Seems Like Old Times

Last night out of the blue, I was delighted to receive a phone call from one of my adoptive big sisters I hadn't seen in a while.  I'm referring to Bebe Hoang Anh.  To many members of the Vietnamese community in the United States, you might have seen her name listed in the credits for her photography work in magazines, Vietnamese popular music compact discs and DVDs and calendars.  And many of you might also be familiar with her as being the beloved wife of the late Vietnamese-American columnist, singer, songwriter, Asia Productions music video live show master of ceremonies, political activist and Vietnamese-American radio broadcasting pioneer Viet Dzung, who happens to also have been one of my adoptive big brothers that I've been quite fortunate to have in my life.  I'm always delighted to hear from her.  We are like family.  We've been friends for so long, seen and done so many things together, Bebe to me, is nothing short of a gem in my book.

When I answered the phone, I hear Bebe's sweet voice speaking to me in what I call Vietlish, a combination of Vietnamese and English.  "Thien Phu, where are you, brother?  I'm here with another one of your sisters, Julie (Julie Quang).  We're at The Crab Kicker Restaurant on Magnolia and McFadden.  Get your butt over here right away.  I miss you."

Well, with an invitation like that, who can refuse?  Right when Bebe was calling me I was still at work.  Despite how I had tried to get off from my shift as soon as I could, it wouldn't be for another hour and a half before I would finally arrive at The Crab Kicker to join my two big sisters, Bebe Hoang Anh and Julie Quang.  I was perspiring heavily during the drive from my work to The Crab Kicker.  I kept thinking to myself, "There's no way that they could still be there at the restaurant waiting for me.  How long does it take to eat crawfish?  They're probably long gone by now."
What made it worse was how these two big sisters of mine are the way they are.  For instance, quite typical of Bebe's style, she doesn't answer her cellphone.  I dialed her number repeatedly so I could find out whether I should even bother to head on over there or not, but I had no such luck in reaching Bebe.  And as for my big sister, Julie Quang, who is notoriously famous for never carrying with her her cellphone wherever she goes, that just added to my stress.  It was already ten o'clock at night.  But since I have really missed seeing the both of them in such a long time, I just figured I'd take my chances and just make the drive anyway.  Luckily, they were still there when I arrived.

Our reunion last night, although brief since by the time I had gotten there the restaurant was near closing time, was just like old times.  Julie and Bebe had come there directly from attending singer Phuong Hong Que's mother's funeral.  Accompanying them was another old acquaintance of mine, Tiffy Tien Bui.  We laughed, talked, and even cried a bit, all four of us.  I don't know if it's my imagination.  But it seemed like out of all of us, I'm the only one that has aged.  Bebe and Julie still look the same.

Julie Quang, Bebe Hoang Anh, Tiffy Tien Bui and Thien Phu

During our reunion, there were bits and pieces of emotional moments.  After a little bit of alcohol in her, Bebe started to get a bit emotional as we reminisced about Viet Dzung, understandably so.  I let Julie and Bebe know about my own personal tragedy recently with the passing of my father.  Julie shared with me about her son, Kennedy, who had recently been hospitalized.  Wow!  So much has happened in our individual lives.  There was so much to catch up on, yet so little time.  We'll have to have another one of these reunions soon.  After all, they are my family.

Ne Me Quitte Pas

A lot of singers tend to have a particular song that he or she is associated with.  For me, I've noticed it has been Ne Me Quitte Pas.  I find it a complete honor to be associated with this song.  In my opinion, there have been quite a few other Vietnamese singers who have recorded fantastic renditions of this song.  I am quite flattered to be considered among the singers whose names are linked to this classic love song.

When I first became truly engrossed with this song was after I heard Bach Yen's rendition on her album, Souvenir.  I had always liked this song in the past and had also enjoyed countless other versions recorded by the likes of other artists such as Don Ho, Ngoc Lan and Carol Kim.  It had also been one of the many songs I often had performed on stage at my live shows.  But after hearing Bach Yen being interviewed on the radio by Viet Dzung one day where she was plugging her latest CD, I was then really taken aback.  Something about what she had said about how a singer must really have gone through such pain and agony in his or her love life in order to sing this song with enough feeling.  Since I happened to be experiencing some personal sadness at the time with a heartbreak in my own life, that was what had prompted me to record this song for my first album.  

