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cartoonist+Thi+Bui+Weaves+Together+Personal+And+Political+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"Bui's Eisner Award-nominated graphic memoir 'The Best We Could Do' chronicles her family's struggles in fleeing war-torn Vietnam to immigrate to the United States.","status":"publish","parent":0,"modified":1705027422,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":923},"headData":{"title":"Cartoonist Thi Bui Weaves Together Personal And Political History | KQED","description":"Bui's Eisner Award-nominated graphic memoir 'The Best We Could Do' chronicles her family's struggles in fleeing war-torn Vietnam to immigrate to the United States.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cartoonist Thi Bui Weaves Together Personal And Political History","datePublished":"2018-08-02T17:42:03.000Z","dateModified":"2024-01-12T02:43:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mallory Yu","nprImageAgency":" ","nprStoryId":"634606313","nprApiLink":"http://api.npr.org/query?id=634606313&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/08/01/634606313/cartoonist-thi-bui-weaves-together-personal-and-political-history?ft=nprml&f=634606313","nprRetrievedStory":"1","nprPubDate":"Wed, 01 Aug 2018 19:28:00 -0400","nprStoryDate":"Wed, 01 Aug 2018 17:53:00 -0400","nprLastModifiedDate":"Thu, 02 Aug 2018 05:58:23 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/08/20180801_atc_cartoonist_thi_bui_weaves_together_personal_and_political_history.mp3?orgId=1&topicId=1033&d=254&p=2&story=634606313&ft=nprml&f=634606313","nprAudioM3u":"http://api.npr.org/m3u/1634696420-65b9cf.m3u?orgId=1&topicId=1033&d=254&p=2&story=634606313&ft=nprml&f=634606313","audioTrackLength":255,"templateType":"standard","featuredImageType":"standard","path":"/arts/13838187/cartoonist-thi-bui-weaves-together-personal-and-political-history","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2018/08/20180801_atc_cartoonist_thi_bui_weaves_together_personal_and_political_history.mp3?orgId=1&topicId=1033&d=254&p=2&story=634606313&ft=nprml&f=634606313","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cartoonist \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener\">Thi Bui\u003c/a>‘s Eisner Award-nominated graphic memoir is called \u003ca href=\"https://www.kqed.org/forum/2010101861939/struggles-of-a-vietnamese-refugee-family-told-in-illustrated-memoir\" target=\"_blank\" rel=\"noopener\">\u003cem>The Best We Could Do\u003c/em>\u003c/a>; it’s the story of her family in the years before, during and after the Vietnam War. The Eisners — mainstream comics’ top award — are given out every year at San Diego Comic-Con, where Bui was one of this year’s featured guests.\u003c/p>\n\u003cp>Alone on stage for her spotlight panel at the convention, Bui invites audience members to come up and read passages from her novel. “There are several voices and I would like to not do them all,” she says. “I’m going to try to entertain you before I make you sad.” And her story is sad. Her parents lost nearly everything during the war, and ended up fleeing Vietnam in the late 1970s, when Bui was just a small child.\u003c/p>\n\u003cfigure id=\"attachment_13838190\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838190 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg\" alt=\"Thi Bui says telling her parents she was writing a book about their lives helped break the ice.\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibuiheadshota-4023f8963dfd8e34f9160570b1c182e6e325c833.jpg 1664w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Thi Bui says telling her parents she was writing a book about their lives helped break the ice. \u003ccite>(Gabe Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>I meet up with Bui outside the San Diego Convention Center, as people in costumes rush to line up for more panels, and men ring bells on ice cream carts. She says the novel began with a grad school project. “I was a graduate student at NYU, deconstructing all of the bad representations of Vietnamese people in the Vietnam War in movies and pop culture and American scholarship, so it was a very academic grumpiness that I had at the beginning.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bui wanted to do more with that research, to make it accessible to a wider audience. And she says graphic memoirs — like Art Spiegelman’s \u003cem>Maus\u003c/em>, about the Holocaust, and Marjane Satrapi’s \u003cem>Persepolis\u003c/em>, about growing up during Iran’s Islamic Revolution — inspired her. “I really wanted to do what they did,” she says, “weave the personal and the political and the historical to tell a story of the Vietnam War and all the things that caused it, in a way that I felt like I hadn’t seen before.”\u003c/p>\n\u003cblockquote>\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy … so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” — Thi Bui\u003c/p>\u003c/blockquote>\n\u003cp>So Bui interviewed the closest sources she had — her parents. She says telling them she was writing a book about their lives helped break the ice. “It’s really hard to sit your parents down and say ‘Tell me all about your painful history,’ but if you tell them, ‘I’m working on a book, could you help me with my school project,’ then they’ll oblige … your oblique Asian strategies!”