A bâtons rompus (Casual Conversation) - (1925)

Car la Marine Francaise d'est past morte encore!

Le "Jules Michelet" n'est point seulement intéressant par ses 4 cheminées et ses gros canons.

Le Jules Michelet est un navire mélodieux. Du matin au soir, presque chaque jour, les habitués de l'Arsenal et des quais s'arrêtent souvent, sur la berge, pour écouter les harmonies de bon aloi qui sortent, à jet continue, de la plage avant. Il ne s'agit point des jolies modulations du sifflet de manoeuvre, mais bien d'un véritable orchestra absolument remarquable, malgré l'absence de certains pupitres. Et ce fut un vrai régal, l'autre soir, autour du kiosque chauve de Boulevard Charner!

Nos élégantes Saigonnaises ont pu d'ailleurs de rendre compte aussi que les cols-bleus musiciens du Michelet, n'excellent point seulement dans la partition de Lakmé ni dans l'exécution impeccable du ballet de Coppélia, un des chefs d'oeuvre de Leo Delibes. L'autre soir, autant que les réglements l'ont permis, on a dansé ferme sur la plage arrière du croiseur aux sons encore de cet excellent orchestre et même aussi d'un jazz band hors pair!

"A bâtons rompus," Saigon Sportif 8/21/1925

Because the French Navy isn't dead yet!

The "Jules Michelet" isn't only interesting because of its four funnels and large cannons.

The Jules Michelet is a melodic ship. From morning till night, almost every day, regulars at the Arsenal and the quays often stop at the bank to listen to the quality harmonies that flow continuously from the foredeck. It's not the pretty modulations of the boatswain's pipe, but a truly remarkable orchestra, despite the absence of some sections. And it was a real treat the other evening around the bare bandstand on Boulevard Charner! [đường Nguyễn Huệ today]

Our elegant Saigon ladies could also attest that the blue-collar musicians of the Michelet excel not only in the score of Lakmé, but also in the impeccable performance of the ballet Coppélia, one of Léo Delibes' masterpieces. The other evening, as far as regulations permitted, there was lively dancing on the cruiser's aft deck to the sounds of this excellent orchestra and even a superb jazz band!

The armored cruiser Jules Michelet (source: Wikimedia Commons)

The battleship Jules Michelet circulated among French ports throughout the Far East and Pacific region. Such a vessel definitely projected colonial and imperial power. For the French residents of Saigon the vessel's arrival was heartily welcomed and here we learn one of the reasons why. The Jules Michelet brought a little variety to the city's musical life.

The article remarks about "regulars" at the docks enjoying the rehearsal of the naval band. The regulars would have included a number of Vietnamese dockworkers. The ladies of Saigon enjoyed the band's ability to perform classical works by Délibes, but the musicians were most appreciated by those who loved to kick up their heels and dance. The jazz band must have been a subset of the larger naval band. At that time a jazz band was almost certainly a dance band. I would imagine that they sounded similar to Fred Waring and the Pennsylvanians.

Với chủ trương phục hưng nền Quốc nhạc Tivi (With the Object of Reviving National Music On TV) - Trùng Dương (1969)

Một ban gương mẫu như vậy không chắc đã huy động, nhưng cái gì khó khăn mới gọi là đặt giá. Chúng tôi cần đến những tay đờn thật xưa hiện giờ còn sống; đã biết qua nếp chơi tài tử cũ, ngón đờn không phải bị nhiễm độc bởi sự cải biến hàm hồ của cổ nhạc đương thời.

Chính những người đó mới làm sống lại mẫu mực của cổ nhạc. Và đó mới gọi là hòa tấu hay hòa ca cổ nhạc, chớ không phải... đánh giặc nhạc theo kiểu Năm Cơ - Văn Vỹ.

Such an exemplary group we'll probably be unable to mobilize, but the difficulty lies in the price. We need thosemusicians who have been playing for a long time who are still with us; those familiar with the manner of playing olden talented amateurs music, who finger haven't been poisoned by the careless modifications of traditional music today.