After Sy Dan had finished the arrangements for this song, my first intentions were to record it in all three languages:  French, English and Vietnamese.   After a few takes at Cong Truc's studio, I was still dissatisfied.  That was when I realized that I wasn't that crazy about the English lyrics that had been written for the English version, If You Go Away.  I started to listen more to Jacques Brel's original version and began to finally appreciate just how powerful his performance of the song was.  The original French lyrics were indeed deeper and way more heartfelt than the lyrics written in English.  And since Pham Duy's lyrics were written based on translation of the lyrics in English, the same could be said with the Vietnamese lyrics.  That's when I decided to re-record the song without the English version, and only in French and Vietnamese.  I then turned to Alan Nguyen to finish out the recording for this song.  I must say, I am forever indebted to Alan Nguyen.  He had helped me so much through the production of the album, Tiec Nho, and particularly with this song.  He is simply amazing.  He coached me step by step with this song.  I really couldn't have done it without him.  

After three weeks, I finally finished recording Ne Me Quitte Pas.  Before the album was released, I was already happy to hear that my two most difficult critics other than myself, Anh Tu and Julie Quang, were pleased with my recording of Ne Me Quitte Pas.  During the week before the album was finally out in the market, I had sent a copy to Pham Long of Little Saigon Radio.  After he played it, I remember him making a comment of how this was a rather difficult song to sing and how he was really impressed that a young singer such as myself was able to give such a heartfelt delivery.  A few days after that I had heard from Bien Tinh Productions that my recorded version of Ne Me Quitte Pas had been one of the most requested songs on both Little Saigon Radio on 1480 AM and Radio Saigon Cali Hai Ngoai on 106.3 FM.  And then to have Viet Dzung write an article on Hon Viet Magazine praising about the song and my recorded version of it, I was just overwhelmed with excitement and truly flattered.  

Since then, Ne Me Quitte Pas has been one of my most requested songs from audience members at my live shows.  I really enjoy singing this song.  It just never gets old for me.  I still find it an honor to hear how fans have associated my name with this song.  Afterall, it is one of my favorite love songs of all time.

Thien Phu

A Loving Tribute to Viet Dzung

Viet Dzung (1958-2013)

It seemed like everytime someone close to me had passed away, Viet Dzung was the first person to notify me.  During the summer of 1998, while I was in Vietnam vacationing with Julie Quang and his wife, Bébé Hoang Anh, I received a telegram one morning that Michelle Diem My had just been killed in a fire.  Almost three years later, while I was at his radio station, Radio Bolsa, in Westminster, California, just visiting, he tells me out of nowhere, "Hey, did you hear Ngoc Lan just passed away?"  And then on November of 2003, on one terrifying morning, I received a phone call from Viet Dzung with the news that Anh Tu had just died.  But during the Christmas season of 2013, nobody called to inform me that Viet Dzung had just passed away.

Needless to say, I was devastated when I finally heard the news of his passing.  How I found out was through a posting on one of my friend's Facebook wall.  I had learned of his failing health years ago, but I never wanted to believe that he would possibly face his last days anytime soon.  Viet Dzung had always been a constant in my life.  He was like an older brother, one who full of wisdom and always had the best advice to give.  Because I had looked up to him so highly, my image of Viet Dzung had always been of someone who was invincible.  It is rather hard for me to really grasp what is reality, and that is, he is no longer with us.

My friendship with Viet Dzung began sometime in 1997.  I had been introduced to him by Julie Quang, who was also very close to him and his wife, Bébé.  For many years, we were like a family.  These three very special individuals had become the adoptive older brother and sisters that I never had.  I can't say that I was ever friends with Viet Dzung, because he was more like my older brother, instead of a buddy or pal.  I had the deepest respect for him.  He was a tremendous, multi-talented individual. I have yet to meet anyone else that could match his drive or ambition.  Just spending time with him on any given day, I was amazed at his remarkable work ethics and tenacious will to constantly succeed.

I am forever indebted to Viet Dzung his tremendous generosity throughout our friendship of many years.  I can honestly say, there's just no one like him.  Viet Dzung was definitely one of a kind and a true gem to the Vietnamese American community.  I miss him very much.  