\u003c/p>\n\u003cfigure id=\"attachment_13838188\" class=\"wp-caption alignright\" style=\"max-width: 901px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13838188 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg\" alt=\"'The Best We Could Do,' by Thi Bui\" width=\"901\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7.jpg 901w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/thibui-ab8eac79ca7a8fb7996464665bf53dde2f9c8fe7-520x390.jpg 520w\" sizes=\"(max-width: 901px) 100vw, 901px\">\u003cfigcaption class=\"wp-caption-text\">‘The Best We Could Do,’ by Thi Bui\u003c/figcaption>\u003c/figure>\n\u003cp>The book delves as much into her family’s history as it does Vietnam’s; traumatic things her parents had seen as children and young adults in the years before and during the war. Bui says she asked basic questions to get the connective tissue of her parents’ stories: “Was it hot, were you hungry, how did the sand feel on your feet after you lost your slippers in the boat?” These questions helped her parents recall rich details that Bui wove into the graphic novel. Details like the executions of political prisoners her father witnessed, how much money her mother got for selling her valuables, the dimensions of the boat her family took to flee Vietnam.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’d heard a lot of the stories growing up, and the stories were pretty heavy, and I would often hear them at times when I wasn’t ready, so I had this kind of heaviness that I grew up with, and I wanted to make sense of the stories.” Bui says she struggled with those stories of war and trauma and hardship, that they cast a shadow over her life. Then she had a son, and that experience shifted the way she approached \u003cem>The Best We Could Do\u003c/em>. “I think that maybe if I had done it as not a parent, I might have been happy to just dwell in my trauma, but with a baby in hand, I was really concerned with not passing on that trauma myself, and so I needed to filter stuff out so I could pass on something cleaner.”\u003c/p>\n\u003cp>And part of that healing came from examining her identity as a child of survivors, and especially as a person who’d left the place she’d been born. “That identity is like being the child of two divorced parents who won’t talk to each other,” Bui says. “I really yearn for reconciliation between people on both sides of that civil war. It’s been my whole life, so understanding that your perspective is not the entire truth is an important stepping stone to getting there.”\u003c/p>\n\u003cp>For now, she’s reconciled her story with her parents’ — and she says hopes her book can provide a starting point for others to do the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Jolie Myers and adapted for the Web by Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cartoonist+Thi+Bui+Weaves+Together+Personal+And+Political+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13838187/cartoonist-thi-bui-weaves-together-personal-and-political-history","authors":["byline_arts_13838187"],"categories":["arts_73"],"tags":["arts_928","arts_1942","arts_1118","arts_4566","arts_596","arts_2473"],"affiliates":["arts_137"],"featImg":"arts_13838189","label":"arts_137"},"arts_13818435":{"type":"posts","id":"arts_13818435","meta":{"index":"posts_1591205157","site":"arts","id":"13818435","score":null,"sort":[1515028778000]},"guestAuthors":[],"slug":"the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose","title":"The Propeller Group Brings an Artistic View of Vietnam to San Jose","publishDate":1515028778,"format":"standard","headTitle":"The Propeller Group Brings an Artistic View of Vietnam to San Jose | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003ca href=\"http://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Propeller Group\u003c/a> was established in 2006 as a cross-disciplinary art collective. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen produce work themselves and collaborate with others from their dual headquarters in Ho Chi Minh City and Los Angeles.\u003c/p>\n\u003cp>They’ve shown work all over the globe and now they’re at the \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a> with a provocative survey of projects including video, installation, and sculptural works. One highlight of the exhibition is \u003ci>The Living Need Light, the Dead Need Music, \u003c/i>a short film journeying through the funeral traditions and rituals of south Vietnam.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=oxiyEp1xtXA]\u003c/p>\n\u003cp>In collaboration with internationally acclaimed graffiti writer El Mac and local artists, the Propeller Group also presented a new public mural at the Children’s Discovery Museum in downtown San Jose in collaboration with El Mac, a public artist based in Los Angeles.