Podcasts about saigon

A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Tonight's show is June 19th. We are all connected. We are talking with Asian and Asian American Children's book authors. PowerLeeGirls host Miko Lee talks with Chi Thai and Livia Blackburne about the power of storytelling, maternal heritage, generational trauma, and much more. Title:  We Are All Connected Show Transcripts Opening: [00:00:00] Apex Express Asian Pacific expression. Community and cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board the Apex Express.   Ayame Keane-Lee: [00:01:17] Welcome to Apex Express. Tonight's show is June 19th. We are all connected. We are talking with Asian and Asian American Children's book authors. PowerLeeGirls host Miko Lee talks with Chi Thai and Livia Blackburne about the power of storytelling, maternal heritage, generational trauma, and much more. First, we want to start by wishing everyone a happy Juneteenth, Juneteenth commemorates, an end to slavery and the emancipation of Black Americans after the Civil War. In 1865, 2 years after the Emancipation Proclamation, enslaved people in Galveston, Texas finally learned of their freedom. Juneteenth marks the day the last enslaved people learned of their freedom. Though outright slavery became illegal, the systematic oppression of African Americans continues to this day. We see that show up in almost every aspect of American culture, from the high rate of infant mortality to the over punishing of Black children in schools, to police brutality, to incarceration. We must continue to recognize the importance of championing Black lives and lifting up Black voices. We are all connected. June 19th is also an important day in Asian American history. In 1982 in Detroit, Vincent Chin was at a bar celebrating his bachelor party prior to his wedding the next day. Ronald Ebens, a white auto worker, and his stepson Michael Nitz taunted Vincent with racial epithets. They thought he was Japanese and were angry about the Japanese rise in the auto industry. When Vincent left the bar later, the two men attacked and killed Vincent with a baseball bat. He was 27 years old. Ronald Ebens never did time for this murder. Ronald Ebens is 85 years old now. Ebens not only skirted prosecution, he has used bankruptcy and homesteading laws in Nevada to avoid a wrongful death civil suit settlement. Ordered by the court in 1987 to pay $1.5 million to Chin's family, the Chin estate has received nothing. Lily Chin, Vincent's mom could have stayed silent about the racist attack on her son. Instead she spoke out. She took a courageous stance to highlight this most painful moment in her life. In doing so, she helped ignite a new generation of Asian American activists working for civil rights and social justice. We find ourselves in a new wave of activism as our communities band together to work against the injustices of the current regime. And what does this have to do with children's books? It is all connected. We highlight children's books by Asian and Asian American authors because we want our next generation of children to know and appreciate their own heritage. We want them to proudly represent who they are so that they can work in solidarity with other peoples. Our struggle is interwoven. As Grace Lee Boggs said, “History is a story not only of the past, but of the future.” Thank you for joining us on apex express. Enjoy the show.   Miko Lee: [00:04:24] First off. Let's take a listen to one of Byron Au Young's compositions called “Know Your Rights” This is part of the trilogy of the Activist Songbook. This multi-lingual rap, give steps to know what to do when ICE officers come to your door.    MUSIC   That was “Know Your Rights” performed by Jason Chu with lyrics by Aaron Jeffries and composed by Byron Au Yong Welcome, Chi Thai to Apex Express.    Chi Thai: [00:07:13] Hello. I'm really happy to be joining you, Miko.  Miko Lee: [00:07:16] I'm really happy to meet you and learn about you as an artist, as a filmmaker, as a children's book author. And I wanna first start with a personal question, which is, who are your people and what legacy do you carry with you? Chi Thai: [00:07:30] Ooh, what a great question. You know what? I love being asked stuff that hasn't been asked kind of before. I mean, there's a kinda really kinda natural answer to that, which is, you know, family are my people. Of course. 100%. And certainly, you know, the reason why I'm talking to you today, you know, in regard to the, to the book, you know, it's about my family's journey. But I found, and I don't know if this is. Somewhat to do with, you know, being a child of two cultures and you know, being a child of the diaspora that you really have to kind of find your own family too. 'cause I suppose I grew up feeling, I didn't quite relate to maybe my parents in a way that, you know, you normally would if you weren't part of the diaspora. And I felt estranged from my birth country and I didn't really feel like British either a lot of the time. So in terms of like, who are my people? I've gathered those people as I've kind of grown up and it's, it's a kind of strange feeling too. I feel like it's taken me a really long to grow up and to figure out who I am. And I suppose that's why, you know, the people that I have a really, a lot of people that have come, kinda later in my life, I actually have no friends in my childhood as an example of that. I've had to kind of find these people as I've grown up, but it's taken me a long time to grow up because growing up in the UK there wasn't any literature to read about what it was like to be Asian. And British, to be a refugee and things like that. So it just took me longer and I then, as a result, it just took me longer to find my tribe. but I have it now, but it's still work in progress. That was a very convoluted answer. I'm very sorry Miko.    Miko Lee: [00:09:15] No, it wasn't. No worries. It's fine. And what legacy do you carry with you?   Chi Thai: [00:09:19] Kind of an extension to that answer, I think when you're an artist, practicing your voice, figuring out your voice, can take a while. And I think I've only really started maybe the last like five to 10 years at the most really figured out what I want my legacy to be. The things I wanna talk about are really about s tories from the diaspora, certainly, and about community and healing. These are the things I think that are really important to me, especially when we talk about maybe coming from struggle. I don't feel it's enough to be an artist today and just talk about struggle. I want to talk about justice as well. And justice really is about healing, you know?    Miko Lee: [00:10:00] Oh, that's beautiful. Can you talk a little bit more about that healing and what that means to you and how that shows up in your work?    Chi Thai: [00:10:07] A couple years ago, no, not even that long ago, I produced a, a feature film. This is probably the best example for it, but I produced a feature film called Raging Grace, which we called it Horror with a small H and it. Basically took the story of what it was like to be, undocumented Filipina in the uk who was also a mother. And I think if that film had been made 10 years ago, it would just shown how hard her life was, and unrelentingly. So, and I think the reason why Raising Grace is so special is it goes beyond the trauma, it takes us to a place of justice, of being able to speak out for someone who has felt invisible, to be visible for someone who's not. Had a voice, to have a voice and to begin that kind of healing process of sticking up for herself, making a change transforming herself from maybe the good immigrant to the bad immigrant and things like that. I think that's a really great example and I think I read a really wonderful thing. It might have been in a Guardian article where we, so a lot of my work is around, inclusion representation of like diasporic stories. And I think when you have, when you exist in the poverty of like representation, I. the solution to that is plentitude. I think that Viet Thanh Nguyen probably said that, so I don't wanna take credit for it. He comes up with so many wonderful things, and that's a wonderful thing to be able to move from poverty, like to plentitude and that be the solution, is kinda really wonderful. So I enjoy being really prolific. I enjoy supporting artists to be able to do their work. So as a community, we can also be prolific and I wanna support, narratives that. Take us beyond a place of struggle and trauma to a place of like healing and justice and so forth.    Miko Lee: [00:11:57] Your work crosses so many genres. You were just mentioning how that film was kind of a horror film and, and then you've done these kind of dreamy animation pieces and then now this children's book. Do you select the genre and the format and the medium, or does it select you?   Chi Thai: [00:12:16] Oh, I think the story chooses it. I like 100% believe that. I just actually was thinking about this 'cause I was doing an interview on something else, people, often ask about the creative process and I, can only speak for my own. But usually when I get an idea for a story, the general shape of it comes almost like really well formed. There's a sense of a lready kinda what genre it'll be. There's a sense of the character, there's a sense of the journey and all these things. I felt the same about, writing The Endless Sea I knew it would be from the voice of a child. This probably sounds like my creative process is terrible, but it was just. This is how it was going to be. That kind of part was writing itself, or at least I feel that it'd been writing itself like that in my subconscious for many, many years before it kind of surfacing and writing. Like the writing bit is just the tip of the iceberg at the end of the day. there wasn't like a kind of decision about that. the story in that sense was quite intact. So I often feel like the story is demanding something about kind genre and for, for Raging Grace 'cause I've talked about this a lot, not just in listen to me, but other things. But we always said like if you are an an undocumented person, every breath you take is taken in a hostile environment. It's so natural for it to be a horror. So there's not a sense that you kinda decide that it's like that is the very reality of someone who's going, you know, that's their lived experience. And if you're going to represent that truthfully, it will be through the prism of horror. And I suppose that's how I think about genre. the story is kind of telling you what it needs to tell its emotional truth. and I felt that way, with The Endless Sea same thing with the Raging Grace, with Lullaby. And I think you talked about The Promise, I suppose I, with The Promise, which is an adaptation I had less choice about that because that was a book and it was a adapted into an animation. I've heard Nicola, who's the author of the book, talk about that and she talks about like the story coming to her in a dream and tiptoeing down her arm coming onto the page, she like describes it really beautifully. so maybe our processes are the same. It feels that way. there's not long deliberations. I mean, that's not to say the writing process isn't difficult. It is. But that, I've never found the, [genre] the difficulty or the bit that's required a lot of, I don't know soul searching with it.    Miko Lee: [00:14:28] So with that being said, how did Endless Sea your latest children's book? How did that tiptoe into your imagination?    Chi Thai: [00:14:36] This is a strange one because this is probably the closest thing to like, almost autobiographical work. What I can say is like, it's the true story o f how I and my family, which would've been at the time my mom and dad, my older sister, me, how we fled Vietnam after the fall of an Saigon. we actually left quite late we left in 1979 w hen things were tr were getting truly, truly, truly, quite terrible. And, this was very much a last resort. I think my parents would try to make things work, but realized that they couldn't. This journey that we took on these, boats that were made badly, made poorly, that many of which sank has become almost like the genesis story of our family. It's like it's a big, it has a long shadow, right? Ever since you know I, it is like the first story that I can remember. It's one of the few stories my mom would tell me again and again when we, when they see their old friends, it's something they talk about. So it's something that has happened to it to us, but it's such a big thing that it's just, echoed In my life growing up, as I've you know, got older and older, and the wonderful thing about having a story kinda live with you eventually it's in your blood and in your bones, but also if it's a thing that's kinda shared with you again and again, you actually build up this, there's something about the repetition of it, and then every time you hear it told from an uncle or a family friend or from your mom, a new little detail is embroidered that someone adds. So I've kinda lived with this story for 40 plus years and I've been collecting all these little things about it all this time and all that time it was, I think, kind of just writing itself, you know? You know, it was doing all that work before I actually put like pen to paper. Um, yeah.    Miko Lee: [00:16:31] Was there a catalyst or something that made you actually put the pen to paper?   