thao and the get down stay downthao and the get down stay down
Thao Nguyen’s Next Chapter of Songwriting and Advocacy Arrives in Your Inbox
Thao Nguyen: Tiny Desk (Home) Concert
The First Music Video Shot Entirely on Zoom is Here
Stern Grove 2018 Announced: Ziggy Marley, Thao and the Get Down Stay Down and More
Thao Nguyen Tells Her Own Story in Intimate Doc ‘Nobody Dies’
The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive'
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In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This vulnerable new stage in her songwriting led Nguyen to her latest project: earlier this week, she launched a Substack newsletter called \u003ca href=\"https://www.thaofortherecord.community/p/coming-soon\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>For the Record\u003c/em>\u003c/a>. With weekly free content and additional dispatches for paid subscribers, Nguyen is opening up her creative process for the tight-knit community of fans as she embarks on her next album. [aside postid='arts_13892437']\u003c/p>\n\u003cp>“It’s almost like me being able to have an independent media company entity, and I can maintain my autonomy in a lot of ways,” Nguyen says.\u003c/p>\n\u003cp>\u003cem>For the Record\u003c/em> will include essays, poems, new tracks, performance videos, Q&As with fans and other behind-the-scenes content. Like many independent artists, Nguyen has had to step into new creative roles to continue to connect with fans online in lieu of live performance, which she previously relied on to make a living. [aside postid='arts_13891311']\u003c/p>\n\u003cp>Nguyen released \u003cem>Temple\u003c/em> in May 2020, when the realization set in that the COVID-19 lockdown would last much longer than a couple of months. 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[aside postid='arts_13890093']\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back at the early days of her career, \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thao Nguyen\u003c/a> remembers times she didn’t feel whole. Navigating a mostly white indie rock scene since the late 2000s caused her to downplay aspects of her Vietnamese-ness in the face of covert and overt racism. And she wasn’t out as queer to everyone in her life, which made it impossible to share her full self with some of the people close to her.\u003c/p>\n\u003cp>After years of searching and processing, she’s arrived in a secure place where she lives proudly in her truth.\u003c/p>\n\u003cp>“With all this time off, I’ve had a lot of opportunity to think about what it was like to come up at the time that I did,” says the San Francisco musician, who leads indie rock outfit Thao and the Get Down Stay Down. “Even though 2007, 2008 doesn’t sound that far away, it was drastically different. The tolerance for racism was a lot higher. And there was a lot less that you could do about it—or that I could do about it—that I feel like I can do now.”\u003c/p>\n\u003cp>Her imperfect self-discovery process became the topic of 2020’s \u003cem>Temple\u003c/em>, her most personal and poignant album with the Get Down Stay Down, named one of \u003ca href=\"https://www.kqed.org/arts/13890048/the-10-best-bay-area-albums-of-2020\" target=\"_blank\" rel=\"noopener noreferrer\">KQED’s top albums of that year\u003c/a>. The project’s driving, post-rock title track captures the feeling of coming home to oneself after denying a long-held pain. Nguyen wrote the song from the perspective of her parents fleeing the Vietnam war as refugees, contextualizing her own life journey in their stories; instead of blaming her parents for their shortcomings, she creates a visceral depiction of earth-shattering loss and survival that set the stage for her upbringing in Virginia. On the songs that follow, Nguyen sounds palpably fed up with diminishing herself to fit other people’s expectations. The instrumentation is at times raw and jagged, as if evolving in real time, and her lyrics express a yearning to be seen and appreciated.\u003c/p>\n\u003cfigure id=\"attachment_13893849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13893849\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg\" alt=\"\" width=\"800\" height=\"436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-800x436.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1020x556.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-160x87.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-768x418.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape-1536x837.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Thao-Promo-Photo-Landscape.