Average Reviews:
(More customer reviews)book is way too expensive: it's is pretty much a compiling of singers. his engagement of the music and vietnam is limited and done so through translators and translation. i think he should have invested more time in learning the language, cultural immersion, and establishing a better relationship with the community before he pursue his research, because it reflects in his superficial presentation of the pop music life in HCMC. his project is overly invested in tourist sites such as over-pricde night clubs in the 1st district. moreover, if the bulk of his project is to compile singers background info, then Dam Vinh Hung should have in it. --Also need to include more stuff dealing with transnational, gender, and race politics.
that being said, Olson is brave and attempting to do what that many people has no done. he's dealing with the music that more contemporary. Jason Gibbs publish an article on VN rock music not to long ago, but mostly the scholarship on VN pop music in English needs to be updated. in the diaporic community, only a few have published stuff on VN music or music related...Reyes, Phong Nguyen, Deborah Wong... it's a shame that Valverde never turned her dissertation into a book. wish there was more action.
Click Here to see more reviews about: Popular Music of Vietnam: The Politics of Memory, the Economics of Forgetting (Routledge Studies in Ethnomusicology)
Based on the author's research in Ho Chi Minh City, Hanoi, and other urban areas in Vietnam, this study of contemporary Vietnamese popular music explores the ways globalization and free market economics have influenced the music and subcultures of Vietnamese youth, focusingon the conflict between the politics of remembering, nurtured by the Vietnamese Communist government, and the politics of forgetting driven by the capitalist interests of the music industry.Vietnamese youth at the end of the second and beginning of the third millennium are influenced by the challenges generated by a number of seemingly opposite ideologies and realities, such as "the past" versus "the present," socialism versus capitalism, and cultural traditionalism versus globalization. Vietnam has undergone a radical demographic shift with a very pronounced youth movement, andconsequently, Vietnamese popular culture has been radically reshaped by a young population coming of age in the twenty-first century. As Olsen reveals, the wayVietnamese young people cope with these opposing and contrasting forces is often expressed in their active and passive music making.
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