\u003c/p>\n\u003cp>The Propeller Group at the San Jose Museum of Art continues through March 25. \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The trio's work in short films, murals and more tell a multi-disciplinary story of Vietnam.","status":"publish","parent":0,"modified":1705028834,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":182},"headData":{"title":"The Propeller Group Brings an Artistic View of Vietnam to San Jose | KQED","description":"The trio's work in short films, murals and more tell a multi-disciplinary story of Vietnam.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Propeller Group Brings an Artistic View of Vietnam to San Jose","datePublished":"2018-01-04T01:19:38.000Z","dateModified":"2024-01-12T03:07:14.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13818435/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.the-propeller-group.com\" target=\"_blank\" rel=\"noopener noreferrer\">The Propeller Group\u003c/a> was established in 2006 as a cross-disciplinary art collective. With backgrounds in visual art, film, and video, Phunam, Matt Lucero, and Tuan Andrew Nguyen produce work themselves and collaborate with others from their dual headquarters in Ho Chi Minh City and Los Angeles.\u003c/p>\n\u003cp>They’ve shown work all over the globe and now they’re at the \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a> with a provocative survey of projects including video, installation, and sculptural works. One highlight of the exhibition is \u003ci>The Living Need Light, the Dead Need Music, \u003c/i>a short film journeying through the funeral traditions and rituals of south Vietnam.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/oxiyEp1xtXA'\n title='//www.youtube.com/embed/oxiyEp1xtXA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In collaboration with internationally acclaimed graffiti writer El Mac and local artists, the Propeller Group also presented a new public mural at the Children’s Discovery Museum in downtown San Jose in collaboration with El Mac, a public artist based in Los Angeles.\u003c/p>\n\u003cp>The Propeller Group at the San Jose Museum of Art continues through March 25. \u003ca href=\"https://sjmusart.org/exhibition/propeller-group\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13818435/the-propeller-group-brings-an-artistic-view-of-vietnam-to-san-jose","authors":["251"],"programs":["arts_140"],"categories":["arts_70"],"tags":["arts_3648","arts_596","arts_4642","arts_1084","arts_1187","arts_1334","arts_2473","arts_4385"],"featImg":"arts_13818439","label":"arts_140"},"arts_13810754":{"type":"posts","id":"arts_13810754","meta":{"index":"posts_1591205157","site":"arts","id":"13810754","score":null,"sort":[1508252438000]},"guestAuthors":[],"slug":"looking-back-at-jerry-rubin-the-yippie-turned-yuppie","title":"Looking Back at Jerry Rubin, the Yippie-Turned-Yuppie","publishDate":1508252438,"format":"image","headTitle":"Looking Back at Jerry Rubin, the Yippie-Turned-Yuppie | KQED","labelTerm":{"term":2070,"site":"arts"},"content":"\u003cp>Jerry Rubin gets a bad rap. He was a lot of things: an activist, a provocateur, a showman who orchestrated media blitzes with the expert precision.\u003c/p>\n\u003cp>But for a lot of people familiar with Rubin through his facetious, rabble-rousing activism, he devolved into a sellout. For all the legend-making surrounding Abbie Hoffman, Rubin’s collaborator, creative partner and eventual sparring partner in the Yippie vs. Yuppie debates, his mythos survived only because he remained true to his ideology up to his untimely death by suicide in 1989. It’s a narrative that lends itself to lore. Not so with Rubin.\u003c/p>\n\u003cp>“He’s been pretty much written out of the history books,” said Pat Thomas in an interview with KQED. Thomas, who wrote \u003cem>Did It!\u003c/em> — the first biography dedicated in Rubin’s honor — captures Rubin’s life in painstaking detail.\u003c/p>\n\u003cp>Thomas interviewed upwards of 70 people who knew Rubin closely, from exes to fellow activists to his younger brother, Gil. Every page is laden with Thomas’ quest to cohere the contradictions between Rubin as ‘60s revolutionary and Rubin as ‘80s yuppie.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13810077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Hoffman and master snarksmith Paul Krassner, Rubin co-founded the Youth International Party in 1967. Members of the Party — who branded themselves the Yippies — were notorious for their flair for the theatric. They staged endless interludes within the political theater of Capitol Hill.\u003c/p>\n\u003cp>Among their list of “accomplishments,” the Yippies ran a pig for president, levitated the Pentagon, and staged protests at the 1968 Democratic National Convention that resulted in a violent retaliation by police — and the \u003ca href=\"http://www.chicagotribune.com/news/nationworld/politics/chi-chicagodays-seventrial-story-story.html\" rel=\"noopener\" target=\"_blank\">Chicago Seven trials\u003c/a> that followed.\u003c/p>\n\u003cp>If the SDS were the straight-and-narrow honor roll students of ’60s-era activism, Rubin and the ragtag collective of Yippies were the guileless class clowns. And, according to Thomas, the true legacy of Rubin was the sense of humor embedded into his political action.\u003c/p>\n\u003cp>“[Humor] can win people over way more than dogmatic rhetoric or browbeating people in a classroom or the jury room,” said Thomas. “Rubin’s great legacy is humor disarms you.”