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thao Nguyen’s 2020 album ‘Temple’ saw her open up about her imperfect journey to embrace her identity. In her new newsletter, she’s sharing the creative process of her next album and deepening her Asian American advocacy work. \u003ccite>(Eric Einwiller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cem>Temple\u003c/em> was as much about being Vietnamese as much as it was being proudly queer,” says Nguyen. “And that aspect, especially now given the incredibly harrowing and disturbing rise in violence towards Asian people due to all that rhetoric and racist fear mongering—I think the next album will have a lot more to do with my Asian American identity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve been cranky about it in the past, but at a certain point, you figure out how nimble you wanna be and how you wanna adapt, what you’re willing to do and what you’re not willing to do to adjust to the realities of the way music is disseminated,” she says. “I’m so grateful to be able to rely on the relationships I’ve built with fans over the last 15 years. So Substack, a platform where you can directly rely and foster and continue to enrich that relationship with people who support you, is something I’m really interested in.”\u003c/p>\n\u003cp>Despite its challenges, the last year provided opportunities for Nguyen to align further with her purpose. She performed an NPR Tiny Desk Concert from her San Francisco home with her neighbors on cello, where she addressed the Vietnamese American community about building solidarity with the Black Lives Matter movement. She began working with the \u003ca href=\"https://www.pivotnetwork.org/mission\" target=\"_blank\" rel=\"noopener noreferrer\">Progressive Vietnamese American Organization\u003c/a>, and volunteered and fundraised for numerous get-out-the-vote campaigns.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/2ooC7TOr5m0'\n title='//www.youtube.com/embed/2ooC7TOr5m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I was really grateful to receive messages from people … thanking me for being a proud member of the Vietnamese American community or being queer and Vietnamese,” Nguyen says. “There were so many points of real candor and connection.”\u003c/p>\n\u003cp>Indeed, Nguyen’s straightforwardness is refreshing. While media is full of stories of barrier-busting girl bosses—or on the flip side, depictions of people of color that focus exclusively on trauma—Nguyen takes a more nuanced approach in the way she opens up about her process of becoming.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wanted to be specific and present the realities of all the different complexities and conflicts within trying to negotiate a lot of different things, and to acknowledge the challenges I’ve had in my own family and my own community,” she says. “I had gone a long time without acknowledging any of it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you haven’t yet \u003ca href=\"https://www.kqed.org/arts/13877597/have-you-accepted-zoom-as-your-lord-and-savior\" rel=\"noopener noreferrer\" target=\"_blank\">accepted Zoom as your Lord and savior\u003c/a>, you’ve probably seen the video-conferencing app used in \u003ca href=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DavidMarks.ThisisFine.jpg\" rel=\"noopener noreferrer\" target=\"_blank\">creative ways\u003c/a> during the coronavirus-induced shutdown. \u003c/p>\n\u003cp>And then there’s Thao Nguyen, the Bay Area musician who’s made the first music video shot entirely on Zoom. (That \u003ca href=\"https://www.kqed.org/arts/13878141/watch-the-hamilton-cast-reunite-for-one-lucky-9-year-old\" rel=\"noopener noreferrer\" target=\"_blank\">\u003cem>Hamilton\u003c/em> thing\u003c/a> was pre-recorded and spliced together, folks.) In her latest video with \u003ca href=\"https://www.thaoandthegetdownstaydown.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Thao & the Get Down Stay Down\u003c/a>, Nguyen takes the platform into an entirely new world of possibility. \u003c/p>\n\u003cp>“Due to the California stay-at-home order we very much agree with, this music video was made entirely on Zoom,” Nguyen wrote upon its release. “It was conceived of and made within one week from March 23-30, 2020.”\u003c/p>\n\u003cp>Watch above as Nguyen performs “Phenom” with unison choreography, synchronized effects, and… ah, I’ll just let you watch it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stern Grove, the free outdoor concert series, returns to San Francisco with a diverse lineup of international and inter-generational artists, kicking off on June 17 with two classic R&B vocalists: Peabo Bryson and Jeffrey Osborne.