Thien Phu on My Favorite Vietnamese Composers

Pham Duy - the most prolific composer
 of Vietnamese popular music

Being a Vietnamese singer, I'm often asked who are my favorite songwriters and composers.  Well, I have to say that I can't deny the talents of Pham Duy and Trinh Cong Son.  Afterall, they are the legends among Vietnamese songwriters.  I especially enjoy listening to the compositions of these two whenever sung by such legendary singers like Julie Quang, Khanh Ly, Le Thu, Duy Quang, Thai Hien and Cam Van.  But for me, personally, I've hardly ever sung any songs written by these two.  Quynh Huong was one of the few songs I've ever sung on stage written by Trinh Cong Son.  I remember one time while I was performing on a show together with Y Lan, since it was set in a ballroom dancing atmostphere I had started to run out of songs to perform in the cha cha tempo and Quynh Huong was the only song left that I could think of.  I was quite hesitant of singing it that night, since I was fully aware of how Y Lan had made this song so famous with her fabulous interpretation back in the 1990s.  But what was I to do?  Just to show you what a great sport she is, when it was my turn to get up on stage and sing during the Da Vu, the Vietnamese term for ballroom dancing, segment of the show, she smiled at me and said to go ahead and sing it.  I still didn't.  I went ahead and decided on the last minute to do Besame Mucho in French, even though I hadn't memorized all of the lyrics yet.  But I improvised, and thank goodness, the audience didn't really take notice.  Anyway, back to Trinh Cong Son, I've been an obsessed fan of his music especially with songs like Tinh Nho, Nhu Canh Vac Bay and Diem Xua, just to name a few.  I particularly  love Trinh Cong Son's music whenever sung by Khanh Ly.  Mua Thu Chet is my favorite Pham Duy penned song, and in my book, that song must be sung by none other than Julie Quang, of course.

Duc Huy - Vietnamese Songwriter
 and Singer

I've sung a lot of songs written by Duc Huy.  Of course, he is one of my favorite composers, as well.  His music appeals to a younger generation.  When I first started out singing, I was then considered a young singer.  Of Duc Huy's songs, I've always loved Tieng Mua Dem, Nguoi Tinh Tram Nam, Trai Tim Nguc Tu, Duong Xa Uot Mua and Nhu Da Dau Yeu.  

One other Vietnamese composer I've always admired is Ngo Thuy Mien.  His music is like no other's.  I'd have to say the two songs I've liked the most from Ngo Thuy Mien are Mua Thu Cho Em and Tu Giong Hat Em, both of which have been recorded by another one of my idols, Khanh Ha.  In my opinion, her renditions of these two songs were the best.

Van Phung - composer of songs such as Tinh,
 Toi Di Giua Hoang Hon and Noi Buon

But the composer that has been my constant most favorite in Vietnamese popular music has always been Van Phung.  I've loved all of his songs from Tinh, Noi Buon, Chan Nan, Suoi Toc to Toi Di Giua Hoang Hon.  I had the pleasure of singing one of his songs while he was in the audience many years ago while in Washington, D.C.  Can you guess which song it was?  Yeu va Mo was the name of that song I had the utmost pleasure of serenading Mr. Van Phung and his lovely wife, Chau Ha.  To meet him and his lovely wife was just one of the biggest thrills in my singing career.  Oh, by the way, there is one very important individual I should not forget to mention pertaining to this particular Van Phung penned tune that I have included in my repertoire song list at my live performances all these years.  And that is, the legendary Thai Thanh, whom I deeply admire and in fact had been my voice teacher during my beginning as a Vietnamese singer.  It was she who had taught me this song.  I guess I should also give Thai Thanh more credit for having introduced me to and helped me appreciate the beautiful music of Van Phung, one of the most talented composers of Vietnamese popular music ever.  

A Sweet Girl Named Kha Tu

I've been quite fortunate to have befriended quite a few good people in my life.  One of those people has been a good friend of mine who is also in the music business, a singer by the name of Kha Tu.

Our friendship began during a trip to Dallas, Texas in the winter of 1997.  I was there to do a one night performance on New Year's Eve at a club called the Queen Bee with fellow singers, Manh Hung and Diamond Hong Ngoc.  When I arrived, I saw posters pinned all around the Vietnamese community, and especially at the Queen Bee nightclub, of an upcoming show that would take place the night after my performance and would feature a cai luong play, Thuy Kieu Gia Tu Thanh Lau, starring Kha Tu, Ky Anh and Huong Huyen, along with a special appearance of Phuong Hung, Elvis Phuong's son.  Since our flight back to California wasn't until January 2nd, Manh Hung and I thought, why not attend the show?  I had met Kha Tu once or twice before, and Ky Anh and I had been friends for quite some time.