\u003c/p>\n\u003cp>The ground zero for his irreverent, oftentimes off-color form of protest was born right on the UC Berkeley campus — a site that remains rife with \u003ca href=\"http://www.npr.org/2017/09/22/552427627/why-a-potential-free-speech-week-at-berkeley-is-causing-a-stir\" target=\"_blank\" rel=\"noopener\">political tension\u003c/a>.\u003c/p>\n\u003ch3>One Step Further\u003c/h3>\n\u003cp>Rubin became fascinated with spectacle-driven activism while he attended Cal. After a stint as a cub reporter for the \u003ci>Cincinnati Post,\u003c/i> he entered the graduate sociology program at UC Berkeley. But but his zeal for front-line protesting outweighed his ambitions in academia, so Rubin dropped out of Berkeley after a six weeks. It was then he became a full-time protestor. At the height of the Berkeley Free Speech Movement, captured by Mario Savio and his acerbic polemics, Rubin staged what would become the largest teach-in on the UC Berkeley campus.\u003c/p>\n\u003cfigure id=\"attachment_13810775\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg\" alt=\"'60s activist Jerry Rubin protesting with the Vietnam Day Committee.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1.jpg 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’60s activist Jerry Rubin protesting with the Vietnam Day Committee. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rubin took the Free Speech Movement one step further, taking Savio’s message and turned it against what was happening in Vietnam,” Thomas said.\u003c/p>\n\u003cp>With renowned mathematician and Berkeley professor Stephen Smale and his then-partner, fellow activist Barbara Gullahorn, he co-founded the Vietnam Day Committee (VDC). A loose organization of activists based out of Victorian home on Fulton St., the VDC lasted for a year.\u003c/p>\n\u003cp>The organization’s most outsized impact was facilitating the Vietnam Day Teach-In. Nearly 30,000 students and residents were in attendance during the three-day event held right on Sproul Plaza. It was the largest teach-in to ever take place in American history.\u003c/p>\n\u003cp>Folks like novelist Norman Mailer, comedian Dick Gregory and folk crooner Phil Ochs were among those who participated in the torrent of lectures, musical performances and assorted rallying cries over the three days.\u003c/p>\n\u003cp>The momentum following the Teach-In was enormous; it was the catalyst, according to Thomas, with which the larger anti-war movement in the Bay Area and the New Left was born.\u003c/p>\n\u003cp>At a certain point, however, Rubin’s vision shifted from public intellectualism to public performance.\u003c/p>\n\u003ch3>All for Good Causes\u003c/h3>\n\u003cp>For Rubin, a protest was only as impactful as the media attention that it could garner — a belief that lingered during his time as a cub reporter for the \u003cem>Cincinnati Post\u003c/em>. His stunts included dressing up as a Viet Cong member, portraying a Founding Father at the House Un-American Activities Committee (HUAC), and, later on with the Yippies, levitating the Pentagon.\u003c/p>\n\u003cp>Rubin’s first big shift into political theater was inspired by a Yale professor who urged for mass civil disobedience at the VDC teach-in. Trains filled with troops and war munitions being shipped off to Vietnam would travel through Berkeley en route to the Port of Oakland; Rubin and a mass of his friends in the VDC, says Thomas, “started literally lying down on the tracks.”\u003c/p>\n\u003cp>Later, Rubin would man a truck that would follow anonymous vehicles filled with Napalm, which was manufactured in the Bay Area. Attached to the side of the truck was a banner that read “Danger! Napalm! Bombs Ahead.”\u003c/p>\n\u003cp>Rubin was in pursuit of mobilizing a critical mass of the Bay Area into a united front, from middle-class folks who drove by the napalm trucks, to the hippies whose concerns for peace were overshadowed by the lust for the Summer of Love. At the Human Be-In, Rubin hopped on stage with the Grateful Dead and Jefferson Airplane, taking the occasion to foment anti-war sentiment among the largely apolitical San Francisco hippies. Rubin even ran for mayor of Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_13810778\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg\" alt=\"A campaign poster from Jerry Rubin's efforts to become the mayor of Berkeley\" width=\"800\" height=\"1011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4.jpg 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A campaign poster from Jerry Rubin’s efforts to become the mayor of Berkeley \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in his pursuit to get the hippies involved, he butted heads. Jerry Garcia, Thomas notes in the book, wasn’t a fan of his antics. The hippies he preached to at the Human Be-In resisted his aggressive diatribes. Ronald Reagan, who was still an actor-turned-conservative pundit in the late ’60s, stumped against Rubin and his ilk, condemning them as Communist traitors. Even Jack Kurzweil, a core member of the Vietnam Day Committee, grew distrustful of Rubin after an incident at the Port of Oakland where a man nearly got killed on the tracks.