Chi Thai: [00:16:36] That's really interesting. You know, I probably don't mind it is probably something really banal like. I think I probably wrote it during Covid and I had more time. Um, I think there are probably be some bigger forces in place. And you know what, I can tell you what it is actually if I'm, I'm forcing myself to think and examine a bit closer so when this is totally true. So I remember hearing the news about Viet Thanh Nguyen win winning the Pulitzer for The Sympathizer. And it made such a mark on me and I kind of felt, wow, someone from our community has achieved this incredible thing. And I thought, why? Why now? Like, and I was like, well, you know what? It's probably taken our community certain amount of time to come of age, to develop not just the abilities to write, to create, to make art, but also to have possibly the relationships or networks in place to be able to then make the art and get it out into the world. And I kind of felt when he was able to do that and came of age, I kind of felt there was going to be like other people from the kind of diasporic Vietnamese community that would also start to flourish. And that made me feel really good. About probably being a bit older than the average kind of artist, like making their, kinda like their pieces and everything and saying, you know what? My time can be now. It's okay. And I just find it just really inspiring that, you know our community was kind of growing, growing up, coming of age and being able to do these, these things And I kind of felt like it had given me the permission, I suppose the, the confidence to go, “Oh this story that I've been carrying my whole life, which I don't really see a version of out there I can write that and now I can write it and I'm the right person to write it.” And I had just done The Promise so I had a relationship with Walker. I was like, I have a, you know, a relationship with the publisher. I feel my writing is matured. Like I can do this. And so it was like a culmination and, you know, convergence of those things. And, but I do remember having that thought thinking, “This is a good time to be alive in our community 'cause we're actually able to make our art and get it out there now.” I, I felt it was like a real watershed moment really.   Miko Lee: [00:19:11] What made you decide to do it in this format as a Little Kid's Children's Illustrated book? We were talking earlier about how to, to me, this is the first more realistic version of a boat people experience in a very little kid's voice. What made you decide to do it in this style?    Chi Thai: [00:19:33] So interesting. At the same time, I was writing The Endless Sea. I was writing also the script for a short film, which is called Lullaby, which is takes an incident that happened on my boat but expresses it as a film, as a little kinda horror kinda drama, but a kid cannot watch that. It's like too terrifying. Um, and I wrote, you know, The Endless Sea at the same time. And again, I can't, it's really hard for me to articulate. I just knew it was gonna be a kid's book, like, and I knew it'd be written from the voice of a kid, and I didn't actually, can I say I didn't even ascribe a particular kind of value to that. It wasn't until I had started conversations with the publisher they're like, you know, we see like there's a really high, like this is really great that it's written in the voice of the kid. It somehow gives it something else. Something more is something kind of special. I didn't set out to like, overthink, like what was the most effective way to tell this story? I, I think I just told the story as honestly as I could, you know, with the words that I felt that, you know, I had in me to de, you know, to describe it. In the most authentic way to, to me. And like I say, at the same time, I knew, like I knew that was a kid's book. There was another part of that I wanted to express that was really important to me and that was survivor's guilt. But that I felt was like, that was a horror, so that was really not gonna be suitable for kids. So I was definitely thinking about lots of things to do with the same subject of the same time, but they were definitely being expressed in different ways. And again, Lullaby came to me very kind of quickly, almost fully formed. And I knew, you know, it would be a ghost story. I knew it would be the story of a mother and things like that. And I often maybe, you know, I should, I, I should interrogate more, but I kinda, I take these kinda. These ideas, which are quite well shaped and, and then I just like lean into them more and more and more. But they, the way they arrive it, I've kinda, I, I can see a lot of what is already about to unfold.   Miko Lee: [00:21:43] And do you still dream about that experience of being on the boat as a kid?    Chi Thai: [00:21:52] It's, it's a really difficult thing to explain because you know that that happened now so long ago, and I've probably heard the story thousands of times. I've watched all the terrible Hollywood movies, I've seen all the news clippings, I've watched all the archive. I've listened to, you know, people talk, and I have my own memories and I look at photographs and I have memories of looking at photographs. I feel like, you know, my memory is really unreliable, but what it is instead is it's this, this kind of, kind of tapestry of, you know, of the story of memories, of, you know, images as I grow up of hearing the story, like all coming together. One of the things I did when I wrote, I wrote The Endless Sea, is I then went back to my mom and I did a recorded interview with her 'cause I was really worried about how unreliable my memory might be. And I interviewed her and I asked a lot of questions and I said, and I, it was like, you know, in the way I would've just like listened to the story quite passively before this time I interviewed her and I asked a lot of questions about details and all sorts of things. 'cause I really wanted to be able to represent things, you know, as factually as I could. And that was kinda one of my kinda kind of fact checking kinda exercises I did 'cause I was, I was much quite worried about how unreliable my memory was about it all. And you know, what is, what is a memory of a memory of memory, like, you know, especially when it comes to thinking about that time on the boat and the feelings I had. Yeah. So, you know,    Miko Lee: [00:23:34] and you were so young also to    Chi Thai: [00:23:37] Totally 100%. And sometimes, I don't know, you know, is it a memory of a memory? Is it a dream of a dream?   Miko Lee: [00:23:44] Mm-hmm.    Chi Thai: [00:23:44] Or just some, yeah.   Miko Lee: [00:23:46] Was there anything that your mom said that surprised you?    Chi Thai: [00:23:50] Yeah. Um, she didn't realize how bad it was gonna be and she was like, “God, if it, I'd known how terrifying it was I dunno if I, we could have done it.” I think there's a certain amount of naivety involved and I suppose that surprised me. You know? 'cause we know already now how bad it was. Um, so things like that surprised me.    Miko Lee: [00:24:15] and your mom, the dedication of the book is to your mom. What does she think when she first read it?    Chi Thai: [00:24:22] I've got a funny story. My parents, you know, they, we left, they were in their early twenties and I think it was, you know, the escape was hard for them, but settling in new country was really hard for them. That's. That's been kind of their struggle. They had to work so hard, so many hours to kind of, you know, give us a great life. And, I think a lot of that meant they weren't people that could go out, enjoy, enjoy movies, look at art, read lots of literature and things like that. They're very, very simple, very working class. Simple life or working class kinda life. Very much all about, uh, the work. Um, and I remember when I had a, the publisher had made like a mockup of the book and I gave it to my mum to read 'cause I wanted her to be happy about it too, and she's probably been my toughest critic. I think everything I've done, she hasn't really liked, to be honest. Um, and when I gave her the mockup to read. She went, “Yeah,” but she said it in such a way I knew what she meant was Yeah, that's right. You know, that's the truth. That's the, you know, the book isn't the testimony, but it felt like she was saying yeah. It was like the simple kind of approval. It wasn't like a lot    Miko Lee: [00:25:50] That is the most Asian mom's approval ever.    Chi Thai: [00:25:54] It's so funny, like people say to me, oh Chi, it's such a beautiful book. Oh, the writing so lit, like lyrical. It's stripped back, it's elegant. Like, you know, Viet Thanh Nguyen , like God bless his like consults, gave me a comment to put in the book, said these wonderful things, and my mom goes, “yeah.”. You know, it made me laugh at the time, but I knew what it meant. And I also was old enough, I was mature enough, you know, God, if she'd given me that, if I'd been 20 written that I might have cried and my heart might have broken. Right. But I, I knew I had, I've so much compassion, you know, for my parents. Mm-hmm. And people like my parents, what they've been through and, you know, but    Miko Lee: [00:26:38] That was incredibly high praise for her.    Chi Thai: [00:26:40] It was, I couldn't have asked more.   Miko Lee: [00:26:47] Oh, I totally get that. I think that's such an Asian thing. That is so funny.    Chi Thai: [00:26:53] It is, it is. I didn't feel bad. I, I remember showing her Lullaby, um, and she didn't like it at all.    Miko Lee: [00:27:02] What did she say? What is her not like voice? What did she say to that?    Chi Thai: [00:27:05] Oh, she. Well, firstly, she, well, the, the film is almost silent because basically it tells a story. It's inspired by a mother that was on our boat who lost her baby on the border crossing, and I was very much ever, for as long as I knew about this woman's story, I was like, I was very much haunted by it, and I was haunted by, you know, the fact that that's how she felt and her guilt. Over losing her baby on this journey. And I knew, I knew I wanted to tell her story. 'cause one of the things I feel very strongly about is when you are on the losing side. So I'm from South Vietnam, like that's not the, you know, that's not the story that's told, the story is told of who triumphs at the end of the day. And I was just like all those people that we lost at sea, this mother, her baby. The stories kind of aren't told. So I kind of felt really strongly that this was somehow a very creative way to put down like a, an historical record like this happened. And actually I found out after making the film that five babies were lost in our boat, not just one.   Miko Lee: [00:28:24] Wow. So what did she say, your mom say?   Chi Thai: [00:28:28] Yes. So I made this film, which was for the most part, a silent film. This is a woman that's shut down. She barely speaks anymore. She is living with the guilt ever. You know, when she was on the boat before her baby died, she sang a lullaby, and ever since then, she hasn't been able to speak again. And then we find out that she has been haunted by the ghost of her child that she lost. And then a bit too, you know, to kind of free herself from that. She, she actually sings, you know, the, the film culminates in her singing the Luby one last time. S saying Goodbye finally being able to move beyond her Gild and I Griffin, saying goodbye and hoping she's able to, you know, progress. So I made a film about that was largely silence except for this lullaby, and my mum watched it. She went, next time you make a film, you know you need more words. I was just like, oh, I think my heart probably did crumple off a bit a bit at that point.    Miko Lee: [00:29:30] Aw.    Chi Thai: [00:29:31] You know? Um, but yeah. But yeah, it's okay. It's okay because you know what? My mom doesn't get to see stuff like that very often. So sometimes she doesn't have the wider, and this is why, I mean, like, the life that she's had, you know, hasn't been one where she's been able to surround herself with, oh, I'm so lucky. You know, my life has been so different, but it's been different. Different because of, you know what she's, what she's done for us, so it's okay. I can take it on the chin when she says my film doesn't have enough dialogue in it.    Miko Lee: [00:30:04] I love that. For you, have you had conversations with your mom about your life as an artist, and what are her thoughts on that?   Chi Thai: [00:30:16] Well say. So I, so my mom, I don't really like, you know, she's probably not that into it. I'll be honest about being an artist. I can understand why she wants you to have a good life. And I would say for the most part, being an artist is, is a, is a tough life because it's hard to make, you know, the, the pennies work, right?   Miko Lee: [00:30:44] She wants stability for you, right?    Chi Thai: [00:30:45] Yeah, exactly. But she's made a peace with it. And basically what happened, I think all the best story is gonna be about my mom, right? Is that she basically, I, I, um, I have a partner, we've been together for 15 years. Um, he's a really nice guy and he has a reliable job and we have two kids together and i,    Miko Lee: [00:31:08] So that makes it okay.   Chi Thai: [00:31:10] So yeah, this is what I was saying. So she said to me like. It doesn't really matter what you do now. 'cause she, you are already peaked. You're somebody's wife. We're not married. But she told everyone in Vietnam we were married 'cause she couldn't cope with this not being like having kids out of wedlock. In her head. She's rewritten that we are married. Right. She's like, you are married, you're somebody's wife and you mother, it doesn't get better than that. So if you are an artist or if you're a filmmaker, whatever, it doesn't matter. 'cause nothing can be better than that. Right. So she's accepted on the basis that I've already fulfilled, kind of my promise.   Miko Lee: [00:31:46] Wow. Interesting.    Chi Thai: [00:31:50] And she means that in the nicest possible way.    Miko Lee: [00:31:52] Yeah.    Chi Thai: [00:31:52] That she feels like you have a home, you have stability, you have someone who loves you, you know, you have a, a purpose in life, but really her value, you know, the way, I think, the way she measures my value is like, that's how she looks at it. The, the art is something else.    Miko Lee: [00:32:10] Well, I really appreciate you sharing your art with us in the world and your various, um, genres and styles. And I'm wondering how our audience can find out more about your work. Clearly we'll put links to where people can buy the book and let's see, but how do they find out more about your films?   Chi Thai: [00:32:28] Um, so that like, because it is the 50th anniversary of the end of the Vietnam War in 2025. Actually the very anniversary of that is the tomorrow, the 30th, April, right? Um, you can watch Lullaby on Altar, which is a YouTube channel. Um, and I can give you the link for it. Rating Grace is on Paramount Plus if you want to, if you've got Paramount Plus, but you can also buy it from all the usual kind of places too. Um, and you know, and we'll see us from all great book stockists, I imagine in, in the us.   Miko Lee: [00:33:07] Thank you so much. Um, I'd love to get, I'd love for you to send me the link so I could put 'em in the show notes. I really appreciate chatting with you today. Um, is there anything else you'd like to share?    Chi Thai: [00:33:19] Um, no, I think, I think that's good. Your, your questions are so good. Mika, I'm already like, kinda like processing them all. Uh, yes.    