The day after my performance at the Queen Bee, Kha Tu and her entourage flew into Dallas.  I was really happy to see Ky Anh, since it had been a while since the last time we had seen each other back in California.  But what I didn't expect was the instant connection I would make with Kha Tu and Phuong Hung.  We became the best of friends immediately.  It turns out the owner of the Queen Bee, Loc, was also Kha Tu's uncle.  Loc had asked if I could cook lunch for everyone.  After he drove me to the supermarket, I did just that.  One of the things I love to do besides singing is cooking.  According to Manh Hung, I cook the best steak in the whole world.  Everyone loved my steaks prepared with red wine, worcestershire sauce, mushrooms and black pepper.  It was during lunch that Kha Tu kindly asked me if I could attend her show and perform a song or two.  The way she asked me was so sweet, I just couldn't say no.

I had to portray the role of a whorehouse madam...

On the night of Kha Tu's show, unfortunately, Dallas was hit by a terrible storm.  The bad weather would be the reason for the low attendance.  I felt bad for Kha Tu.  From what I saw, she had made a great deal of effort to put on a great show.  But because of the horrendous weather, less than 100 people showed up to see the show.  However, those that were in the audience that night all stayed to the very end and were extremely receptive to Kha Tu's performance.  The next day, Ky Anh and Huong Huyen had to board their flights back to California.  Loc, the owner of Queen Bee, then suggested to Kha Tu that she should stay until the weekend and do a reprisal performance on Saturday night to hopefully recover some of the financial loss from the low attendance of the previous night's performance.  The only problem was that two of her cast members for the play Thuy Kieu Gia Tu Thanh Lau, Ky Anh, who played the role of Thuc Sinh, and Huong Huyen, who played the role of Tu Ba, had already flown back to California.  That was when Manh Hung and I stepped in.  Manh Hung would play the role of Thuc Sinh.  And, you guessed it, I took on the role of Tu Ba, the brothel owner.  To put it more accurately, I had to portray the role of a whorehouse madam.... You read it right.  Not pimp, but indeed, MADAM.

In one night, both Manh Hung and I had to learn the lines to Thuy Kieu Gia Tu Thanh Lau.  I had never acted in cai luong before.  But with Kha Tu's encouragement and coaching, I managed to pull it off.  The next night, which was Saturday, Kha Tu, Manh Hung and I put on a reprisal performance of Thuy Kieu Gia Tu Thanh Lau to a packed house at the Queen Bee.  I couldn't believe it, but my portrayal of Tu Ba turned out to be quite a hit.  Kha Tu was so sweet, as she thanked me repeatedly.  I was just happy to see that we were able to perform in front of a packed house that Saturday.

After our performance on Saturday night, the storm wouldn't let up in Dallas.  Kha Tu, Phuong Hung, Manh Hung and I were all stuck in Dallas for a total of 18 days.  During the 18 days, we all became really close.  We had to.  We were stuck there the whole time in a very small house.  When we got back to California, the friendship that had developed between the four of us grew even stronger.  Kha Tu had introduced me to Bien Tinh Productions, who would produce and release my debut album, Tiec Nho.  In the summer of 1998, I had put together a CD release event show held at the Majestic.  Kha Tu, Manh Hung and Phuong Hung all pitched in with a great deal of effort each in helping me  to put this show together and making it a success.  I'll never forget how gracious Kha Tu was for helping out as the mistress of ceremonies alongside Quoc Thai on that night.  It seemed like I could always count on Kha Tu and Phuong Hung for anything.  At times I wondered, where had these two been all my life?

As the years went by, Kha Tu and Phuong Hung had both relocated outside of Southern California.  Phuong Hung moved back to Houston.  And Kha Tu went to live with her parents in San Jose.  As for Manh Hung, last I heard he is now living somewhere in Vietnam.  It's been years since I've heard from him.

Kha Tu, Thien Phu and Julie Quang

Sometime in 2012, when I performed in Houston at Maxim's, I was able to reunite with Phuong Hung.  Right after that, out of the blue, I heard from Kha Tu when she contacted me through Facebook.  She had introduced me to Uy Long, the owner of Viet Star Productions, and arranged for me to be a part of a live show taping in Seattle.  I don't know what I've done to deserve such a generous friend like Kha Tu.  When we met up in Seattle, I was so glad to see her.  She looked the same after all these years.  Kha Tu is as pretty as ever.  I only wished she still lived here in Orange County. We've had such good times together as pals.  Kha Tu, in my book, is simply just the best.  