\u003c/p>\n\u003cp>“Jerry’s response,” according to Kurzweil’s account in the book, “was ‘Oh no, let him stay there. If he dies, it will be great publicity!”\u003c/p>\n\u003cp>Rubin would abandon Berkeley to find notoriety elsewhere. After his stint at Berkeley, he went to New York and dropped dollar bills all over the New York Stock Exchange, which caused so much chaos the exchange shut down. It became an \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1981/10/18/jerry-rubin/beb88e6b-ba7e-4839-80ac-4442f6d47809/?utm_term=.1940a061f7ae\" target=\"_blank\" rel=\"noopener\">international incident — Rubin’s first of many.\u003c/a>\u003c/p>\n\u003cp>The New Left was splintered by Rubin’s antics. It was clear he was driven by this endless quest for publicity — a fact that Thomas will readily admit to.\u003c/p>\n\u003cp>“Jerry had a big ego,” he admits. “You got to have a big ego to want to get up on a soapbox, and it was ego that drove Jerry. But it was all for good causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Pat Thomas will be appearing at Green Apple Books in \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-pat-thomas\" rel=\"noopener\" target=\"_blank\">San Francisco on Nov. 8\u003c/a> and Pegasus Books in \u003ca href=\"http://www.pegasusbookstore.com/event/pat-rubin\" rel=\"noopener\" target=\"_blank\">Berkeley on Nov. 12\u003c/a>.>\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Pat Thomas, the author of the first biography on Rubin, describes how his time in Berkeley shaped his career as an activist. ","status":"publish","parent":0,"modified":1705029320,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1290},"headData":{"title":"Looking Back at Jerry Rubin, the Yippie-Turned-Yuppie | KQED","description":"Pat Thomas, the author of the first biography on Rubin, describes how his time in Berkeley shaped his career as an activist. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Looking Back at Jerry Rubin, the Yippie-Turned-Yuppie","datePublished":"2017-10-17T15:00:38.000Z","dateModified":"2024-01-12T03:15:20.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13810754/looking-back-at-jerry-rubin-the-yippie-turned-yuppie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Rubin gets a bad rap. He was a lot of things: an activist, a provocateur, a showman who orchestrated media blitzes with the expert precision.\u003c/p>\n\u003cp>But for a lot of people familiar with Rubin through his facetious, rabble-rousing activism, he devolved into a sellout. For all the legend-making surrounding Abbie Hoffman, Rubin’s collaborator, creative partner and eventual sparring partner in the Yippie vs. Yuppie debates, his mythos survived only because he remained true to his ideology up to his untimely death by suicide in 1989. It’s a narrative that lends itself to lore. Not so with Rubin.\u003c/p>\n\u003cp>“He’s been pretty much written out of the history books,” said Pat Thomas in an interview with KQED. Thomas, who wrote \u003cem>Did It!\u003c/em> — the first biography dedicated in Rubin’s honor — captures Rubin’s life in painstaking detail.\u003c/p>\n\u003cp>Thomas interviewed upwards of 70 people who knew Rubin closely, from exes to fellow activists to his younger brother, Gil. Every page is laden with Thomas’ quest to cohere the contradictions between Rubin as ‘60s revolutionary and Rubin as ‘80s yuppie.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13810077\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/TheVietnamWar_web_banners-1180x177-Ver_3-e1506839982941.png\" alt=\"\" width=\"301\" height=\"301\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Hoffman and master snarksmith Paul Krassner, Rubin co-founded the Youth International Party in 1967. Members of the Party — who branded themselves the Yippies — were notorious for their flair for the theatric. They staged endless interludes within the political theater of Capitol Hill.\u003c/p>\n\u003cp>Among their list of “accomplishments,” the Yippies ran a pig for president, levitated the Pentagon, and staged protests at the 1968 Democratic National Convention that resulted in a violent retaliation by police — and the \u003ca href=\"http://www.chicagotribune.com/news/nationworld/politics/chi-chicagodays-seventrial-story-story.html\" rel=\"noopener\" target=\"_blank\">Chicago Seven trials\u003c/a> that followed.\u003c/p>\n\u003cp>If the SDS were the straight-and-narrow honor roll students of ’60s-era activism, Rubin and the ragtag collective of Yippies were the guileless class clowns. And, according to Thomas, the true legacy of Rubin was the sense of humor embedded into his political action.\u003c/p>\n\u003cp>“[Humor] can win people over way more than dogmatic rhetoric or browbeating people in a classroom or the jury room,” said Thomas. “Rubin’s great legacy is humor disarms you.”\u003c/p>\n\u003cp>The ground zero for his irreverent, oftentimes off-color form of protest was born right on the UC Berkeley campus — a site that remains rife with \u003ca href=\"http://www.npr.org/2017/09/22/552427627/why-a-potential-free-speech-week-at-berkeley-is-causing-a-stir\" target=\"_blank\" rel=\"noopener\">political tension\u003c/a>.