It is these people who make the ideals of traditional music live again. And that is what could really be called traditional ensembles and singing, not like the... attacking-the-enemy music in the manner of Năm Cơ and Văn Vỹ.

nguồn: Trùng Dương, "Với chủ trương phục hưng nền Quốc nhạc Tivi có nên nhận thêm vài ban tài tử lớn," [With Object of Reviving National Music on TV, should we accept a few big talented amateur groups] Đuốc nhà nam 13 tháng 4 1969.

Nhạc tài tử is the musical system underlying cải lương theater. It is also a refined art form on its own. This opinion piece interests me because he describes a couple of musicians that I love in a derisive way. However, the derision is accurate. Listen here:

These two along with Bảy Bá are the backing track of hundreds of cải lương and vọng cổ recordings. I think playing on recordings accustomed them to time limits and made their playing more rapid fire and virtuosic. At times it has the energy of Flatt and Scruggs - Foggy Mountain Breakdown.

The "đánh giặc" metaphor is really funny. It's a battlecry to attack the enemy, but within this music there's, of course, no enemy. The abundant ability of these musicians results in an aggressive form of musicianship. I think the writer is right in wanting to promote musicians from an earlier time who would likely play in more relaxed manner. I have no idea what the Saigon Television channel decided to do.

Nó (Waif) - Anh Bằng + Hoàng Minh (1967)

Slow-Rock

Thằng bé âm thầm đi vào ngõ nhỏ

The little one walks silently in the narrow alley
Tuổi ấu thơ đà mang nhiều âu lo.

His youthful days bear many worries.
Ngày nó sống kiếp lang thang, ngẩn ngơ như chim xa đàn, nghĩ mình tủi thân muôn vàn.

He lives fated to wander, bewildered like bird who has strayed from the flock, in eternal self-pity

Mẹ nó qua đời khi còn tấm nhỏ

His mother died when he was still young
Một chén cơm chiều nên lòng chưa no.

One bowl of evening rice, stomach not yet full.
Cuộc sống đói rách bơ vơ, hỏi ai, ai cho nương nhờ, chuỗi ngày tăm tối vô bờ.

A life of helpless hunger in tatters, one asks, who could he lean on in the limitless dark days 

Đêm đêm nó ngủ một manh chiếu rách co ro một thân côi cút không nhà

Night after night he sleeps on a tattered mat, curled up, orphaned without a home
Thân em lá cỏ bạn quen ai có đâu xa.

His body a blade of grass, friend nowhere around.
Thằng Tư con Tám hôm qua trên phố lê la.

The lads Tư and Tám yesterday were on the street hanging around.

Miền Bắc điêu tàn nên đời nó khổ

The North is in ruins so his life is miserable
Một chén cơm chiều nên lòng chưa no

One bowl of evening rice, stomach not yet full.
Nhiều lúc nó khóc trong mơ, mẹ ơi con yêu mong chờ bao giờ cho đến bao giờ.

Often he cries while dreaming, mother your beloved child will you wait, will you wait until the end.

nguồn: Anh Bằng, Hoàng Minh, "Nó," Saigon: Mỹ Hạnh, 1973

Chữ nó, trước kia ta chỉ dùng xưng hạng người mà ta lấy làm khinh hèn, chớ không mấy khi dùng mà xưng sự vật. (Phan Khôi, 1930)

The words "nó," before we only used it to name the category of people that we despise or look down on, it was not often used to name objects. 

It was a challenge translating this two letter title. Vietnamese people employ "nó" in many ways these days, sometimes in this derogatory way, sometimes just to fill in for he or she in the case a person of lower status (say, a child) or to fill in for "it." 

Gaunt, ragged orphans were a part of Vietnamese life. The lyrics of this song make it clear that this pitiable scene is located north of the 17th parallel. In socialist society one imagines that there were be a safety net to provide for orphaned children. By the same token, children were sometimes shunned and abandoned because of their family status, or as the result of land reform. Was this song simply created for psy-war purposes.