Thien Phu on My Favorite Singers

Ever since I started singing, I've been constantly asked by many audience members about what I like, in terms of my taste in music.  I guess that's a natural curiosity for people to have about singers.  I remember way back before I started singing professionally, I had the same curiosity about my favorite singers.  I wanted to know who were their idols, what made them want to become singers, and what were their tastes like in music.  In terms of some of my favorite Vietnamese singers, I've been blessed with having had the opportunities to ask some of them personally such questions.  But when I had been asked that same question myself in the past, I often froze and really couldn't give an answer.  My reasons for posting this today had to do with a few e-mails I've received from fans wanting to know just that along with recently watching an old television interview I had done way back on Little Saigon Television.  I found it to be rather odd how I had shrugged when Quynh Trang had asked me about who were some of my favorite singers growing up.  It was rather embarrassing now that I think about it.  How could such a simple question be so difficult to answer?

This posting might seem like an extremely delayed response to that television interview I did 16 years ago.  But like the saying goes, better late than never.  I guess one of the reasons why I had hesitated to reveal who were my favorite Vietnamese singers was because by then I had become a Vietnamese singer myself and therefore, some of the singers I had idolized for so long all of a sudden had become my colleagues.  I was worried about having to deal with the aftermath if I did reveal which singers I had preferred over the other.  I could just imagine how I'd have to apologize to this person and that person why I chose him or her as my favorite singer.  Believe me, that's very typical behavior in show business.  And especially in the Vietnamese entertainment industry where ego definitely is in full existence.  I've reached a point in my life now where I really don't care anymore, simply because I've realized there is absolutely nothing wrong with honesty.

There have been quite a few Vietnamese singers I consider as idols ever since I started listening to Vietnamese music.  Among the female vocalists, it's no secret that Ngoc Lan has been a singer I've idolized.  When I was a little kid, I remember listening repeatedly to a cassette of the great Thanh Lan singing popular French songs in both languages, French and Vietnamese. When I became a teenager, I was then living in the United States and Thanh Lan was still back in Vietnam.  Like many other Vietnamese-Americans during that time, Ngoc Lan's voice initially served as a comforting and nostalgic reminder of the iconic Thanh Lan.  There was a similarity in their voices.  But the more I listened to Ngoc Lan, the more I became immersed with her voice.  When I became friends with Ngoc Lan, she was everything I imagined she would be and more.  I guess you can say, Ngoc Lan was one of those idols that upon meeting her exceeded my expectations.  I do remember asking Ngoc Lan who was the singer she had idolized the most.  She told me that it was a toss up between either Olivia Newton-John and Diana Ross.  I can understand why she would say Olivia Newton-John. After all, she does sound a lot like her.  Like in the case of many singers, they often end up with a similar singing style to that of their idol.  That was the case with Ngoc Lan.

Ngoc Lan and Kieu Nga were two of my favorite
 singers growing up during my teen years.

On the contrary, another female Vietnamese vocalist I had idolized alongside Ngoc Lan was Kieu Nga.  I tremendously enjoyed the numerous duets that these two ladies had recorded and listened to them quite often during my teen years growing up.  But when I got to know Kieu Nga personally, she was quite the opposite of what I had imagined her to be.  I guess one of the things that we tend to do as fans of singers and other types of performance artists is that since we idolize them so much, before actually meeting anyone of them in person we already have this preconceived image of what they should be in our minds.  And at times, that can only set ourselves up for disappointment.  I did grow fond of Kieu Nga as a person.  However, her gentle singing voice that I had gotten so used to listening to had given me this preconceived image of her being this meek, mild-mannered and soft-spoken person.  Anyone who has ever met or gotten to know Kieu Nga on a personal basis will agree with me that she is anything but soft-spoken or mild mannered.  I say that with the utmost affection for her.  Although Kieu Nga might come off to be rather coarse when first meeting her as I had done so myself, after a short period time I would find her demeanor and straight-forwardness to be rather endearing.  However, to this day I've yet to overcome the contrast between Kieu Nga's singing voice and her actual persona.