\u003c/p>\n\u003ch3>One Step Further\u003c/h3>\n\u003cp>Rubin became fascinated with spectacle-driven activism while he attended Cal. After a stint as a cub reporter for the \u003ci>Cincinnati Post,\u003c/i> he entered the graduate sociology program at UC Berkeley. But but his zeal for front-line protesting outweighed his ambitions in academia, so Rubin dropped out of Berkeley after a six weeks. It was then he became a full-time protestor. At the height of the Berkeley Free Speech Movement, captured by Mario Savio and his acerbic polemics, Rubin staged what would become the largest teach-in on the UC Berkeley campus.\u003c/p>\n\u003cfigure id=\"attachment_13810775\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810775\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg\" alt=\"'60s activist Jerry Rubin protesting with the Vietnam Day Committee.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin1.jpg 1078w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">’60s activist Jerry Rubin protesting with the Vietnam Day Committee. \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rubin took the Free Speech Movement one step further, taking Savio’s message and turned it against what was happening in Vietnam,” Thomas said.\u003c/p>\n\u003cp>With renowned mathematician and Berkeley professor Stephen Smale and his then-partner, fellow activist Barbara Gullahorn, he co-founded the Vietnam Day Committee (VDC). A loose organization of activists based out of Victorian home on Fulton St., the VDC lasted for a year.\u003c/p>\n\u003cp>The organization’s most outsized impact was facilitating the Vietnam Day Teach-In. Nearly 30,000 students and residents were in attendance during the three-day event held right on Sproul Plaza. It was the largest teach-in to ever take place in American history.\u003c/p>\n\u003cp>Folks like novelist Norman Mailer, comedian Dick Gregory and folk crooner Phil Ochs were among those who participated in the torrent of lectures, musical performances and assorted rallying cries over the three days.\u003c/p>\n\u003cp>The momentum following the Teach-In was enormous; it was the catalyst, according to Thomas, with which the larger anti-war movement in the Bay Area and the New Left was born.\u003c/p>\n\u003cp>At a certain point, however, Rubin’s vision shifted from public intellectualism to public performance.\u003c/p>\n\u003ch3>All for Good Causes\u003c/h3>\n\u003cp>For Rubin, a protest was only as impactful as the media attention that it could garner — a belief that lingered during his time as a cub reporter for the \u003cem>Cincinnati Post\u003c/em>. His stunts included dressing up as a Viet Cong member, portraying a Founding Father at the House Un-American Activities Committee (HUAC), and, later on with the Yippies, levitating the Pentagon.\u003c/p>\n\u003cp>Rubin’s first big shift into political theater was inspired by a Yale professor who urged for mass civil disobedience at the VDC teach-in. Trains filled with troops and war munitions being shipped off to Vietnam would travel through Berkeley en route to the Port of Oakland; Rubin and a mass of his friends in the VDC, says Thomas, “started literally lying down on the tracks.”\u003c/p>\n\u003cp>Later, Rubin would man a truck that would follow anonymous vehicles filled with Napalm, which was manufactured in the Bay Area. Attached to the side of the truck was a banner that read “Danger! Napalm! Bombs Ahead.”\u003c/p>\n\u003cp>Rubin was in pursuit of mobilizing a critical mass of the Bay Area into a united front, from middle-class folks who drove by the napalm trucks, to the hippies whose concerns for peace were overshadowed by the lust for the Summer of Love. At the Human Be-In, Rubin hopped on stage with the Grateful Dead and Jefferson Airplane, taking the occasion to foment anti-war sentiment among the largely apolitical San Francisco hippies. Rubin even ran for mayor of Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_13810778\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg\" alt=\"A campaign poster from Jerry Rubin's efforts to become the mayor of Berkeley\" width=\"800\" height=\"1011\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-800x1011.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-160x202.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-768x970.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-240x303.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-375x474.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4-520x657.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Rubin4.jpg 952w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A campaign poster from Jerry Rubin’s efforts to become the mayor of Berkeley \u003ccite>(Fantagraphics Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But in his pursuit to get the hippies involved, he butted heads. Jerry Garcia, Thomas notes in the book, wasn’t a fan of his antics. The hippies he preached to at the Human Be-In resisted his aggressive diatribes. Ronald Reagan, who was still an actor-turned-conservative pundit in the late ’60s, stumped against Rubin and his ilk, condemning them as Communist traitors. Even Jack Kurzweil, a core member of the Vietnam Day Committee, grew distrustful of Rubin after an incident at the Port of Oakland where a man nearly got killed on the tracks.