The Republic of Vietnam had plenty of vulnerable orphans, although I imagine that they would have been incorporated into the "informal economy" (think of Dickens - Fagan, Oliver Twist, the Artful Dodger). Nevertheless, Vietnam at that time was in the midst of a civil war, so the heartlessness had to be found on the other side. The song cover shows a toddler who while looking forlorn does not look to be un cared for. The urban setting looks much more like Saigon and Hanoi.

Hoàng Oanh thâu bài "Nó" cho hãng dĩa Sóng Nhạc năm 1967. Văn Phụng làm hòa âm. Có người húyt sáo cùng giọng hát cảm tình của Hoàng Oanh.

Gánh chè khuya (Midnight Custard Vendor) - Thu An (1962)

Út Bạch Lan:

Ai ăn chè bột khoai, buồn tàu đậu xanh nước dừa, đường cát hông?

Who'll eat some taro flower custard, mung beans in coconut milk, ground sugar?

Út Trà Ôn:

Nghe tiếng rao trong đêm dài u buồn

Hearing the hawker's cry on a long sad night
Đêm từng đêm thầm vang bên phố nhỏ

Each night echoing down on the narrow lane
Nghe tiếng rao như một lời kêu than

Hearing that cry like a lamentation
Cho số kiếp phụ phàng

For an unfortunate fate

Út Bạch Lan:

Em đi bán chè thưng

I sell sugary custard
Nặng lo chữ hiếu cho tròn

Bear the weight of filial piety to the end
Và em lo thân sống

And I have to worry about about staying alive
Cho tròn nợ áo cơm

To pay off the debt of food and clothing

Câu 1:

First part:

Út Trà Ôn:

Lối : Hễ mỗi lần nghe tiếng rao vang từ đầu phố là lòng tôi như nhớ thương em gái lạ đã đi ... rồi

Each time I hear that cry at the top of the lane, my heart seems to remember her, a stranger who has ... gone
Cũng gánh gánh chè khuya qua lại đường này 

She also carried a load of custard to sell along this road
Em gái ấy ở trong cuối phố

She lived at the end of the lane
Với một mẹ già tuổi độ sáu mươi

With her old mother, aged around sixty
Tóc chưa xuống khỏi bờ vai 

Her hair hadn't yet reached her shoulders

Mà em đã gánh nặng rồi thương đau 

But she bore that heavy load, pained

Vì nuôi mẹ khổ nghèo nên em phải chịu nhọc nhằn lo cho tròn câu hiếu thảo

To take care of her poor, miserable mother she had to wear herself out to show piety to the end

Câu 2:

Part 2:

Tuổi mới mười lăm vo cơm chưa sạch cám

Turning 15 she washed rice still mixed with bran
Mà em đã biết nấu chè thưng và gánh bán cho khách qua đường

Yet she knew about to cook sweet porridge and carried it out to sell to customers on the street
Nhưng tội nghiệp thay, chữ a bê em chưa biết một vần

But it was real shame, of her ABC's she didn't know a word
Nhưng em siêng lắm chiều nào em cũng học với bà mẹ già

But she worked hard, every evening studying with her old mother
Chỉ đọc được vần xuôi 

Only reading a few syllables
Thấy thương em cố sức sống trong cảnh đói nghèo thất học

Seeing that she struggled in this situation of ignorance and want
Cho nên tôi mới bảo em mỗi ngày một buổi

I told her every day for a session
Đến nhà để tôi dạy dùm sau bữa cơm trưa 

Come over to my house and I'd help her after lunch

[Thơ]

[Poem]

Em đến học được chừng mười bữa

She came around to learn for around ten sessions
Bỗng nhiên em liên tiếp vắng ba hôm

Suddenly she was absent for three days in a row
Tôi đón hỏi em vào lúc nữa đêm

I greeted her in the middle of the night
Khi em gánh gánh chè khuya về xóm vắng

When she carried custard back home at midnight through the deserted neighborhood

Câu 4:

Part 4:

