Trinh hong que cao thai son biography
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Eight more songs by Trinh Cong Son licensed
VietNamNet Bridge – For the first time after the country’s reunification (1975), some more songs in the song collection entitled “Da Vang” (Yellow Skin) by the late songwriter Trinh Cong Son will be performed again in Vietnam.
Composer Trinh Cong Son.
On March 15 the Performing Arts Agency granted a licence for the circulation of eight songs by the late musician Trinh Cong Son, including: Canh Dong Hoa Binh (Field of Peace), Nguoi Me O Ly (O Ly Mother), Nuoc föda Cho Que Huong (Tears for Home), Doi föda Nao Mo Ra (Which Eyes Open), Dung Lai Nguoi – Dung Lai Nha (Rebuild Ourselves – Rebuild Our Homes), Ta Thay Gi Dem Nay (What We See Tonight) and Cho Nhin Que Huong Sang Choi (Wait to See Our Bright Hometown).
Some of the eight songs will be performed in the concert "Remember Trinh Cong Son" at the outdoor stage in Phu My Hung urban area in Ho Chi Minh City at 16h on March 31.
The Da Vang song collection has made a na
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Trịnh Công Sơn
Musical artist
Trịnh Công Sơn (February 28, 1939 – April 1, 2001) was a Vietnamese musician, songwriter, painter and poet.[1][2] He is widely considered to be Vietnam's best songwriter. His music explores themes of love, loss, and anti-war sentiments during the Vietnam War, for which he was censored by both the southern Republic of Vietnam and the Socialist Republic of Vietnam. Many performing artists, most notably Khánh Ly, Trinh Vinh Trinh (his younger sister), and some overseas singers such as Tuan Ngoc, Le Quyen, Le Thu, and Ngoc Lan, have gained popularity in their own right from covering Trịnh's songs.
Biography
[edit]Trịnh Công Sơn was born in Buôn Ma Thuột, Đắk Lắk Province, French Indochina, but as a child he lived in the village of Minh Huong in Hương Trà in Thừa Thiên–Huế Province.[3] He grew up in Huế, where he attended the Lycée Français and the Providence school. When he was ten he lived with his father in H
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The New Hero (1952–1964)
History without biography would be something like rest without relaxation, food with no taste, and a bit like a history of love without love.
Victor Albjerg1
1The world of the new hero is steeped in both myth and reality. The heroes at Tuyên Quang were real people, endowed with omnipotence by an authoritarian and internationalist political rhetoric. In the Vietnam of the 1950s, the new hero represents the slow and progressive disappearance of individual memory in the face of the propaganda apparatus of the State. The new Vietnamese hero differed from the emulation fighter because of his close bond with the central government. Although this close collaboration was sometimes fictitious, the heroic figure was designed to be the incarnation of a value; he was an absolute in flesh and blood presented to society as the conduit of an ideal. The new hero was a transmitter, the alchemist of a new transformation between the government and its people. He al