Miko Lee: [00:33:30] Well, it was a delight to chat with you and to learn more about your artistic vision, and my wishes are that you continue to grow and feel blessed no matter what your mama says, because deep down, she's still proud of you. Even if she doesn't say it out loud.    Chi Thai: [00:33:47] I believe it. I totally believe it.    Miko Lee: [00:33:50] Yay. Thank you so much for spending time with us on Apex Express.Next up, listen to stay, go from dark heart, a concert narrative by singer and songwriter Golda Sargento.   MUSIC   That was the voice of Golda Sargento from the new Filipino futurism punk rock sci-fi dark heart. Welcome, Livia Blackburne Children's book, author of Nainai's Mountain. Welcome to Apex Express.    Livia Blackburne: [00:38:56] Thank you so much for having me.    Miko Lee: [00:38:58] I wanna start with a personal question, which is, who are your people and what legacy do you carry with you?    Livia Blackburne: [00:39:05] I am Chinese American, and so I carry the stories of my grandparents who fled China to Taiwan, fled that war. And I also carry the stories of my parents and myself who immigrated. To America, and I am, I grew up in New Mexico, so I have fond memories of green chili and new Mexican food. I went to college, Harvard and MIT on the east coast. So I've got a bit of that kind of ivory tower. And now I'm in LA and, you know, my people are, my family and my community, the writing community here. So I, I'm a big mix. Yes.    Miko Lee: [00:39:44] What legacy do you carry with you?    Livia Blackburne: [00:39:47] I mentioned a bit of my grandparents and my parents. What they went through in the war in China, and then my parents and me coming here. the experience of being here in two worlds, coming from Taiwan having that cultural background and also, growing up in the United States. The culture I've been surrounded with here as well.    Miko Lee: [00:40:06] Thank you so much for sharing. Can you tell us about your new illustrated children's book? Nainai's Mountain. What inspired this work?    Livia Blackburne: [00:40:14] The story of this book actually started with another book that is coming out in a couple years that actually I can't share too much about. My grandparents fled the war in China and then my. Parents grew up in Taiwan and I wanted to preserve that family story. My parents are getting older. So I started doing oral interviews with my parents about their childhood, what it was like, growing up. I wouldn't say they weren't refugees in Taiwan. It's a very complicated political situation, but they were transplants to Taiwan, and what it was like growing up there, their daily life. What kind of things they did when they were a child, their pastimes, I wanted to preserve their stories and I got a lot of great material., A lot of that is going into a novel that I'm currently working on. But also as I worked on it, there were so many great details that I thought would be really good in a picture book as well. Also, I'm a mother now. I have an 8-year-old daughter, and she is half Caucasian, half Asian. She has never gone to Taiwan before and I. As I'm writing this, I'm thinking, it would be really great to, I do want to share Taiwan and, my own childhood, home with her at some point. And so I start imagining what would it be like to bring her back to Taiwan and show her everything. And that became the seed for Nainai's Mountain, which is a. Story of a girl visiting Taiwan for the first time with her grandmother. And her grandmother shows her around and tells her stories about her childhood, and the girl through her grandmother's eyes, sees Taiwan, you know, for the beautiful place that it is.    Miko Lee: [00:41:56] You also wrote the book I Dream of Popo. How are these companions to each other and also for audiences that might not speak Chinese. One is a grandmother on the mother's side, and the other is the grandmother on the father's side. Can you talk about how I dream of Popo is linked to Nainai's Mountain?   Livia Blackburne: [00:42:15] Thank you for pointing that out. Yes. So Popo is maternal grandmother, and Nainai is a paternal grandmother. And that is a fantastic question. So I dream of popo is kind of my story. So it's about a little girl who moves from Taiwan , to the United States and it's about her relationship with her grandmother who stays in Taiwan. And it talks about, how a close relationship, navigating long geographical distances about the language barrier that comes up. And that was very much me, Nainai's Mountain. It's kind of like Popo in reverse, you know, it's now it's someone going back to Taiwan and kind of getting in touch with those roots. That, as I mentioned, that's inspired by my daughter. And you'll see in Nainai's Mountain, I specified that the child should be, half Asian, half Caucasian. Because, I wanted more of that representation in the children's literature.    Miko Lee: [00:43:07] Thank you. I, I wonder if you could talk a little bit about the artistic style. So you are the author, but you had different illustrators for both of the books and the style is really different. The in, when I look at Nainai's Mountain, which I'm holding here, it's sort of collage and really vibrant colors. Where I Dream of Popo has a different, more. I'm almost realistic, kind of look to it. And I'm wondering what your process was like in collaborating with illustrators.    Livia Blackburne: [00:43:37] That's one of the best things about being a picture book author, is that you get to collaborate with so many illustrators and they all have such different styles, such different visions. Most of the time it's the publisher who chooses the illustrator, although they. Consult me usually. My editor for I Dream of Popo picked Julia Kuo. And she sent me samples and I loved it. And, it was great. I'm friends with Julia now and that book did really well. It was very well known, especially in kind of Taiwanese American, Asian American circles. And so when I did, Nainai's mountain, that was with a different publishing house and my editor. He very consciously said, you know, because it's also a book about Taiwan and a grandmother. We don't want to get it confused with I dream of Popo. So, we made a conscious decision to pick an artist with a very different style and Joey Chou is fantastic. He's very well known for his Disney art. You can see his art in a lot of the hotels and cruise ships. And, he, very bright, vibrant, and I, he's also from Taiwan. I think he did a fantastic job.   Miko Lee: [00:44:41] And have the artistic work ever surprised you as being really different from your imagination while you were writing?    Livia Blackburne: [00:44:48] That's a great question. I don't think they've ever surprised me. By being different. They surprised me in the specifics that they've chosen. For example, I dream of Popo. Julia, spent a lot of time in Taiwan and she put in these great, Taiwan details that, you know, if you're from Taiwan, you would know for sure. There's like a specific brand of rice cooker called the rice cooker, and she has one there and like the giant bag of rice in the corner, and the calendar on the wall.   Miko Lee: [00:45:16] Even the specificities of the food and the trays and everything is quite lovely.    Livia Blackburne: [00:45:20] Yeah, yeah. You know, every time I read that, I look at that spread, I get hungry. So surprise there. And, with Joey, I, I love how he does the different, there's kind of flashback pictures and there's, pictures now and. The thing about him, his color, I just love the color that he put in from the greens, of Taiwan to kind of the bright fluorescent lights, neon lights of Taipei, and then there's kind of the slight sepia tones of the past and he just, you know, brings it so to life so well.   Miko Lee: [00:45:49] I didn't know he was a Disney animator, but it totally makes sense because it feels very layered. It does feel animated in a way and kind of alive. So I appreciate that.   Livia Blackburne: [00:45:59] I'm not sure. If he's an animator. He does a lot of art for the theme parks and like products and the cruise ships and stuff. I'm not sure.    Miko Lee: [00:46:07] Oh, interesting.   Livia Blackburne: [00:46:07] He does like movies and  stuff.    Miko Lee: [00:46:08] Interesting. It looks like animation though. Your book.    Livia Blackburne: [00:46:13] It does look very, yeah. Lively. Mm-hmm.    Miko Lee: [00:46:16] That I'm looking forward to that series. That would be so cute. The grandmother series as a whole little mini series traveling to different places. can you tell us about your new book, Dreams to Ashes? Has that been released yet?   Livia Blackburne: [00:46:29] Dreams to Ashes? That has been released that, released about a month before Nainai's Mountain. Yeah, that one's quite a bit different. So that one is a nonfiction book and it's a picture book, and it's about the Los Angeles massacre of 1871. Whenever people, I tell people about that, they're like, wait, you wrote a picture book about a massacre? Which is slightly counterintuitive. So I never knew about the Los Angeles massacre growing up. And, and, given that I am a Chinese person in Los Angeles, that is kind of weird. Basically, it was a race massacre that occurred. One of the biggest mass lynchings in history, uh, where there was a between two rival Chinese organizations and a white bystander was killed. And because of that, , a mob formed and they rounded the Chinese population up basically. And. Blame them for that death. In the end, 18 Chinese men were killed and only one of them were involved in the original gunfight. It was a horrible tragedy. And unfortunately, as often happened with these kind of historical tragedies in our country, nobody was really punished for it. A few men were indicted and convicted, but their convictions were overturned and it just kind of disappeared into history. And it really struck me that, you know, nobody knew about this. I wanted to kind of bring this to light and unfortunately when I was writing it, it was also, during the Covid pandemic and, I was seeing a lot of anti-Asian rhetoric, anti-Asian hate crimes were going up. And I saw so many parallels between what happened. Back then, because, you know, Chinese people specifically were being vilified , they were being called immoral, stealing people's jobs. And you can see in the years before the massacre the newspapers were saying horrible things and, you know, the hate was just becoming very strong and all that exploded one night into an unspeakable tragedy. Unfortunately as an author, you want your work to be relevant, but sometimes you don't want your work to be relevant in this way. Right. Nowadays I'm seeing so much rhetoric again against immigrants and not of many ethnicities. And in some ways I'm sad. That, this is happening now. And I also hope that this book will contribute to the conversation and show how the danger of racism and xenophobia and hate and what, what can happen because of that.   Miko Lee: [00:48:55] So this occurred in the late 1800s, right? Was it before the Chinese Exclusion Act?    Livia Blackburne: [00:49:03] Yes, it was before the Chinese Exclusion Act. So you'd hope that people kinda learn from these things. And it was just kind of one of the, one of the horrible things that happened on the way to the Chinese Exclusion Act and Chinese immigrants being excluded basically Chinese laborers at least.   Miko Lee: [00:49:23] Oh wow. Okay. I'm looking this up now. And 1882 we know was the Chinese Exclusion Act and this incident actually happened in 1871. Yes. A decade beforehand, Helen Zia always talks about these moments that are missing. MIH missing in history and this is clearly another one of, another time of just wiping out a population.I'm wondering if you could speak a little bit more about how Children's Books can make a difference in the world that we're currently living in, where our government is banning books and you know that there's a narratives that they want to align with a certain kind of conservative ideology. Can you talk about the power of being a Children's Book author in this time that we're living in right now? . I'm really thinking about dreams to Ashes and even I dream of Popo and even Nainai's Mountain, which you would think, oh, they're, you, they're visiting their grandparent, their grandmothers, that would not be controversial. But now when even words like inclusion and diversity are threatened and books are being banned, I'm just wondering if you could. Share a little bit more about your superpower as a children's book author?    Livia Blackburne: [00:50:31] Yeah, that's a fantastic question. We live in a time right now, there's, a lot of hate, a lot of intolerance, a lot of fear of different people groups. And a lot of that I think is because people are unfamiliar with people unlike themselves. They see. People who are different, look differently, act differently, speak differently, and it scares them. And I think the best way to get around that is to actually get to know people of other backgrounds, to see them as human. And I think that's where children's books come in. ‘Cause we don't, children are not born. With this hate of the other. They learn it. But, if they grow up being familiar with people of different backgrounds seeing their stories seeing them as, normal human beings, which, should be obvious, but sometimes it's hard, for adults to realize. Then, I'm hoping, as a children's book author that it will lead to a more empathetic world. And perhaps that's why the government sometimes in certain groups are wanting to, censor this and control the flow of children's books because, children are the most their minds are still open. They're still able to learn.    Miko Lee: [00:51:48] And Livia, tell us what you're working on next.   Livia Blackburne: [00:51:53] So right now I am. Working on a historical middle grade. We haven't quite announced it yet, so I can't say the title or too many details, but it is based on my family history of my parents and grandparents who moved from China to Taiwan after the civil War.   Miko Lee: [00:52:12] Please check out our website, kpfa.org. To find out more about our show tonight. We thank all of you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is created by Miko Lee, Jalena Keane-Lee, Preti Mangala-Shekar, Swati Rayasam, Aisa Villarosa, Estella Owoimaha-Church, Gabriel Tanglao, Cheryl Truong and Ayame Keane-Lee.   The post APEX Express – 6.19.25 We Are All Connected appeared first on KPFA.