Lối: Nghe tôi hỏi em cúi đầu im lặng rồi ngẩng nhìn tôi qua ngấn lệ tuông ... trào

Hearing my question she lowered her head then looked up at me through a streams f overflowing tears
Em trả lời với tôi trong tiếng nói ngẹn ngào

She answered me with a voice choked with emotion
Em nói em nghèo lắm không tiền mua giấy mực

She said I'm very poor with no money for paper or ink
Thì làm gì trả công thầy dạy dỗ cho em

How can I pay you back for teaching me

[Thơ Vân Tiên]

[Vân Tiên poem]

Thầy ơi má đã dặn khuyên

Teacher, my mother advised me
Dốt đành chịu dốt đừng phiền người ta 

Ignorance, you should suffer it instead of troubling somebody else
Một con một mẹ đã già

You and your mother who is old
Đói nghèo chịu được ơn kia khó đền 

Hunger and want we can stand, don't take favors that would be hard to repay

Câu 5:

Part 5:

Không, chú dạy dỗ là mong em biết chữ

No, I've instructed you in the hope you would become literate
Chớ đâu phải được trả công bằng quà vật bạc tiền 

Not so that you would have to pay me back with gifts or money
Vì thương em nghèo có hiếu lại hiền 

Because I sympathized with you, a poor girl who's both dutiful and kind
Tôi nói chưa hết thì em đã khóc to hơn nữa

I hadn't finished speaking when she cried even louder
Và vội vàng quảy gánh chạy đi 

And hurriedly she turn around and left with her load
Đường vắng giữa khuya chỉ còn một mình tôi đưa mắt nhìn theo em khuất dần trong bóng tối

On the empty road at midnight, I was all alone following her with my eyes as she disappeared into the shadows
Với nỗi xót thương cho một kiếp sống não nùng

With a feeling of pain and pity for such a sorrowful fate

Câu 6:

Part 6:

Rồi kể từ đêm ấy tôi không còn trông thấy bóng em đâu

So from that evening I never saw her shadow again
Chừng hỏi thăm mới hay em bị đuổi nhà và đã ra đi ở mướn

Asking around I learned that she had been evicted and had to go out and work for hire
Để lấy tiền nuôi bịnh mẹ tại nhà thương

To get money to take care of her sick mother in the hospital
Nghe chuyện ấy lòng tôi nao nao buồn tủi

Hearing this my heart felt troubled and dejected
Thương cho cuộc đời những trẻ bơ vơ

Pitying the lives of helpful youth
Rồi đêm đêm đi về trên xóm cũ

So each night coming home to the old neighborhood
Tôi bồi hồi nhớ lại tiếng em rao

I feel restless remembering her street hawking
Như còn vương vấn nơi phố lạnh canh buồn 

Like it still haunts this lane, rattling on in sadness

"Em đi bán chè thưng

"I sell sugary custard
Nặng lo chữ hiếu cho tròn"

Bearing the weight of filial piety to the end"

Giờ em đi mất đâu còn

Now, who knows where you've gone
Nhưng tôi nhớ mãi tâm hồn thơ ngây 

But I always remember that innocent soul

In my opinion, vọng cổ is the greatest musical achievement of the Vietnamese people in the 20th century. It is attributed to Cao Văn Lầu (Sáu Lầu) but I think it is fair to say that it has been shaped by many hands. It is a song or theatrical aria used in cải lương built around a structure that has been realized ten of thousands or even hundreds of thousands of ways. It similar to the blues in there being an audible, accepted structure as well as myriad ways of creating within that structure. 

Vọng cổ balances strictness and elasticity. Framing the lyrics presented above there is a formal structure. Elements can be added and sometimes subtracted from that structure. It can open with a recited poem, a song, or even in this case the sound of an itinerant vendor hawking her wares. Câu 3 / the Third Part is replaced by a poem. When vọng cổ is performed as an instrumental, the instruments just play Cầu 3. I haven't notated this, but the ends of some phrases have to come to a unison on a series of pitches. A moment of intensification comes during the "lối" (path) where the unaccompanied voice intones, usually at a higher more dramatic pitch level, some part of the thematic meaning within the song.