Khanh Ha

Several other Vietnamese female vocalists are certainly on my list of favorites.  Bach Yen was a singer whose music I hadn't been introduced to until much later on and have since grown to deeply admire.  I've been very privileged to have met Bach Yen on several occasions. And from what I've gathered based upon our few encounters, she truly exemplifies what really is a true artist and a classy lady.  Of course, I can't forget to mention Khanh Ha.  She is an incredible talent and definitely is one of my idols.  Like the similarities in Ngoc Lan and Thanh Lan's voices, I have also felt that way with Khanh Ha and Thanh Ha's voices, which is why I started to like listening to Thanh Ha when she first came onto the scene.  By the way, it isn't much of any surprise that Thanh Ha has said that Khanh Ha is her idol.  When I became a singer, I was introduced to Ngoc Huong's music by another fellow
singer by the name of Anh Tu.  From the first time I heard one of her CDs, I was just floored with her tremendous voice.  I idolized her so much that I had to personally invite her to be a guest vocalist on my album, Ngay Em Di.

Luu Hong is one Vietnamese female vocalist with a rather peculiar voice.  Growing up I was always

Luu Hong, My "Mother"

surrounded by her music during the 1980s here in the United States.  To be honest, I never paid much attention to her voice back then.  It wasn't until after I entered the singing profession and had gotten to know her that I started to really listen to her music.  How we became acquainted was rather odd.  There had been a rumor floating around when I first started singing that Luu Hong was actually my mother.  I think it was singer Cong Thanh that had introduced me to Luu Hong the first time we met at the old Majestic Nightclub in Huntington Beach, California. Since then, I've turned into an avid fan of her music.  Well, what can I say except why shouldn't I idolize my own mother?

My Constant Idol, Julie Quang

But there has always been one constant idol among Vietnamese female vocalists for me and that is Julie Quang.  I've been a major fan of hers for as long as I can remember.  Since I love singing in French, myself, one of the reasons why I idolize Julie so is because of  how beautifully she sounds when she sings in French.  I also love the way she sings in Vietnamese, in English, and even the few songs I've heard her record in Chinese.  For me, listening to Julie Quang sing is as relaxing and enjoyable comparable to the feeling of a gentle cool breeze on a hot summer day.  At times, I have to pinch myself for how fortunate I am to have Julie as a close friend in my life who also happens to be my idol.  But would you believe that Julie has told me that her music idol is Janis Joplin?  I found that a bit surprising since she doesn't sound anything like Janis Joplin at all.

As far as who my favorite American female vocalist is, that's easy.  Hands down, it has always been Diana Ross.  She's the only American diva in my book.  There were a number of years that I had also idolized Whitney Houston quite a bit.  But I've never been much into Mariah Carey or Celine Dion. I've never been a fan of singers who scream or wale.  I just like singers who simply sing.  That is why Francoise Hardy is my favorite French female vocalist.  Another European female vocalist I really like is Dutch singer, Laura Fygi.  In terms of Vietnamese female vocalists today, I've noticed how so many of them tend to sing as if they were screaming from the top of their lungs.  I find that so annoying whenever I hear the likes of Siu Black and Phuong Thanh.  It can be exhausting listening to these divas go overboard as they not only belt out but literally scream note after note.  The only two Vietnamese female singers of today that I enjoy listening to are Ho Ngoc Ha and Le Quyen.  I love Ho Ngoc Ha's interpretation of  Noi Long.  Her voice is extremely likable and pleasant.  The same could be said for Le Quyen.  But there are times I've found her to sound a bit too much like Luu Hong, which is not a bad thing.  I just prefer singers who have an original sound.

Are there any male vocalists that I idolize?  Of course, there are.  In our Vietnamese culture, despite how female vocalists have traditionally always outnumbered male vocalists with a ratio of two to

Tuan Ngoc

one, there definitely isn't a deficiency of talented male vocalists.  From when I first started listening to Vietnamese singers, the first two Vietnamese male vocalists whom I idolized were Elvis Phuong and Duy Quang.  I don't listen to any old compact discs recorded by either of these two gentlemen

Don Ho

today for whatever reason.  Perhaps it's because I've outgrown listening to them.  When I became an adult, my favorite Vietnamese male vocalist for many years was Don Ho.  There is something irresistibly charming about his voice.  I've never been able to place my finger on it, but I'm just in a complete daze each time I hear a song recorded by Don Ho.