We're right back at y'all with another one

Another week, another superstar who might come to the Clippers, fun! Adam, Will, and Chuck talk the Clippers dual-strategy NBA draft workouts, Kevin Durant to the Clippers rumors, and of course…DIP TALK 

Kat Fitzpatrick is a writer who lives in the Capital District. She has written a book about her experience living in Saigon during the US war against Vietnam when her father worked for the CIA. The book is entitled, 'For the Love of Vietnam: A war, a family, a CIA official, and the best evacuation story never heard' and Moses Nagel spoke to her about what's in the book and why she wrote it.

“Growing up, I was amazed at the way poor Vietnamese peasants, often armed only with an AK-47, could kick the mighty American army out of their country. And it was only after having visited the tunnels used by the North Vietnamese army in Saigon that I understood.” Join Kevin as he goes underground and discovers the true sacrifice that was needed to defeat the overwhelming power of the USA army.”Do visit our website at www.TheTopTravelDestinations.comYou can also follow The Top Travel Destinations on social media for updates: Instagram: @thetoptraveldestinationsX: @becreativkev

June 11, 1963. Protesting the lack of religious freedom in South Vietnam, Buddhist monk Thich Quang Duc sets himself on fire in a busy Saigon intersection. This episode originally aired in 2024.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

"I didn't know I was Vietnamese or Asian until I looked in the mirror — because I only saw my friends, and I saw my reflection in them." — Phuong AnhI had a chance to talk to Phương Anh, someone I met at an Overseas Vietnamese networking event here in Saigon. What struck me about Anh right away was the richness of her perspective — having grown up in Berlin after moving there from Saigon at the age of 8, then spending time in the US, and now returning to Vietnam.This episode is all about identity, belonging, and the culture shocks that come with living between worlds. Anh shares her incredibly candid experiences growing up in Germany, how she reconnected with her Vietnamese heritage, and what it's like navigating Vietnamese society now with a “German attitude.”I found this conversation eye-opening, heartfelt, and at times hilarious — especially when we got into German bread vs Vietnamese rice, or Vietnamese CCTV.5 Key Talking PointsGrowing up Vietnamese in BerlinAnh moved to Germany at age 8 and didn't realize she was “different” until much later. The power of cultural contrastWe compared German directness, Vietnamese community warmth, and American friendliness.Returning to Vietnam and facing reverse culture shockNow back in Saigon, Anh shares how her Western mindset sometimes clashes with local norms — especially when working with contractors or navigating gender roles.Navigating multiple languages and identitiesHow Anh speaks German, English, and Vietnamese — and thinks in all three.Marriage to an American and global perspectiveChapters & Timestamps09:00 – Life in East Germany post-Berlin Wall16:00 – Growing up without a Vietnamese community22:30 – Returning to Vietnam & being ‘too German'26:00 – Language barriers between German & Vietnamese33:00 – Why she moved back to Vietnam43:00 – Being married to an American"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh The full list of winners is here. Support the show

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

"Beef stew for breakfast, in this heat? Only in Vietnam - and somehow, it works."I've lived in Saigon for nine years, and yet, this city's food scene never stops surprising me. Let me bring you through Michelin Guide's 2025 picks - but not the fancy, white-tablecloth stuff. We're talking about the real heroes: local eateries that made it to the Bib Gourmand and Michelin Selected lists for their exceptional quality and value.This episode was a blast to record. From simmering bò kho in a clay pot to coconut ice cream in a coconut shell, to nearly getting hit by an ambulance while searching for bún chả - this was part food tour, part love letter to Saigon, and part chaos. And that's exactly what I love about it.Whether you're living here, planning a trip, or just a food nerd like me, I hope this episode gives you a taste of what makes Vietnamese cuisine - and its people - so special.Key Talking PointsThe Michelin Guide in Vietnam – What it means, how it's grown, and why it matters for local businesses and the country's global image.What is Bib Gourmand? – A Michelin recognition for restaurants that offer great food at great value—not just fine dining.Three Must-Try Local Spots – Bò kho at Bà Gà, bún chả at Bun Cha Van, and cơm tấm at a street spot near the airport.Why Vietnamese People Don't Care (And That's Fine) – Most locals don't know or care about Michelin, they just know where the food is good.The Chaos and Charm of Eating in Saigon – From blowing on cold ice cream to dodging motorbikes, eating here is always an experience.Chapters and Timestamps01:10 – Starting our food journey at Bà Gà with bò kho in a clay pot07:30 – Coconut & longan ice cream and Vietnamese hospitality18:30 – Bún chả at Bun Cha Van: sesame, spring rolls, and giant fish sauce29:00 – Heading to our third spot: cơm tấm heaven near the airport34:30 – Huge pork chops, sweet-savory flavors, and food nostalgia42:00 – Why Saigon's food scene is infinite and magical"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh The full list of winners is here. Support the show