Út Trà Ôn is the master of this genre. He could recite the traffic code and make it sound beautiful. Here he is briefly joined by another star of the cải lương stage - Út Bạch Lan. Út is an endearment - it refers to the last born child in the family, the runt. Trà Ôn is a Mekong delta city.

The song is like a one act play or monologue. The narrator living in a dense urban setting flashes back to an event that made a strong impression on him. Teens scraping out a living to help support their family was and I would think still is a part of the fabric of Vietnamese life. It used to be ubiquitous to hear vendors hawking their wares on the streets of Vietnam's cities. In the mid-1990s it was still common to hear the singsong of these street vendor cries. Locals barely noticed (until they wanted a little soup, a desert or to sharpen their knives) but as a foreigner I found this practice absolutely charming.

Street vendor calls hawking their wares had been common in many parts of the world (including Europe) but modernization has done it in -- modernization the form of the motorbike. The noise and the speed of these vehicles changed the pulse of city life. It also meant that it wasn't a big deal to fetch what you wanted for yourself instead of waiting for the vendor to stop by. Plus, you can't hear the vendor any more. There are some now that use amplification or prerecorded messages - but where' the beauty in that?

Returning to our song -- the narrator both pities and admires this 15 year old girl. "Có hiếu lại hiền" - "Hiếu" means dutiful, especially in the context of respect and caring for parents. "Hiền" describes somebody gentle and kind. He understands her circumstances and is impressed with how hard she struggles to take care of her elderly, worn-out mother. Having to help out with their survival from an early age she never received an education.

Living in the world firmly tied to her mother, both for survival, support and instruction, has limited her actions and agency in the world. The narrator willingly gives of himself and undoubtedly experiences no hardship of his own in trying to aid the girl. Nevertheless, her mother has instilled a sense of honor, a moral code whereby they cannot accept anything of value without being able to repay it, in turn, with something of value.

It appears that after her refusal of the narrator's kindness, the mother's and daughter's circumstances take a turn for the worse.

"Gánh" literally describes a burden carried upon the shoulders -- long bamboo pole with balanced, fairly heavy objects balanced at both ends.

nguồn ảnh: báo Lâm Đồng

The teenage vendor has limited life experience. The lyrics note that she doesn't even yet know how properly wash rice before cooking it (perhaps because rice is a luxury). This gentle girl has been pushed into the world to fight for survival walking for miles every night calling out "Ai ăn chè bột khoai, buồn tàu đậu xanh nước dừa, đường cát hông?"

some Hà Nội street cries

We have to imagine a very thin girl carrying a very heavy load.  Chè is a word used to describe many kinds of deserts. Their content is mostly liquid, and liquid is heavy. At one point it's described as "chè thưng" illustrated below.

nguồn ảnh: Wikimedia Commons

There are dozens, maybe hundreds of online recipes for many variations on this dessert dish.

This piece was originally released on a 78 rpm recording in 1962.

Bản kê của Phòng Nạp bản (Thư viện Nam phần Việt Nam) về ấn phẩm, nhạc phẩm, đĩa hát nạp bản...)

I am grateful for the privilege of being permitted to research in the Trung Tâm Lưu Trữ Quốc Gia II (National Archive II) in Hồ Chí Minh City. The staff were extremely helpful and I was able research very productively during my brief visit.

I found a good deal of information in a file originally compiled by the Thư Viện Nam-Phần Việt-Nam - this would have been the state library for Cochinchina, later becoming the library for the Republic of Vietnam. This file registers the publications (print, audio) that were deposited there from the late 1940s through around 1959.

More than 1000 songs are listed in this file. The reasons for being listed are often not given, but in some cases the year, the publisher and creators are given. Otherwise, the criteria for inclusion are not always clear. Some important songs were published and not deposited or listed. But file provides a good picture of the music marketplace of the 1950s - both the hit songs and songs that were published but never popular. The sheet music of many of the latter may be forever lost.