Sometime in the late 1990s, I can't remember the exact year but, I had been given a CD of a new male artist in Vietnam by the name of Lam Truong.  I remembered how I had instantly taken a liking to his voice after hearing the CD for the first time.  That was probably around the same time that I started hearing comments from others that I sounded a lot like him with certain songs.  The first person that told me that was the late legendary music arranger, Tung Giang.  I was really taken aback when he said that to me during one of my recording sessions at his studio because I had never thought that I had sounded like anyone else before.  Now that I think about it, I should be flattered to be compared to someone of Lam Truong's caliber.  However, my fascination with Lam Truong would only be a short-lived one after I had gone to Vietnam and attended one of his live performances.  It was not that he sounded bad at his live show, because in fact he does have a very nice voice.  I even found him to be rather cordial with a pleasant personality when we spoke briefly after we were introduced by a mutual friend on the night of his performance.  I just couldn't get into his performance wholeheartedly since, for whatever reason, he had decided that night to perform a great deal in his set of songs in a language he apparently did not have even the slightest grip on.  I'm referring to the English language, of course.  Throughout the concert, I had to sit there and listen to this talented vocalist butcher the English language in one American song after another.  I have no idea why so many Vietnamese singers in Vietnam have this voracious obsession to sing in English, yet apparently don't make the conscious effort to practice enough so that they will sound at least coherent.  From that night at his live show on, it all just ruined it for me with Lam Truong.

Nguyen Khang

Among Vietnamese male vocalists of today, my favorite would be my good friend and former colleague, Nguyen Khang.  I really do like his voice.  It's rare that I would idolize someone who is among my peers, but in Nguyen Khang's case I'd have to make an exception.  Nguyen Khang and I have known each other for many years long before either one of us had gotten established as
Vietnamese singers.  Although they say that fame changes people, I haven't seen that with Nguyen Khang.  Despite how we don't keep in touch much these days, every time he and I do run into each other we still address one another as "may" and "tao", which is how Vietnamese close friends informally address one another in conversation.  To me, he is still the same old guy I've known from way back.  I've just never told him how much I now idolize him as an artist.  By the way, who do you think Nguyen Khang's idol is?  Tuan Ngoc.  I know. What a shocker! Surprise!  Surprise!

Just like in the case of my favorite Vietnamese female vocalists, there has also been one constant idol for me with Vietnamese male vocalists.  That would have to be none other than the one and only, Mr. Tuan Ngoc.  There is no other Vietnamese male singer like him.  His voice, in my opinion, is the most soothing and warmest I've ever heard.  I do believe that he is probably the only Vietnamese male vocalist out there who is qualified to take on the genre of jazz music.  This was probably the main reason why I had chosen not to reveal who my favorite Vietnamese male vocalist was when I was interviewed on Little Saigon Television back in 1998 since at the time I was very close to his brother, Anh Tu.  I could only imagine the sibling rivalry I would cause if I had disclosed on television how his older brother was my idol.

Anh Tu and I had one thing in common which was we both idolized Elton John deeply.  I've loved Elton John's music ever since I was a kid.  In recent years, I've found myself listening to several other American male singers such as Marc Anthony, Jason Mraz, and most recently, a new artist by the name of Spencer Day.  I can't deny it, but I'll admit that I do sound a lot like Spencer Day.  Many people have told me so and I'm not even bothered by that the least bit.  If I had to choose who my favorite French male singer is, I'd say that it would either be Herve Vilarde or Enrico Macias.  Even though I do cover a lot of Christophe's famous songs, I've never really been much of a fan of his singing voice.  Perhaps that is why I don't even remotely sound like him.

Now that I think about it, perhaps it was rather wise on my part not to have answered this question when I was being interviewed by Quynh Trang on Little Saigon Television back then.   It was only a half-hour program.  There just wasn't enough time for me since I would give such a long and detailed answer. I'm sure if Quynh Trang was reading this post now she would be relieved that I didn't go ahead with giving her an answer during the interview.  As you can see, I always have a lot to say.

Thien Phu

  

Looking All-American and Singing for All-Vietnamese

Anyone who is either old enough to have lived through the Vietnam War or is from Vietnam would be familiar with the term, Amerasian.  Of course, I'm referring to Vietnam War babies of racially mixed parentage.  In Vietnamese, the given term is con lai, which literally means "half breed child".  There are about 60,000 Amerasians from the Vietnam War.  I'm an Amerasian, myself. 