The Vietnam War cast a shadow over the American psyche from the moment it began. In its time it sparked budget deficits, campus protests, and an erosion of US influence around the world. Long after the last helicopter evacuated Saigon, Americans have continued to battle over whether it was ever a winnable war. Based on thousands of pages of military, diplomatic, and intelligence documents, Geoffrey Wawro's The Vietnam War offers a definitive account of a war of choice that was doomed from its inception. In devastating detail, Wawro narrates campaigns where US troops struggled even to find the enemy in the South Vietnamese wilderness, let alone kill sufficient numbers to turn the tide in their favor. Yet the war dragged on, prolonged by presidents and military leaders who feared the political consequences of accepting defeat. In the end, no number of young lives lost or bombs dropped could prevent America's ally, the corrupt South Vietnamese regime, from collapsing the moment US troops retreated. Broad, definitive, and illuminating, The Vietnam War: A Military History offers an unsettling, resonant story of the limitations of American power. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Vietnam War cast a shadow over the American psyche from the moment it began. In its time it sparked budget deficits, campus protests, and an erosion of US influence around the world. Long after the last helicopter evacuated Saigon, Americans have continued to battle over whether it was ever a winnable war. Based on thousands of pages of military, diplomatic, and intelligence documents, Geoffrey Wawro's The Vietnam War offers a definitive account of a war of choice that was doomed from its inception. In devastating detail, Wawro narrates campaigns where US troops struggled even to find the enemy in the South Vietnamese wilderness, let alone kill sufficient numbers to turn the tide in their favor. Yet the war dragged on, prolonged by presidents and military leaders who feared the political consequences of accepting defeat. In the end, no number of young lives lost or bombs dropped could prevent America's ally, the corrupt South Vietnamese regime, from collapsing the moment US troops retreated. Broad, definitive, and illuminating, The Vietnam War: A Military History offers an unsettling, resonant story of the limitations of American power. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The Vietnam War cast a shadow over the American psyche from the moment it began. In its time it sparked budget deficits, campus protests, and an erosion of US influence around the world. Long after the last helicopter evacuated Saigon, Americans have continued to battle over whether it was ever a winnable war. Based on thousands of pages of military, diplomatic, and intelligence documents, Geoffrey Wawro's The Vietnam War offers a definitive account of a war of choice that was doomed from its inception. In devastating detail, Wawro narrates campaigns where US troops struggled even to find the enemy in the South Vietnamese wilderness, let alone kill sufficient numbers to turn the tide in their favor. Yet the war dragged on, prolonged by presidents and military leaders who feared the political consequences of accepting defeat. In the end, no number of young lives lost or bombs dropped could prevent America's ally, the corrupt South Vietnamese regime, from collapsing the moment US troops retreated. Broad, definitive, and illuminating, The Vietnam War: A Military History offers an unsettling, resonant story of the limitations of American power. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/military-history

The Vietnam War cast a shadow over the American psyche from the moment it began. In its time it sparked budget deficits, campus protests, and an erosion of US influence around the world. Long after the last helicopter evacuated Saigon, Americans have continued to battle over whether it was ever a winnable war. Based on thousands of pages of military, diplomatic, and intelligence documents, Geoffrey Wawro's The Vietnam War offers a definitive account of a war of choice that was doomed from its inception. In devastating detail, Wawro narrates campaigns where US troops struggled even to find the enemy in the South Vietnamese wilderness, let alone kill sufficient numbers to turn the tide in their favor. Yet the war dragged on, prolonged by presidents and military leaders who feared the political consequences of accepting defeat. In the end, no number of young lives lost or bombs dropped could prevent America's ally, the corrupt South Vietnamese regime, from collapsing the moment US troops retreated. Broad, definitive, and illuminating, The Vietnam War: A Military History offers an unsettling, resonant story of the limitations of American power. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/southeast-asian-studies

The Vietnam War cast a shadow over the American psyche from the moment it began. In its time it sparked budget deficits, campus protests, and an erosion of US influence around the world. Long after the last helicopter evacuated Saigon, Americans have continued to battle over whether it was ever a winnable war. Based on thousands of pages of military, diplomatic, and intelligence documents, Geoffrey Wawro's The Vietnam War offers a definitive account of a war of choice that was doomed from its inception. In devastating detail, Wawro narrates campaigns where US troops struggled even to find the enemy in the South Vietnamese wilderness, let alone kill sufficient numbers to turn the tide in their favor. Yet the war dragged on, prolonged by presidents and military leaders who feared the political consequences of accepting defeat. In the end, no number of young lives lost or bombs dropped could prevent America's ally, the corrupt South Vietnamese regime, from collapsing the moment US troops retreated. Broad, definitive, and illuminating, The Vietnam War: A Military History offers an unsettling, resonant story of the limitations of American power. Learn more about your ad choices. Visit megaphone.fm/adchoices

I absolutely loved recording this episode with Hoa. We first met through my Tuesday night quiz at Rabbit Hole, and her warmth, wit, and honesty always stood out. This chat went from laugh-out-loud moments to some truly eye-opening reflections about culture shock, navigating visa bureaucracy, and the sometimes ridiculous expectations placed on Vietnamese women, especially when they marry foreigners.I had a lot to talk about, from Grab drivers not understanding northern accents to what it's like going through a U.S. visa interview during a pandemic, and why Vietnamese weddings feel more like family transactions than personal celebrations. Hoa brought raw honesty, insight, and that cheeky energy that makes her so much fun to talk to.Key Talking PointsWhat it's like to experience culture shock as a Vietnamese person moving from Hanoi to SaigonThe bureaucratic nightmare of getting a U.S. tourist visa—and how Hoa finally got approvedHoa's candid take on being judged for marrying a foreigner (and how she clapped back)The emotional toll of career burnout and planning a 500-person weddingThe hilarious and bittersweet origin story of her nickname “Chang”Observations on American vs. Vietnamese culture, kindness, and food portionsChapters and Timestamps01:00 – Hoa's journey: from Hanoi to Saigon and why she “ran away”08:00 – Hanoi vs. Saigon: culture clash & accent issues14:30 – The U.S. visa nightmare and awkward interview questions23:00 – First time in the U.S.: kindness, sticker shock, and scooters31:00 – Career burnout, moving cities & dealing with depression38:00 – Vietnamese weddings: stress, scale, and social expectations41:30 – Stereotypes of Vietnamese women & being married to an American"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh The full list of winners is here. Support the show

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

"Everything we do in Saigon, we're like, 'We don't do this enough.'" - NiallThis episode perfectly captures why I love living in Vietnam — the spontaneity, the constant surprises, and how quickly you can go from urban chaos to countryside magic. What started as a simple glamping trip turned into one of our most memorable adventures yet.Driving on that unfinished highway felt like discovering a secret part of Vietnam that most people will never experience. The workers painting the lines just smiled and waved at us — classic Vietnam hospitality. And then watching those fishermen launch their boats at full speed onto the road? I've never seen anything like it.But honestly, the whole day reminded me why we're still not "done" with Saigon after all these years. There's always something new to discover, always another ferry to catch or countryside road to explore. Even Biscuit seemed to love every minute of it.Key Moments:Ferry crossing for 20 cents with trucks and motorbikesMy ongoing frustration with espresso machines replacing traditional Vietnamese coffeeStumbling onto an unopened highway and just... driving on itMeeting friendly locals who weren't fazed by foreigners on their construction siteWatching boats literally drive up onto the road at sunsetInjuring myself four different ways at a water park (peak Niall behavior)Chapters and Time-stamps:00:00 - Setting Off: Cat Lai Ferry & Escaping Saigon Chaos03:00 - Breakfast Hunt: When Everything's Sold Out by 9 AM06:00 - Ferry Crossing: Old School Saigon Transport10:00 - Food Discovery: Why Random Places Have the Best Meals13:00 - Coffee Crisis: The Death of Traditional Vietnamese Coffee18:00 - Timeout Glamping: Dog-Friendly Countryside Escape20:00 - Rice Paddies & Water Buffalo Hunt27:00 - The Unfinished Highway Discovery30:00 - Sunset & Boat Launching Madness35:00 - Golden Scorpion Water Park Injuries42:00 - Bu Resort: A More Upmarket Hidden Gem47:00 - Highway Redux: Google Maps Hasn't Caught Up50:00 - Sugar Cane Juice & Ferry Home"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh The full list of winners is here. Support the show

VOV1 - 6 Tổ công tác của Phòng Nghiệp vụ Quản lý thị trường thuộc Cục Quản lý và Phát triển thị trường trong nước đã triển khai kiểm tra đồng loạt tại Trung tâm Thương mại Saigon Square. Thu giữ hàng nghìn sản phẩm giả mạo các nhãn hiệu nổi tiếng thế giới.- Thủ tướng Phạm Minh Chính yêu cầu Bộ Xây dựng rà soát, cắt giảm, đơn giản hóa hơn 360 thủ tục hành chính liên quan đến hoạt động sản xuất, kinh doanh.-  Lào Cai tăng tốc giải phóng mặt bằng dự án đường sắt tốc độ cao Lào Cai – Hà Nội – Hải Phòng.-  Kiểm tra đồng loạt tại Trung tâm Thương mại Saigon Square tại TPHCM, 6 tổ công tác Cục Quản lý và Phát triển thị trường trong nước (Bộ Công Thương) phát hiện, thu giữ hàng nghìn sản phẩm giả mạo nhãn hiệu nổi tiếng.- Diễn đàn Đối thoại Shangri-La 2025 khai mạc hôm nay tại Singapore, với sự tham gia của nhiều chính khách và học giả đến từ các quốc gia trên thế giới.- Israel chấp nhận đề xuất ngừng bắn tạm thời mới của Mỹ, đánh dấu bước tiến quan trọng trong nỗ lực chấm dứt xung đột tại Dải Gaza.- Tòa Phúc thẩm Liên bang Mỹ ra phán quyết cho phép Chính quyền Tổng thống Donald Trump tiếp tục áp thuế diện rộng đối với gần như tất cả các đối tác thương mại của nước này.