Here are the top 10 most represented songwriters during this period. None are southerners. Lê Thương had lived and been active in the South the longest:

1) Phạm Duy

2) Hoàng Trọng

3) Dương Thiệu Tước

4) Y Vân

5) Hoàng Thi Thơ

6) Lê Thương

7) Ngọc Bích

8) Văn Phụng

9) Hùng Lân

10) Thẩm Oánh

All except Hoàng Thi Thơ are northerners.

These are the most represented songwriters year by year:

1949 - Dương Thiệu Tước

1950 - Phạm Duy

1951 - Dương Thiệu Tước

1952 - Hoàng Trọng and Trịnh Văn Ngân

1953 - Châu Kỳ

1954 - Phạm Duy

1955 - Phạm Duy

1956 - Hoài An, Hoàng Thi Thơ and Hoàng Trọng

1957 - Y Vân

1958 - Y Vân

1959 - Hoàng Thi Thơ

Very often the information is minimal - just the title of the song. In most cases, I was able to fill in the file's missing information using my own personal files. In other cases, I was just left with questions.

Here are some of the mystery song titles:

"Ba cảnh đời" (1952)

"Binh bét về làng" (1956)

"Cánh hoa đời" (1952)

"Dạ Lan Hương" (1950) (I would like this to be "Cánh hoa duyên kiếp", but this song was deposited in 1950 and the Đoàn Chuẩn-Từ Linh song was written in 1953)

"Đẹp xưa" (1955)

"Gửi mẹ hiền" (1956)

"Hạnh ngộ" (1959)

"Hò dô ta" (1955) (There are multiple songs to choose from)

"Hò kéo lưới" (1952)

"Hoài niệm" (1956)

"Linh mới tò te" (1955)

"Mơ người lính chiến" (1955)

"Mưa đêm" (1957)

"Saigon muôn màu" (1959)

"Say mùa thanh bình" (1956)

"Thuyền qua bến vắng" (1952)

"Tình quê" (1950)

"Trăng" (1949)

"Trăng mơ" (1952)

"Trên đường xa" (1952)

"Trên sông hoàng hôn" (1956)

"Trên sông vĩnh biệt" (1959)

"Tuổi thơ" (1952)

"Việt Nam cách mạnh hành khúc"

"Xem mùa chinh chiến" (1956)

Chương-trình Tivi Thứ tư 29-1-1969 (Television Programming for Thursday, December 29, 1969)

ĐÀI VIỆT NAM - Vietnamese Television

19g -- Đài hiệu - Quốc kỳ.  -- Station theme - National anthem

19g03 -- Chiêu hồi.  -- Open arms.

20g -- Tin tức, thông cáo -- News, announcements

20g20 -- Phim: Tài liệu các loại giây leo. -- Film: Documentary on creeping vinces

21g -- Điểm báo, Bình luận -- Newspaper opinion, discussion

Giới thiệu chương trình hôm sau. -- Introducing tomorrow's programming

21g10 -- Thời sự Quân đội  -- News of the Armed Services

21g20 -- Thoại kich "Tham thì thầm" Ban Phượng Hoàng trình diễn. -- The play "Inner Greed" performed by the Phoenix Groups

Đài hiệu -- Quốc Kỳ -- Station theme - National anthem

LƯU Ý: Hoặc do trở ngại kỹ thuật, hoặc vì có tin quan trọng cần loan báo, chương trình có thể thay đổi vài tiết mục vào giờ chót

Attention: If there are technical difficulties or important announcements, the programming could be changed at the last moment

ĐÀI MỸ - American Television

1330 Turn on

1413 What's Happening

1415 Sign on news

1430 Gator Bowl (FB)

1700 Red Skelton Hour

1800 Auto racing

1830 Get Smart

1900 Roger Miller

1930 Evening news

2000 Weather

2006 Operation Entertainment

2100 What's Happening Gunsmoke

2200 Late News

2210 Feature Movie

nguồn / source: Đuốc Nhà Nam 29 tháng 1 1969

I couldn't say how many televisions there were in The Republic of Vietnam when this item appeared in the newspaper. By the autumn of the following year there were over 300,000, over 100,000 of those in Sài Gòn. That's fewer than two for every citizen of the south. 