\u003c/p>\n\u003cp>The shows continue every Sunday at 2pm through Aug. 19 at 19th Avenue and Sloat Boulevard in San Francisco. Other acts to look forward to include Ziggy Marley, Afrobeat scion Femi Kuti, indie rockers Thao and the Get Down Stay Down and Rock & Roll Hall of Famers Ronnie Spector and the Ronettes.\u003c/p>\n\u003cp>Check out the full lineup below.\u003c/p>\n\u003cp>June 17 – \u003cstrong>Peabo Bryson\u003c/strong> and Jeffrey Osborne\u003c/p>\n\u003cp>June 24 – \u003cstrong>Ziggy Marley\u003c/strong> and Flavia Coelho\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>July 1 – \u003cstrong>M. Ward\u003c/strong> and Thao and the Get Down Stay Down\u003c/p>\n\u003cp>July 8 – \u003cstrong>Mexican Institute of Sound\u003c/strong> with special guests and Ginkgoa\u003c/p>\n\u003cp>July 15 – \u003cstrong>Anoushka Shankar\u003c/strong>, Land of Gold and Han Han\u003c/p>\n\u003cp>July 22 – \u003cstrong>San Francisco Symphony\u003c/strong>\u003c/p>\n\u003cp>July 29 – \u003cstrong>San Francisco Ballet\u003c/strong> with artistic director Helgi Tomasson\u003c/p>\n\u003cp>August 5 – \u003cstrong>Femi Kuti and the Positive Force\u003c/strong> and Sol Development\u003c/p>\n\u003cp>August 12 – \u003cstrong>Ronnie Spector and the Ronettes\u003c/strong> and the Humidors\u003c/p>\n\u003cp>August 19 – \u003cstrong>The Revolution\u003c/strong> and Big Blu Soul Revue\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more information about Stern Grove, click \u003ca href=\"https://www.sterngrove.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In the heart-rending documentary, Nguyen unravels her complex family dynamic through a Vietnam homecoming.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many, it is discomfiting to talk about the experience of migration. It can be doubly hard to expose the scar tissue that comes with being an immigrant or a refugee — the constant miscommunication and code switching, the collision of the traditional and unfamiliar, and in recent months, the exposure to white nationalist ideologies that have trickled down from the top of the American body politic.\u003c/p>\n\u003cp>San Francisco-based folk musician and songwriter Thao Nguyen, with her band the \u003ca href=\"http://www.thaoandthegetdownstaydown.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Down Stay Down\u003c/a>, is still learning to open up about her own experience as the daughter of Vietnamese refugees. “My career has been an ongoing experiment with being more forthright about my family and my biography,” says Nguyen.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em>, a new documentary premiering on KQED \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Sept. 10 at 6:30pm\u003c/a>, is perhaps the most direct of Nguyen’s ventures into first-person frankness — a profound short documentary that lays bare the bittersweet joy of returning to a homeland tarnished by personal and political loss.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807175\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The film documents a trip Thao and the Get Down Stay Down took to Vietnam in the summer of 2015 — a tour timed to commemorate 20 years since the normalization of relations between the United States and Vietnam. It would be Nguyen’s first visit to Vietnam. She, in turn, invited her mother, Nhan, who hadn’t returned to her homeland since migrating to the U.S. in 1973. It took a bit of nudging to get her mother to accompany the band.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of uncertainty and fear about going back to a place that you had to leave in such a manner,” Nguyen says. “The country she loved was lost in a lot of ways.”\u003c/p>\n\u003cp>Rather than place emphasis on the band’s shows or even linger upon the impact of the Vietnam War on Nguyen’s family, \u003cem>Nobody Dies\u003c/em> plays out as a love letter to Nhan. For the first time, she says, Nguyen got to witness a lightness in her mother.\u003c/p>\n\u003cp>“My entire life, I’ve known my mom especially through the lens of a refugee and this working immigrant,” she says. “To see her navigate life the way she was in her old home and to see that kind of confidence … It was so incredible to see her have that kind of vibrancy in taking care of situations and being able to follow her lead.