Send us a textIn this episode, Host Tom Betti shares insights on his recent trip to Japan where he met Charlie, a purser with United Airlines, on his inbound flight to Tokyo and on his outbound flight from Osaka met United flight attendants Leslie and Lynn who both worked for Pan Am from 1977 to 1986 until the Pacific Division was sold to United.Tom also shares some personal travel stories and gives many updates about this program and the Pan Am Museum! The Pan Am Podcast was recently awarded the 2025 Platinum Muse Creative Award and the 2025 Platinum Vega Digital Award. To learn more, read Tom's interview with Muse staff about this incredible achievement: Tom Betti on Telling the Untold Stories of Pan AmOn April 24, 2025, the Pan Am Museum, in partnership with the Gerald R. Ford Presidential Foundation, and the Gerald R. Ford Presidential Library & Museum, hosted an event in Garden City, NY celebrating the 50th Anniversary of Operation Babylift, the frantic evacuation, ordered by President Ford, of Vietnamese war orphans in the final days of Saigon in 1975. In addition, on May 9, 2025 the Gerald R. Ford Presidential Museum hosted an event in Grand Rapids, MI to celebrate the anniversary. To mark the occasion, the three organizations produced a short documentary film by Dirk Braun that premiered at both events. You can view this film on our YouTube Channel: https://www.youtube.com/watch?v=f9pNjUZwXb4There's also an officially branded Pan Am coffee available from Expedition Roasters Coffee Company that was recently released. There are two kinds available: Organic Guatemalan Single Origin which is more of a medium roast and Sumatra Single-Origin from Indonesia which is more of a dark roast. Here is the link to purchase Pan Am coffee:https://expeditionroasters.com/collections/pan-amSupport the show Visit Us for more Pan Am History! Support the Podcast! Donate to the Museum! Visit The Hangar online store for Pan Am gear! Become a Member! Follow us on Facebook, Instagram, and Twitter!A very special thanks to Mr. Adam Aron, Chairman and CEO of AMC and president of the Pan Am Historical Foundation and Pan Am Brands for their continued and unwavering support!

"I think I grew up more sheltered. I didn't have the typical New York upbringing." - Annie Vo This episode was special in so many ways — not just because it marked six years of A Vietnam Podcast, but because of Annie's story. Her journey from Saigon to Yale, and then full circle back to Vietnam, embodies what this podcast is all about: identity, resilience, and connection.Hearing how Annie navigated culture shock, built a successful career, and now helps others feel seen and supported — that hit home. Her warmth and authenticity reminded me why I started this podcast. These are the conversations that matter. They're real, honest, and grounded in experience. I feel lucky to have shared the mic with her on such a meaningful day.Key Takeaways:- Gossip Girl was based on her high school- Learning English as a child immigrant- Reverse culture shock moving back to Vietnam- What was supposed to be a short stay became 8 years- Her children are growing up bilingual and connected  Chapters and Time-stamps:03:00 - Annie's Background & Career Overview04:00 - Gossip Girl & High School Life in NYC07:00 - Immigrating to the U.S. at Age 513:00 - Learning English & Adjusting to American Life20:00 - Returning to Vietnam & Reverse Culture Shock28:00 - Why She Stayed in Vietnam30:00 - Building a Life and Business in Saigon33:00 - Family, Legacy, and Raising Kids Bilingually"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh Support the show

In commemoration of the 50th Anniversary of the Fall of Saigon, join Town Hall Seattle to hear Vietnamese author Susan Lieu discuss her memoir, The Manicurist's Daughter. Susan will be in conversation with Executive Director of Friends of Little Saigon (FLS), Quynh Pham. Together, Susan and Quynh will discuss the impact of war with regards to trauma, memory, loss, and healing — as individuals and as a collective. You may have already seen the work of Seattle author and performer Susan Lieu at Bumbershoot, Wing Luke Museum, or the Seattle Library. Her sold-out solo theatre performance in Seattle, 140 LBS: How Beauty Killed My Mother, describes the true story of her mother's death due to medical malpractice. No matter where you've seen her name, you already know she's passionate about asking questions and seeking a better future. In her new memoir, The Manicurist's Daughter, Lieu asks questions about grief and body image through her family's story. Refugees from the Vietnam War, Lieu's family escaped to California in the 1980s. Upon arrival, her mother was their savvy, charismatic North Star, setting up two successful nail salons — until Lieu was eleven. That year, her mother died from a botched tummy tuck. For the next twenty years, Lieu navigated a series of questions surrounding her mother's death alone—until now. Sifting through depositions, tracking down the surgeon's family, and enlisting the help of spirit channelers, Lieu uncovers the painful truth about her mother, herself, and the impossible ideal of beauty. But the answers she finds are also rooted in fierce determination, strength in shared culture, and finding one's place in the world. Susan Lieu is a Vietnamese-American author, playwright, and performer known for her autobiographical solo show, 140 LBS: How Beauty Killed My Mother, which toured nationally to sold-out audiences. Her sequel, OVER 140 LBS, premiered at ACT Theatre's SoloFest. She has performed at major events such as Bumbershoot and The Moth Mainstage, and her work has been featured by NPR and the L.A. Times. Susan co-founded Socola Chocolatier and is an activist who helped pass a law raising medical malpractice caps. Her debut memoir, The Manicurist's Daughter (Celadon), is an Apple Book of the Month, a 2024 Best Book of The Smithsonian, NPR, and Elle Magazine, and has received accolades from The New York Times and The Washington Post. She was recently named one of Seattle Magazine's Most Influential People of 2024. Quynh Pham is the Executive Director of Friends of Little Saigon (FLS), a community development organization dedicated to preserving and enhancing Little Saigon's cultural, economic, and historical vitality. Coming from a small business family, Quynh is passionate about supporting small immigrant- and refugee-owned businesses and fostering community-driven solutions for health, safety, and well-being.

Hello, I'm Brett and I'll be your host for these amazing Old Time Radio Shows :) Dangerous Assignment was a thrilling NBC radio drama that captivated audiences from 1949 to 1953, starring the dynamic Brian Donlevy as the fearless U.S. special agent Steve Mitchell. It was broadcast across a range of media, including a syndicated TV series in 1951–52, and even inspired a reimagined Australian radio version from 1954 to 1956. Both the radio and TV series kept viewers on the edge of their seats with fast-paced plots filled with espionage, deception, and international intrigue. Series Premise: Each episode followed Steve Mitchell, an American agent dispatched by "The Commissioner," the enigmatic head of an unnamed U.S. State Department division. Steve's mission: to travel to exotic locations around the world to foil nefarious plots and uncover dangerous secrets. The show was designed to keep listeners in suspense, opening with a tantalizing scene before the action unfolded. Mitchell, posing as a suave foreign correspondent for an unspecified publication, navigated a maze of lies, betrayal, and violence—always emerging victorious by the end of the episode. Origins and Evolution: Dangerous Assignment was originally conceived as a summer replacement series for NBC in 1949. It quickly gained popularity, and its success led to a full radio series running until 1953. Brian Donlevy, who also narrated the show, brought an intense realism to his portrayal of Steve Mitchell, which contributed to the show's gripping atmosphere. The only other consistent voice on the radio version was Herb Butterfield, who played "The Commissioner." Guest stars included famous actors like Raymond Burr, William Conrad, and Richard Boone, each lending their talents to create a unique cast of characters across the episodes. After the American radio series concluded, Dangerous Assignment continued its journey abroad with a 1954 Australian radio adaptation. This version used remade American scripts and introduced Lloyd Burrell as Steve Mitchell, broadcasting a total of 39 episodes. The 1949 Summer Series: Dangerous Assignment first aired as a seven-week summer series in the summer of 1949, running on Saturdays from 8:30 to 9:00 PM EST. The character of Ruthie, the Commissioner's secretary, was played by Betty Moran, hinting at a possible romantic backstory with Steve Mitchell. The show's first episodes took listeners on adventures to locations like Messina, Sicily, Saigon, and Paris, where Steve investigated everything from stolen relief supplies to millionaire murder conspiracies. The 1950–1953 Radio Run: The show's popularity ensured its return to the airwaves in February 1950, although it faced some scheduling challenges. Over the next few years, Dangerous Assignment moved through various time slots, ultimately running for over 160 episodes. The radio series also attracted major sponsors, including Ford Motor Company, Wheaties, and Anacin, though it was largely supported by NBC itself. The episodes became more formulaic, often starting with Steve Mitchell being assigned a mission—usually involving espionage, sabotage, or international political conflict—followed by thrilling encounters with dangerous enemies. Syndicated Television Version (1951–1952): In 1951, Donlevy adapted the series into a syndicated television show. Rather than relying on a traditional TV network, Donlevy self-financed the production of 39 episodes, selling them individually to local stations across the country. This approach, aided by NBC's distribution assistance, allowed the show to reach a wide audience despite limited network support. Each episode remained faithful to the original radio scripts, with Donlevy reprising his role as Steve Mitchell and Herb Butterfield again playing "The Commissioner." Production Team and Legacy: The television version of Dangerous Assignment employed a talented team behind the scenes, including assistant director William McGarry, production designer George Van Marter, and film editor Edward Schroeder, A.C.E. The show's episodes were often fast-paced, with each story revolving around Mitchell's covert operations in places as diverse as Paris, Berlin, and the African jungle. Among the famous guest stars featured in the TV series were Hugh Beaumont, Paul Frees, and Michael Ansara, who appeared as a variety of different characters throughout the series. Notable episodes included titles like "The Alien Smuggler Story" and "The Atomic Mine Story," where Steve Mitchell faced off against spies, criminals, and saboteurs in a constant battle to protect U.S. interests overseas. The Man Behind the Character: Brian Donlevy: Brian Donlevy, born in Cleveland, Ohio, on February 9, 1901, was known for his tough, no-nonsense persona, both on screen and on the airwaves. With a career that spanned film, radio, and television, Donlevy brought a unique depth to his portrayal of Steve Mitchell. He was a familiar face in 1940s Hollywood, starring in classic films like Beau Geste (1939) and Wake Island (1942), and even earned an Academy Award nomination for his role in Beau Geste. In addition to his success in film, Donlevy was a major figure in the development of Dangerous Assignment, both as the star and as a key producer for the television adaptation. His tough-guy image made him a natural fit for the role of the action-packed American agent, and he remained a popular figure in postwar television, contributing to numerous anthology series like Kraft Theatre and Lux Video Theatre. Conclusion: Dangerous Assignment remains a notable chapter in both radio and television history. The series was a standout example of 1940s and 1950s action-adventure storytelling, blending espionage, drama, and international intrigue. Thanks to Brian Donlevy's magnetic performance, Dangerous Assignment continues to be remembered as a thrilling and influential series that helped set the stage for future espionage-themed shows and films.