Vietnamese language television was only introduced in February 1966. The number of viewers in January 1969 must have been considerably less than 300,000 - maybe one to two hundred thousand. The Cần Thơ television station had only started a few months prior, thus nearly the entire audience would have viewed from the environs around Sài Gòn.

A television set cost around 130 dollars or 15,300 đồng - a lot of money. While sets were few, it's likely that there was a good deal of communal viewing.

There were two channels in Sài Gòn - the Vietnamese channel and the American channel (for American personnel). The American station drew from the three major networks in the United States as well as motion pictures. On January 29, 1969 American viewers would have enjoyed the Gator Bowl - a college football game where the University of Missouri defeated the University of Alabama - that was played a month earlier on December 28, 1968 (!). This suggests that tape or film of the game had to travel across the ocean to be broadcast. Surely viewers knew the outcome already.

The station also showed an episode of country singer Roger Miller's show that was only on the air for three months in 1966. They also broadcast Red Skelton's variety show - a program that had a twenty year run. Gunsmoke was a long running western and Get Smart was a spy comedy with Cold War overtones. Programs like "What's Happening" and "Operation Entertainment" must have been locally produced. The broadcast day closed with an un-identified feature film.

While the American broadcast day lasted over twelve hours, the Vietnamese broadcast was far more limited lasting around four to five hours. They had no reservoir of programming to draw from and had to create entirely original programming. Their broadcast included a good deal of public affairs, including the "Chiêu hồi" program lasting an hour that appealed to the young men of the other side to drop their weapons and come over to the side of Republic of Vietnam. These programs usually included entertainment to message more attractive. I can't imagine that documentary on creeping vines was exciting, but it must have been recorded in Vietnamese. The day's final program was the screening of a play. There were no drama series and instead theater troupes were hired to create content for the station. The brief broadcast day was bookended by the station's musical intro and the national anthem (Tiếng gọi thanh niên - Calling The Youth).

Chuyến xe Lam chiều (An evening Lambro Trip) - Cô Phượng & Vinh Sử (1971)

BALLADE

Trên chuyến xe Lam đông người chiều nao.

On a crowded Lambro trip some evening
Xuôi mình không quên mà ngồi bên nhau.

Within a current of strangers we sat next to each other.
Trời mang nhiều trớ trêu chi, người chưa hề biết quen gì, sao ngồi gần như tình nhân si...

How can heaven have such notions, that we people know nothing of, why were we sitting close like mad lovers?

Em xuống xe Lam đi vào hẻm sâu.

I got off the Lambro to enter a deep alleyway.
Anh vội theo chân ngõ hồn xôn xao.

You hurriedly followed my steps into the alley, my soul astir
Làm quen chuyện vãn dăm câu, niềm vui mộng ước ban đầu, trong đã rồi... mặt ngoài còn e.
Got acquainted through half dozen remarks, happy hope began there, inside was thus... the outer expression was still bashful.

Ngờ đâu yêu đương như đám lục bình, trôi theo con nước vô tình, Anh lấy vợ, vợ anh giàu có.

Who knew that love is like water hyacinth, floating along in indifferent waters, you married, your wife is rich
Tình em se cát dã tràng biển đông, em muốn tìm chồng cho xong, nhưng ngại thêm gặp kẻ bạc lòng.
My love is a sand crab filling in the ocean, I'd like to find a husband and be done, but I hesitate meeting someone with a fickle heart

Trên chuyến xe Lam đông người chiều nay.

Upon this Lambro trip there's a crowd this evening.
Nghe nhiều bơ vơ nỗi niềm chua cay.

Feeling hopeless, bitter feelings
Còn đâu một chuyến xe Lam, ngày nao mộng ước vô vàn bao kỷ niệm giờ mình Em.