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807173\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Director Todd Krolczyk wanders through the streets of Vietnam with the same assured eye. He’s a filmmaker who values intimacy: slow, wide shots balance against shots that focus on the faces of the two Nguyens. Nguyen’s voice, in song or conversation, accompanies each scene. Krolczyk’s close friendship with Nguyen is palpable, and \u003cem>Nobody Dies\u003c/em> benefits from his ability to imbue every shot with purpose and feeling through interviews, trip footage and songs that span the course of Nguyen’s decade-long career.\u003c/p>\n\u003cp>Importantly, \u003cem>Nobody Dies\u003c/em> also shows the understated details that are always felt but often go unseen in media representation of Asian families, and especially Southeast Asian families. It’s the small, tacit reminders of care and devotion that the documentary gets right: the elder Nguyen offering her daughter lychee fruit in their hotel room, extended family gatherings where everyone in the room somehow feels familiar. With this level of in-the-know specificity, \u003cem>Nobody Dies\u003c/em> is elevated beyond ordinary documentary fare.\u003c/p>\n\u003cp>Nguyen herself is an illuminating presence in \u003cem>Nobody Dies\u003c/em>. Even when she broaches sensitive subjects, like the matter of her largely-absent father, she’s treated like a companion in the narrative rather than its subject.\u003c/p>\n\u003cp>Nguyen’s father served in the South Vietnamese air force during the Vietnam War and met her mother, who worked for the Vietnamese government in Laos, in a Guamanian refugee camp. The two moved to Virginia, where Nguyen was born and raised with her younger brother. By the time she turned 12, her father had abandoned the family. His eyes are never shown in the pictures of him scattered throughout the film.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13807174\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ND4-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Nguyen processed the emotions of the trip by recording her fifth album, \u003cem>\u003ca href=\"http://www.thaoandthegetdownstaydown.com/music/a-man-alive/\" target=\"_blank\" rel=\"noopener noreferrer\">A Man Alive\u003c/a>\u003c/em>. It details her relationship with her father in no uncertain terms, treating the subject with a vulnerability that was often shrouded by metaphor in her previous work. The album is buoyed by vibrant production from her friend Merrill Garbus of tUnE-yArDs. In the film, as in the album, Nguyen is empathetic and exhausted when she talks about her father.\u003c/p>\n\u003cp>“I wonder a lot more about the impact of that war on him,” Nguyen says, “and what kind of trauma and what kind of post-traumatic stress impacted him, and, in turn, impacted the rest of us. I’m trying to have a more compassionate and expansive look into what he was, and it helped to go where he was from.”\u003c/p>\n\u003cp>There’s an arresting moment in \u003cem>Nobody Dies\u003c/em> when Nguyen talks about a khaki Perry Ellis jacket her father left behind when he left the family. Nguyen tears up as she conjures her father’s memory like a specter. Despite all of her emotional directness, it’s clear that Nguyen still had so much to sift through.\u003c/p>\n\u003cp>A story like Nguyen’s doesn’t lend itself to directness, and it’s understandable that it’s taken years for her to fully offer it up for public consumption. Nguyen’s had to excise the multiple layers of intergenerational and historical grief that get brushed under the surface in family dealings.\u003c/p>\n\u003cp>For her to open up lends itself to tired stereotypes: of women who occupy the realm of first-person storytelling only to be deemed less groundbreaking than their male peers, of refugee stories such as Nguyen’s needing to be simultaneously transcendent and grounded so as to be welcomed by the masses.\u003c/p>\n\u003cp>\u003cem>Nobody Dies\u003c/em> is not a political statement, nor does it really set it out to be one. But to document this journey and share it with an audience is, in itself, an act of power and subversion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Nobody Dies: A Film About A Musician Her Mom And Vietnam’ airs on KQED 9, Sunday, Sept. 10 at 6:30pm. \u003ca href=\"https://www.kqed.org/tv/programs/index.jsp?pgmid=24500\" target=\"_blank\" rel=\"noopener noreferrer\">Click here\u003c/a> for details.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 10 Best Bay Area Albums of 2016: Thao & The Get Down Stay Down, 'A Man Alive'",