Fifty years ago, as Saigon fell to North Vietnamese forces, the U.S. Navy carried out an epic evacuation of American personnel and South Vietnamese refugees. In this Naval History edition of The Proceedings Podcast, Eric Mills talks with author Ed Offley about his latest article.

This year marks 50 years since the fall of Saigon. In a Memorial Day special, ABC's Byron Pitts describes one family's quest to learn more about the man they lost in the Vietnam War - a quest that took them through the ABC News archives. Learn more about your ad choices. Visit podcastchoices.com/adchoices

More than 42,000 Native Americans served in the military during the Vietnam War, the vast majority as volunteers. They faced racist and stereotypical taunts from fellow service members. After their service, veterans suffered psychological and emotional trauma at a higher rate than other populations. As the nation marks 50 years since the fall of Saigon and the end of the war, we'll hear from Native Vietnam veterans about what the conflict means to them now. This is an encore show so we won't be taking live calls from listeners.

In 1975, the Vietnam War ended with the fall of Saigon. Afterward, a large wave of Vietnamese refugees fled the country and arrived in neighboring countries like Cambodia and the Philippines – and the United States as well. Many found community on the coasts like in California or New York, but others created enclaves in the Midwest cities like Chicago. To mark 50 years since the end of the Vietnam War and in honor of Asian American, Native American and Pacific Islander Month, Reset learns more about the history of the Vietnamese community in Chicago. Panel: Vân Huynh, executive director of the Vietnamese Association of Illinois Tam Nguyen, employment counselor at Chinese Mutual Aid Association Ngoan Le, the first executive director, Vietnamese Association of Illinois; former chief of the Illinois Bureau of Refugee and Immigrant Services. For a full archive of Reset interviews, head over to wbez.org/reset.

utr

This episode of 80s Flick Flashback revisits the 1987 hit "Good Morning, Vietnam." The film marked a pivotal moment for Robin Williams, showcasing his dramatic range beyond his established comedic persona from "Mork & Mindy" and "Popeye." Loosely based on the true story of Armed Forces Radio DJ Adrian Cronauer, the movie is set in 1965 Saigon as the Vietnam conflict escalated. Williams' portrayal of the irreverent, rock-music-loving Cronauer, who clashed with superiors, earned him his first Oscar nomination and contributed to the film's significant success. Join Tim Williams, Nicholas Pepin, and Chad Sheppard as they jump in their military jeep, crank up the radio, and discuss this iconic 80s film.Here are some additional behind-the-scenes trivia we were unable to cover in this episode:​In one of his spontaneous news segments, Robin Williams mentions Hanoi Hannah, referring to her as the "wicked witch of the north." Hanoi Hannah was the alias of Trinh Thi Ngo, a female broadcaster from North Vietnam, who gained notoriety on both sides of the conflict for her thrice-daily broadcasts in English that served as propaganda. Although her carefully crafted messages aimed to mock and demoralize American soldiers, many GIs viewed her segments, filled with misused American slang, quirky cultural references, mispronunciations, and exaggerated claims of nonexistent victories, as a source of absurd amusement.​At one point, there were plans for a sequel titled "Good Morning Chicago," which would have featured Cronauer as a reporter at the 1968 Democratic National Convention. Although a script was written, the proposed sequel was ultimately scrapped.​Sources:Wikipedia, IMDB, Box Office Mojohttps://www.cracked.com/article_36357_the-screenwriter-of-good-morning-vietnam-shares-the-inside-story-of-robin-williams-first-dramatic-hit.htmlSome sections were composed by ChatGPT We'd love to hear your thoughts on our podcast! You can share your feedback with us via email or social media. Your opinions are incredibly valuable to us, and we'd be so grateful to know what you enjoyed about our show. If we missed anything or if you have any suggestions for 80s movies, we'd love to hear them too! If you're feeling extra supportive, you can even become a subscription member through "Buy Me A Coffee". For more details and other fun extensions of our podcast, check out this link. Thank you for your support!​https://linktr.ee/80sFlickFlashback

My guest this week is filmmaker Peter McDowell, whose documentary Jimmy in Saigon is a sort of detective story that follows Peter's attempt to unravel into the strange death of his brother … and also an unspoken love story that had been hidden for years. Peter didn't expect to find himself making this documentary, and for a long time didn't even think of himself as a filmmaker. It wasn't until recently that he decided to spend his entire savings trying to unravel a mystery that had hung over his family for decades.We'll have that conversation in a minute. First, if you're enjoying The Sewers of Paris, I hope you'll consider supporting the show on Patreon. You may also enjoy my YouTube videos about the making of iconic movies and TV shows. And check out my weekly livestreams on Twitch, my book Hi Honey, I'm Homo!, and my free email newsletter. There's links to all that in the episode shownotes, and at MattBaume.com.

50 years ago, the Vietnam War ended.. The South Vietnamese capital of Saigon fell to the North Vietnamese Army…. North Vietnam achieved its objective of reunifying Vietnam under communist rule.... There were 58,220 U.S. military fatalities …. America effectively lost the Vietnam War.... "It was a sad day to sit in the Oval Office and see on television the American troops being literally kicked off of an American embassy before it surrendered. I hope no American president goes through that experience again." That was Gerald Ford on C-SPAN in 1998… On April 29th 1975, as President, Gerald Ford told America about the fall of Saigon: "This action closes a chapter in the American experience." Since then, new chapters have opened in the American experience with Vietnam .... For this year's Memorial Day, this week's episode of C-SPAN's podcast "The Weekly" observes America's relationship with Vietnam changing in the 50 years since the fall of Saigon ... and we do so by checking in with a President every ten years after 1975. How has American policy toward Vietnam changed over 50 years? And how has American presidential language about Vietnam and the War changed? This Memorial Day, find out in C-SPAN's podcast "The Weekly." Find C-SPAN's "The Weekly" wherever you get podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices

In honor of Asian American and Pacific Islander Heritage Month, we bring you an episode from Inheriting Season One. Inheriting is a show about Asian American and Pacific Islander families, which explores how one event in history can ripple through generations. Bảo Trương’s parents both fled Vietnam in 1975 following the war. His father Thuận was a pilot for the South Vietnamese Air Force and left the day before the Fall of Saigon, evacuating almost 100 people to Thailand on a plane. Thuận has now been settled in the U.S. for decades, but he still writes songs mourning the Vietnam of his childhood – a country that, to him, no longer exists because it is still under a communist government. On the flipside, his son Bảo wants to live in the Vietnam of today, a yearning his father doesn’t understand. In this episode, the father and son sit down for a frank conversation about the country they both long for, in different ways. Grow your business–no matter what stage you’re in. Sign up for a one-dollar-per-month trial period at SHOPIFY.COM/paradise Visit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency! Support for this podcast is made possible by Gordon and Dona Crawford, who believe that quality journalism makes Los Angeles a better place to live.Support LAist Today: https://LAist.com/join

"I was born in a house without electricity, and now I help create families through adoption. It's like winning the lottery." I catch up with one of the very first guests ever on A Vietnam Podcast — my friend Sandy. The last time we recorded together, it was 2019. We were sitting in my apartment with a tiny mic that picked up every sound in the room. Now, six years later, Sandy is back in Vietnam — this time not just as a tourist, but as an adoption lawyer who's come full circle in the most meaningful way.This conversation felt really personal. Sandy and I both started as English teachers here in Saigon, and like many of us, we weren't “just” that. I loved hearing about how far he's come — from law school struggles to helping families grow through adoption. He also shares what it's like to see Vietnam now through a very different lens.Whether you're a long-time expat, a first-time visitor, or someone curious about the paths people take after teaching abroad, this episode is for you.Key Talking Points:How we met and recorded one of the very first podcast episodes in my apartment with a broken micWhy the phrase “just an English teacher” misses the full storySandy's journey from adopted child to adoption lawyerHow law school nearly broke him — and why it was still worth itWhat keeps bringing Sandy back to Vietnam, and the changes he's noticed over timeChapeters and Timestamps:04:00 – Our first recording memories: Bad mics, hot bedrooms, and blanket forts07:00 – “Just an English teacher” and why that phrase frustrates me09:00 – Sandy's journey to come to Vietnam instead of China17:00 – Law school, burnout, and becoming an adoption lawyer23:30 – Why Sandy keeps coming back to Vietnam31:00 – Observations as a lawyer: Safety, laws, and business freedom36:00 – What Sandy misses about Vietnam when he's away39:30 – Cost of living vs. quality of lifeThis Season is sponsored by Premier Dental.Discover"Send me a message!"This Season is sponsored by Premier Dental.Discover the potential of a confident and healthy smile with the excellent dental clinic in Ho Chi Minh The full list of winners is here. Support the show

This week: A reassessment of the fall of Saigon, the legacy of the Vietnam War, and the state of military history in higher education. Mark Moyar, William P. Harris Chair of Military History at Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues. Release date: 16 May 2025See omnystudio.com/listener for privacy information.