Where has that Lambro trip gone, I dream daily, endless memories for Me alone.

nguồn: Cô Phượng & Vinh Sử, "Chuyễn xe Lam chiều" (Saigon: [Tác giả], [1971]).  

Giao Linh ca "Chuyến xe lam chiều" trên băng Kim Đằng, xuất bản tháng 10 1973

Bây giờ, thỉnh thoảng vẫn thấy một chiếc Lam cũ, tơi tả xuất hiện đâu đó. Tiếng máy xe không còn kêu bon bon, mùi khói xăng không còn thơm như trước nữa nhưng người Sài Gòn không ai không nhớ tới những chuyến xe Lam - nhất là những chuyến xe Lam chiều vội đưa người về với gia đình, với người yêu đang chờ trên phố nhỏ. Còn đâu một chuyến xe Lam? Có chăng, chỉ còn lại dư âm trong bài Chuyến xe Lam chiều của nhạc sĩ Vinh Sử! (Lê Văn Nghĩa, "Xe Lam chiều,"

Nowadays, occasionally you'll see a dilapidated old Lambro scooter coming from somewhere. The engine no longer makes a putt-putt sound, the smell of gasoline fumes is no longer as pleasant as before, but for Saigon people, nobody can forget those Lambro trips – especially those hurried afternoon trips taking took people home to their families or to their lovers waiting on a small lane. Where did those Lambretta trip go? Perhaps they remain only in the song "An Evening Lambretta Trip" by composer Vinh Sử!

nguồn: Thanh Niên (April 10, 2016).  

The Xe Lam of Vietnam is a category of auto rickshaw, a popular means of transportation throughout the developing world to this day. In Thailand there is the ubiquitous "tuk tuk" named after the sound that Lê Văn Nghĩa describes as "bon bon" and I translate as "putt putt." Three wheeled motorcycles date back to the earliest days of motorized transport. The tuk tuk and similar vehicles were principally manufactured in Italy, the home of the Lambretta scooter. 

nguồn ảnh: Lê Văn Nghĩa như trên

In many places they functioned as taxis carrying at most a couple of passengers. In Vietnam these Lambrettas were a modification of a Lambro that was a small three-wheeled freight vehicle. These were modified to create a rear cabin that could carry more passengers. The Xe Lam performed a function someplace between a taxi and a bus. These vehicles had existed since the 1940s, but according to Lê Văn Nghĩa they were introduced in the Republic of Vietnam in 1966 and were in common use until the early 2000s.

It was a communal setting bringing strangers together as we witness in this song. A young man and woman felt an inarticulate spark of love. He became betrothed to another. She is unsure about ever finding somebody for herself and holds on to dreams of what might have been.

Vinh Sử often employs folk imagery and the image of the dã tráng or sand bubbler crab is very familiar. In the process of feeding, it filters sands leaving it behind in small spheres. These spheres have an aesthetic quality that seems intentional, yet the effort of creating these shapes is inevitably erased by the rising tide. Thus this crab of is a metaphor for labor expended for nought.

3 Ngày Hòa Bình, Âm Nhạc và Tình Thương (3 Days of Peace, Music and Love) (1971)

Từ thứ năm 19-8-71 hãng WARNER BROS trình bày tại 2 Rạp Máy Lạnh
REX và VAN HOA Dakao (Từ 21-8)
--Một Thành tích Hi Hữu của Thế giới Âm Nhạc
--Một Thế hệ Trẻ khắp Hoàn vũ đang chờ mong...

From August 19, 1971 the Warner Brothers Company presents at 2 Air-Conditioned Theaters

Rex and Văn Hoa Dakao (from August 21)

A Rare Achievement of the Music World

A global young generation has been waiting for...

nguồn: Đuốc Nhà Nam 20 tháng 8 1971

The film debuted on March 26, 1970. It took more than a year to reach Sài Gòn where I'm sure it was well received. It was presented there with subtitles in Vietnamese, Chinese and French (perhaps that accounts for the delay). As far as I know it has never been screened in Hà Nội?