\u003c/p>\n\u003cp>“Jerry’s response,” according to Kurzweil’s account in the book, “was ‘Oh no, let him stay there. If he dies, it will be great publicity!”\u003c/p>\n\u003cp>Rubin would abandon Berkeley to find notoriety elsewhere. After his stint at Berkeley, he went to New York and dropped dollar bills all over the New York Stock Exchange, which caused so much chaos the exchange shut down. It became an \u003ca href=\"https://www.washingtonpost.com/archive/lifestyle/1981/10/18/jerry-rubin/beb88e6b-ba7e-4839-80ac-4442f6d47809/?utm_term=.1940a061f7ae\" target=\"_blank\" rel=\"noopener\">international incident — Rubin’s first of many.\u003c/a>\u003c/p>\n\u003cp>The New Left was splintered by Rubin’s antics. It was clear he was driven by this endless quest for publicity — a fact that Thomas will readily admit to.\u003c/p>\n\u003cp>“Jerry had a big ego,” he admits. “You got to have a big ego to want to get up on a soapbox, and it was ego that drove Jerry. But it was all for good causes.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Pat Thomas will be appearing at Green Apple Books in \u003ca href=\"http://www.greenapplebooks.com/event/9th-ave-pat-thomas\" rel=\"noopener\" target=\"_blank\">San Francisco on Nov. 8\u003c/a> and Pegasus Books in \u003ca href=\"http://www.pegasusbookstore.com/event/pat-rubin\" rel=\"noopener\" target=\"_blank\">Berkeley on Nov. 12\u003c/a>.>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>To see more stories and photographs from KQED’s series about the impact of the Vietnam War on the Bay Area and other communities in California, visit \u003ca href=\"https://ww2.kqed.org/arts/programs/vietnamwar/\" target=\"_blank\" rel=\"noopener noreferrer\">kqed.org/vietnamwar\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13810754/looking-back-at-jerry-rubin-the-yippie-turned-yuppie","authors":["11371"],"programs":["arts_2070"],"series":["arts_4414"],"categories":["arts_73"],"tags":["arts_1118","arts_596","arts_4360","arts_2473","arts_2126"],"featImg":"arts_13810776","label":"arts_2070"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.","airtime":"THU 10pm, FRI 1am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png","officialWebsiteLink":"http://freakonomics.com/","airtime":"SUN 1am-2am, SAT 3pm-4pm","meta":{"site":"radio","source":"WNYC"},"link":"/radio/program/freakonomics-radio","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519","tuneIn":"https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/","rss":"https://feeds.feedburner.com/freakonomicsradio"}},"fresh-air":{"id":"fresh-air","title":"Fresh Air","info":"Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.","airtime":"MON-FRI 7pm-8pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Fresh-Air-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/fresh-air/","meta":{"site":"radio","source":"npr"},"link":"/radio/program/fresh-air","subscribe":{"npr":"https://rpb3r.app.goo.gl/4s8b","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Fresh-Air-p17/","rss":"https://feeds.npr.org/381444908/podcast.xml"}},"here-and-now":{"id":"here-and-now","title":"Here & Now","info":"A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.","airtime":"MON-THU 11am-12pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Here-And-Now-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"http://www.wbur.org/hereandnow","meta":{"site":"news","source":"npr"},"link":"/radio/program/here-and-now","subsdcribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=426698661","tuneIn":"https://tunein.com/radio/Here--Now-p211/","rss":"https://feeds.npr.org/510051/podcast.xml"}},"how-i-built-this":{"id":"how-i-built-this","title":"How I Built This with Guy Raz","info":"Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.","imageSrc":"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png","officialWebsiteLink":"https://www.npr.org/podcasts/510313/how-i-built-this","airtime":"SUN 7:30pm-8pm","meta":{"site":"news","source":"npr"},"link":"/radio/program/how-i-built-this","subscribe":{"npr":"https://rpb3r.app.goo.gl/3zxy","apple":"https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2","tuneIn":"https://tunein.com/podcasts/Arts--Culture-Podcasts/How-I-Built-This-p910896/","rss":"https://feeds.npr.org/510313/podcast.xml"}},"inside-europe":{"id":"inside-europe","title":"Inside Europe","info":"Inside Europe, a one-hour weekly news magazine hosted by Helen Seeney and Keith Walker, explores the topical issues shaping the continent. No other part of the globe has experienced such dynamic political and social change in recent years.","airtime":"SAT 3am-4am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Inside-Europe-Podcast-Tile-300x300-1.jpg","meta":{"site":"news","source":"Deutsche Welle"},"link":"/radio/program/inside-europe","subscribe":{"apple":"https://itunes.apple.com/us/podcast/inside-europe/id80106806?mt=2","tuneIn":"https://tunein.com/radio/Inside-Europe-p731/","rss":"https://partner.dw.com/xml/podcast_inside-europe"}},"latino-usa":{"id":"latino-usa","title":"Latino USA","airtime":"MON 1am-2am, SUN 6pm-7pm","info":"Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg","officialWebsiteLink":"http://latinousa.