This week: A reassessment of the fall of Saigon, the legacy of the Vietnam War, and the state of military history in higher education. Mark Moyar, William P. Harris Chair of Military History at Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues. Release date: 16 May 2025

This week: A reassessment of the fall of Saigon, the legacy of the Vietnam War, and the state of military history in higher education. Mark Moyar, William P. Harris Chair of Military History at Hillsdale College, joins Hugh Hewitt on the Hillsdale Dialogues. Release date: 16 May 2025See omnystudio.com/listener for privacy information.

More than 42,000 Native Americans served in the military during the Vietnam War, the vast majority as volunteers. They faced racist and stereotypical taunts from fellow service members. After their service, veterans suffered psychological and emotional trauma at a higher rate than other populations. As the nation marks 50 years since the fall of Saigon and the end of the war, we'll hear from Native Vietnam veterans about what the conflict means to them now.

Ocean Vuong is the author of the novel The Emperor of Gladness, available from Penguin Press. Ocean's other books include the critically acclaimed poetry collections Night Sky with Exit Wounds and Time Is a Mother, as well as the New York Times bestselling novel On Earth We're Briefly Gorgeous. A recipient of the MacArthur Fellowship and the American Book Award, he used to work as a fast-food server, which inspired The Emperor of Gladness. Born in Saigon, Vietnam, he currently splits his time between Northampton, Massachusetts, and New York City. *** ⁠⁠Otherppl with Brad Listi⁠⁠ is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: ⁠⁠Apple Podcasts⁠⁠, ⁠⁠Spotify⁠⁠, ⁠⁠YouTube⁠⁠, etc. Subscribe to ⁠⁠Brad Listi's email newsletter⁠⁠. ⁠⁠Support the show on Patreon⁠⁠ ⁠⁠Merch⁠⁠ ⁠⁠Twitter⁠⁠ ⁠⁠Instagram⁠⁠  ⁠⁠TikTok⁠⁠ ⁠⁠Bluesky⁠⁠ Email the show: letters [at] otherppl [dot] com The podcast is a ⁠⁠proud affiliate partner of Bookshop⁠⁠, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

Glennon's son, Chase, joins Glennon for a special conversation with his hero, author Ocean Vuong, to discuss: 1. Chase shares with Ocean the impact his work has had in his life–and Glennon thanks Ocean for helping mother her son. 2. What Ocean learned from his mother about how to navigate being an Asian boy in America–and Glennon's recognition that she did not prepare Chase for the same realities. 3. Ocean's new book, Time is a Mother, and why watching his own mother die gave Ocean a deep empathy and connection to every person. 4. His relationship to maleness–and why Ocean is interested in “staying and complicating” masculinity. About Ocean: Ocean Vuong, author of the critically acclaimed poetry collection Night Sky with Exit Wounds, and the New York Times bestselling novel On Earth We're Briefly Gorgeous is a recipient of the 2019 MacArthur "Genius Grant" and the winner of the Whiting Award and the T. S. Eliot Prize. In Time Is a Mother, Ocean's newest poetry collection available now, he reckons with his mother's death, embodying the paradox of sitting within grief while being determined to survive beyond it. His writings have been featured in The Atlantic, Harper's Magazine, The Nation, The New Republic, The New Yorker, and The New York Times. Born in Saigon, Vietnam, he currently lives in Northampton, Massachusetts. IG: ⁠ocean_vuong To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

On this episode of "The Federalist Radio Hour," Mark Moyar, the William P. Harris Chair of Military History at Hillsdale College, joins Federalist Senior Elections Correspondent Matt Kittle to reflect on the 50th anniversary of the fall of Saigon and discuss the effect the Vietnam War had on American foreign policy and global politics.If you care about combating the corrupt media that continue to inflict devastating damage, please give a gift to help The Federalist do the real journalism America needs.

The Vietnam War came to an end 50 years ago this spring. Washington State played a major role in the war, training hundreds of thousands of soldiers, and processing nearly a million before they went overseas. To commemorate the 50th anniversary of the Fall of Saigon, the Washington State History Museum in Tacoma has put together an exhibit called “The Things They Brought Home: Memories of Washington’s Vietnam Veterans.” We talk with retired Army Lt. Col. Erik Flint, and military historian Megan Nishikawa, who curated the exhibit. You can watch Sen. Patty Murray's education forum here. We can only make Seattle Now because listeners support us. Tap here to make a gift and keep Seattle Now in your feed. Got questions about local news or story ideas to share? We want to hear from you! Email us at seattlenow@kuow.org, leave us a voicemail at (206) 616-6746 or leave us feedback online.See omnystudio.com/listener for privacy information.

On this episode of “The Federalist Radio Hour,” Mark Moyar, the William P. Harris Chair of Military History at Hillsdale College, joins Federalist Senior Elections Correspondent Matt Kittle to reflect on the 50th anniversary of the fall of Saigon and discuss the effect the Vietnam War had on American foreign policy and global politics.

On this episode of “The Federalist Radio Hour,” Mark Moyar, the William P. Harris Chair of Military History at Hillsdale College, joins Federalist Senior Elections Correspondent Matt Kittle to reflect on the 50th anniversary of the fall of Saigon and discuss the effect the Vietnam War had on American foreign policy and global politics.

On this episode of “The Federalist Radio Hour,” Mark Moyar, the William P. Harris Chair of Military History at Hillsdale College, joins Federalist Senior Elections Correspondent Matt Kittle to reflect on the 50th anniversary of the fall of Saigon and discuss the effect the Vietnam War had on American foreign policy and global politics.

Patrick breaks down major headlines, covering a new Washington law threatening the seal of confession, the real dangers behind the abortion pill, and the anticipation around the upcoming papal conclave. He also addresses the uproar over the Trump-as-Pope meme and reflects on how technology shapes daily life, even for those facing hardship. If you want thoughtful perspectives on faith, news, and culture, catch this episode! Washington governor signs abuse bill requiring priests to break Seal of Confession (00:48) In response to Washington Governor Bob Ferguson signing Senate Bill 5375, which requires priests to break the seal of confession, Bishop Thomas Daly of Spokane affirmed that clergy in his diocese remain committed to preserving the sanctity of the sacrament—even if it means going to jail. Groundbreaking study finds abortion pill 22 times more dangerous than FDA says (11:10) Mifepristone - The abortion pill kills babies and harms mothers. (12:57) Audio: Jimmy Carr on the Quality of Life (15:13) Paula (email) – How you begin your show with the governor of Washington, conclave and abortion pill - AND NO WORD ABOUT trumps meme with him as pope.....NO WORD??? Why? (24:07) Joel - I thought The Trump/Pope meme was hilarious and didn’t cross line too much. (34:04) Anna – I’m not upset by Trump’s tweet but it was in poor taste for a president (37:59) Bob - Why didn't Jesus just walk through the Temple and show all the people that he rebuilt the Temple. Why didn't he show the Jews and Romans his wounds? (41:25) Joseph (email) - As a Vietnamese Catholic who lived in Vietnam for over 20 years and now resides in the United States, in my former parish in Saigon, the gong was used only a few times a year, typically during the Easter season. (46:13) Purple (email) - I just wondered where on earth (or heaven) you came up with the idea that saints and angels communicate in their minds with each other? Is that a biblical notion? (48:06)

Join Victor Davis Hanson and cohost Jack Fowler to examine the issues of the day: universities fight Trump, more information on the helicopter crash at Reagan airport, Klaus Schwab caught, Biden's attempt to oust Netanyahu, the 50th anniversary of the Fall of Saigon, China funding Houthis, Martina Navratilova questions transgender medical procedures, and the Left adopting imperial methods.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

It's been 50 years since the end of the Vietnam war. In honor of the anniversary, we're revisiting a story about a notorious American military prison on the outskirts of Saigon, called Long Binh Jail.  LBJ wasn't for captured enemy fighters—it was for American soldiers. These were men who had broken military law. And there were a lot of them. As the unpopular war dragged on, discipline frayed and soldiers started to rebel.By the summer of 1968, over half the men in Long Binh Jail were locked up on AWOL charges. Some were there for more serious crimes, others for small stuff, like refusing to get a haircut. The stockade had become extremely overcrowded. Originally built to house 400 inmates, it became crammed with over 700 men, more than half African American. On August 29th, 1968, the situation erupted. Learn about your ad choices: dovetail.prx.org/ad-choices

Since Donald Trump took office, there has been a deluge of news. Our correspondent considers what might happen next. Fifty years on from the fall of Saigon, we meet the Vietnamese who fled the country (10:47). And our obituaries editor celebrates the life of busker and star Alice Tan Ridley (18:06). Music credit: Seikilos Epitaph with the Lyre of Apollo by Lina PaleraListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

Since Donald Trump took office, there has been a deluge of news. Our correspondent considers what might happen next. Fifty years on from the fall of Saigon, we meet the Vietnamese who fled the country (10:47). And our obituaries editor celebrates the life of busker and star Alice Tan Ridley (18:06). Music credit: Seikilos Epitaph with the Lyre of Apollo by Lina PaleraListen to what matters most, from global politics and business to science and technology—Subscribe to Economist Podcasts+For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account.

At the January 6th Capitol insurrection, rioters waved Confederate, MAGA, and Trump-as-Rambo flags. Easy to miss without knowing the design was a bright yellow flag with three red stripes — the flag of South Vietnam.There were actually several confounding international flags present at the Capitol riot that day: the Canadian, Indian, South Korean flags, all were spotted somewhere in the mayhem. But what was peculiar about the Vietnamese flag being there was that it's not technically the flag of Vietnam but the Republic of Vietnam, a country that no longer exists. And what this flag stands for (or should stand for) remains a really contentious issue for the Vietnamese American community.This episode originally aired in 2021.Changing Stripes Subscribe to SiriusXM Podcasts+ to listen to new episodes of 99% Invisible ad-free and get exclusive access to bonus episodes. Start a free trial now on Apple Podcasts or by visiting siriusxm.com/podcastsplus.