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"content": "\u003cp>Thao Nguyen’s voice changes like San Francisco weather. At one moment wistful, confessional, vulnerable, it turns on a dime into righteous physical joy, or fury, or a primal wail that undoubtedly contains both.\u003c/p>\n\u003cp>Nguyen spent the early part of the aughts deploying this skill in the service of irrefutably catchy, dancey, sometimes anthemic indie-pop. But as a wise woman once sang, time makes you bolder, even children get older, and then, if you’re lucky, you become friends with Merrill Garbus.\u003c/p>\n\u003cp>Okay, so that’s taking a few liberties with Stevie’s words, but it’s true that \u003cem>A Man Alive\u003c/em>, Thao & the Get Down Stay Down’s fourth studio album, has all the swagger of a woman unafraid to take chances — even if the results don’t turn out pretty.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fokoZs6SLdI\u003c/p>\n\u003cp>Garbus, the creative force and rhythm wizard behind Oakland’s tUnE-yArDs, produced this album. And it shows: coming from an artist who’s often described as twee, this is a hard, welcome lean into cacophonous funk, all left angles and looping pedals, over which Nguyen’s wailing vocals and intensely intimate songwriting (several tracks revolve around her absent father) sound less “bird with a broken wing” and more “tired but potentially dangerous animal that you probably shouldn’t have pissed off.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We are not born for departure/but we do learn to take it,” she deadpans bitterly on “Departure,” over digitally manipulated hand claps and blown-out bass. The low end and guitar distortion on the rocker “Nobody Dies” makes it land with Breeders-esque weight. Even the album’s most melty, introspective track, “Millionaire,” is propelled by the heartbeat of an enormous kick drum. If it seems incongruous that some of Nguyen’s most personal songwriting of the past few years accompanies her first tracks that might make sense pumping through club-size speakers, so be it. She has very few f*cks left to give. And apparently, that’s very lucky for us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into.’\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thao Nguyen’s voice changes like San Francisco weather. At one moment wistful, confessional, vulnerable, it turns on a dime into righteous physical joy, or fury, or a primal wail that undoubtedly contains both.\u003c/p>\n\u003cp>Nguyen spent the early part of the aughts deploying this skill in the service of irrefutably catchy, dancey, sometimes anthemic indie-pop. But as a wise woman once sang, time makes you bolder, even children get older, and then, if you’re lucky, you become friends with Merrill Garbus.\u003c/p>\n\u003cp>Okay, so that’s taking a few liberties with Stevie’s words, but it’s true that \u003cem>A Man Alive\u003c/em>, Thao & the Get Down Stay Down’s fourth studio album, has all the swagger of a woman unafraid to take chances — even if the results don’t turn out pretty.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fokoZs6SLdI'\n title='//www.youtube.com/embed/fokoZs6SLdI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Garbus, the creative force and rhythm wizard behind Oakland’s tUnE-yArDs, produced this album. And it shows: coming from an artist who’s often described as twee, this is a hard, welcome lean into cacophonous funk, all left angles and looping pedals, over which Nguyen’s wailing vocals and intensely intimate songwriting (several tracks revolve around her absent father) sound less “bird with a broken wing” and more “tired but potentially dangerous animal that you probably shouldn’t have pissed off.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We are not born for departure/but we do learn to take it,” she deadpans bitterly on “Departure,” over digitally manipulated hand claps and blown-out bass. The low end and guitar distortion on the rocker “Nobody Dies” makes it land with Breeders-esque weight. Even the album’s most melty, introspective track, “Millionaire,” is propelled by the heartbeat of an enormous kick drum. If it seems incongruous that some of Nguyen’s most personal songwriting of the past few years accompanies her first tracks that might make sense pumping through club-size speakers, so be it. She has very few f*cks left to give. And apparently, that’s very lucky for us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Previously: \u003ca href=\"https://ww2.kqed.org/arts/2016/12/12/the-10-best-local-records-of-2016-jay-som-turn-into/\" target=\"_blank\" rel=\"noopener\">Jay Som, ‘Turn Into.’\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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