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/latino-usa","subscribe":{"npr":"https://rpb3r.app.goo.gl/xtTd","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/Latino-USA-p621/","rss":"https://feeds.npr.org/510016/podcast.xml"}},"live-from-here-highlights":{"id":"live-from-here-highlights","title":"Live from Here Highlights","info":"Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.","airtime":"SAT 6pm-8pm, SUN 11am-1pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Live-From-Here-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.livefromhere.org/","meta":{"site":"arts","source":"american public media"},"link":"/radio/program/live-from-here-highlights","subscribe":{"apple":"https://itunes.apple.com/us/podcast/id1167173941","tuneIn":"https://tunein.com/radio/Live-from-Here-Highlights-p921744/","rss":"https://feeds.publicradio.org/public_feeds/a-prairie-home-companion-highlights/rss/rss"}},"marketplace":{"id":"marketplace","title":"Marketplace","info":"Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.","airtime":"MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.marketplace.org/","meta":{"site":"news","source":"American Public Media"},"link":"/radio/program/marketplace","subscribe":{"apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=201853034&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/APM-Marketplace-p88/","rss":"https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"}},"mindshift":{"id":"mindshift","title":"MindShift","tagline":"A podcast about the future of learning and how we raise our kids","info":"The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED MindShift: How We Will Learn","officialWebsiteLink":"/mindshift/","meta":{"site":"news","source":"kqed","order":"2"},"link":"/podcasts/mindshift","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5","npr":"https://www.npr.org/podcasts/464615685/mind-shift-podcast","stitcher":"https://www.stitcher.com/podcast/kqed/stories-teachers-share","spotify":"https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"}},"morning-edition":{"id":"morning-edition","title":"Morning Edition","info":"\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. 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The program features testimony from nearly 80 witnesses, including many Americans who fought in the war and others who opposed it, as well as Vietnamese combatants and civilians from both the winning and losing sides.\u003c/p>\r\n\r\n\u003cp>In the run up to and during the broadcast of Ken Burns' Vietnam, KQED will be publishing a series of stories examining the impacts of the war on the Bay Area, covering topics such as Vietnamese immigration, anti-war protests and the war's influence on the local arts scene.\u003c/p>\r\n\r\n\u003cb>Veterans:\u003c/b> For a list of mental health resources, \u003ca href=\"https://ww2.kqed.org/arts/2017/09/17/a-list-of-local-national-mental-health-resources-for-veterans/\" target=\"_blank\">click here\u003c/a>.\r\n\r\n\u003cp>\u003ci>Local support provided by Kraw Law Group, Comcast, Tauck, Berkeley Repertory Theatre and Stanford Health Care.\u003c/i>\u003c/p>\r\n\r\n\u003chr />\r\n\u003cp>\u003cb>Below:\u003c/b> Vietnamese Americans in the South Bay reflect on the war, their culture and living in America\u003c/p> \r\n\r\n\u003cdiv class=\"hzWrap-side\" >\u003cdiv class=\"hzload\" style=\"width: 200px; padding: 10px; border-radius: 5px; margin: auto; text-align: center; background-color: #fff;\">\u003cimg src=\"//huzzaz.com/images/hzload.gif\" style=\"width:75px;\" alt=\"loading videos\"/>\u003cdiv>Loading Videos...\u003c/div>\u003c/div>\u003ciframe class=\"hzframe\" src=\"https://huzzaz.com/proembed/vietnamese-reflect-on-the-war?layout=side\" height=\"0\" width=\"100%\" frameborder=\"0\" webkitAllowFullScreen mozallowfullscreen allowFullScreen allowTransparency=\"true\">\u003c/iframe>\u003cscript src=\"https://huzzaz.com/js/hzframe.js\">\u003c/script>\u003c/div>\r\n\r\n","featImg":"https://ww2.kqed.org/app/uploads/sites/2/2017/08/TheVietnamWar_web-banners-1180x177-2-03.png","headData":{"title":"Vietnam War Archives | KQED Arts","description":"This fall, KQED will air The Vietnam War, a landmark documentary from Ken Burns and Lynn Novick. The 10-part, 18-hour documentary film series tells the story of the Vietnam War as it has never before been told on film. The program features testimony from nearly 80 witnesses, including many Americans who fought in the war and others who opposed it, as well as Vietnamese combatants and civilians from both the winning and losing sides. In the run up to and during the broadcast of Ken Burns' Vietnam, KQED will be publishing a series of stories examining the impacts of the war on the Bay Area, covering topics such as Vietnamese immigration, anti-war protests and the war's influence on the local arts scene. Veterans: For a list of mental health resources, click here. Local support provided by Kraw Law Group, Comcast, Tauck, Berkeley Repertory Theatre and Stanford Health Care. 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