Whenever the subject of Amerasians is touched upon, automatically a sad image of abandoned, mistreated children of American GIs that were left behind in Vietnam comes about and how they had to face the hardships of growing up fatherless, in some cases even motherless, as well, in a homogeneous oppressive society where they were often the targeted victims of racism and social injustice.  We've all heard the countless horror stories told by the Amerasians and their experiences in Vietnam.  The American mainstream mass media has also done its fair share to bring light to these atrocities.  From the American mainstream's standpoint, some were deeply affected when they first became aware of the difficult circumstances that these children of American servicemen had to face in Vietnam when, as a matter of fact, they are Americans by law.  I doubt that the intentions behind the media covering this issue were to seek pity for Amerasians, but in the end the outcome was just that. The responses from viewers and/or readers of such articles and features on Amerasians varied from "I am so sorry for what they've been through" to "Shame on those racist Vietnamese!  Why should them yellow folks be racist to Amerasians, yet come to America expecting equality?" and of course,  "I just saw my daughter for the first time on that television program."  These were the letters I had read, forwarded, and replied to when I was a volunteer worker at Amerasian Services Organization.  Occasionally, we even received hate mail from both mainstream America, as well as the Vietnamese-American community.  A few mainstream American viewers found these mass media features as ammunition to further their hatred toward the Vietnamese race for being racist toward Amerasians.  And several Vietnamese-Americans even responded with their disapproval of how the Vietnamese race had been portrayed unfairly and erroneously for being racists.  As one Vietnamese-American viewer had put it, "Vietnamese people are not racist.  That is not in our culture.  We just don't like how all these children had mothers that were prostitutes who had babies with American GIs, especially with Black American men."  Some letters were just downright vicious and written in extreme poor taste. While others I had to just laugh off,  and consider them as humorous. 

Was the purpose of these Amerasians coming forward and sharing their stories to seek pity?  Absolutely not.  I do know about the racism that Amerasians faced in Vietnamese society.  I have seen the struggles some of my fellow Amerasians have had to go through, and I've listened to many of them share with me their own personal stories.  Luckily, I hadn't experienced the same hardships that many of my fellow Amerasian friends had to endure in Vietnam, since I was fortunate enough to have been able to leave Vietnam shortly after the Fall of Saigon and my mother and I had resettled abroad while I was still at a very young age.  But because I am also Amerasian, I certainly can empathize when I hear other Amerasians share their stories.   I am easily moved by them.  With each Amerasian's story that has been told to me, I can't help but think to myself, "That could have been me."  It's a reminder for me of how blessed I have been for having had the opportunity to come live in America at a young enough age so that it was still possible for me to acquire my command of the English language and speak English like a native.  For some unexplained reason, whenever I come across another fellow Amerasian, I sense a connection as if they were all my siblings.  I can't explain it.  But it's like we are kindred spirits, I suppose.  But I've noticed this with others, as well, and not just myself.  For some umysterious reason, Amerasians upon meeting one another for the first time instantaneously will develop a bond, as if we had known each other our entire lives.  Why is there this innate bond among us Amerasians?  

Lilian - Pioneer Amerasian Singer
 of the Overseas Music Industry

When I entered the singing profession in the Vietnamese community, a slew of other Amerasian singers also started to appear onto the scene.  Growing up, there was one Amerasian singer who had made her mark by the name of Lilian.  I remember the first time I saw Lilian perform was at a club in Orange County called Club Rex along with another Amerasian singer named Kathy Dung.  I was then just seventeen years old.  The way that these two girls looked on stage made them stand out from the rest of the Vietnamese singers that night.  Lilian's explosive voice and high energy performance brought the house down.  When I came by to say hi to the both of them, a simple hello led to a warm hug which only further supports my theory of this mysterious bond we Amerasians have for one another.  Years later, I would become close friends with both of these Amerasian singers.  As far as Amerasian singers go, Lilian and Kathy Dung should be given credit as the pioneers of Amerasian singers in the overseas Vietnamese music industry.  I had heard of two other Amerasian singers that had made their mark back in Vietnam.  The first being a singer named Kim Anh who had achieved national fame in the 1980s but was shot to death by her jealous husband at the peak of her career.  The other was Phuong Thao who continued to live in Vietnam for many years passing up the chance to come live in the United States under the Amerasian Homecoming Act.  In recent years, she would change her mind and relocated to the United States, but has since hardly participated much in her music career. 

Jenny Trang and Thien Phu

This slew of Amerasian singers I was talking about who first came onto the scene in the overseas Vietnamese music industry during the 1990s included Randy, Phi Nhung, Thanh Ha, Luu Quoc Viet, Hoang Dung, Ngoc Anh, Dai Trang, Danny Tuan, Lam Minh, Thuy Hang, Y Linh, Jenny Trang, and myself, Thien Phu.  Having worked with, thus becoming friends with this group of talented Amerasian singers was like gaining a whole new family of brothers and sisters.  Through these fellow Amerasian singers, I've learned more about the hardships they each faced having grown up in Vietnam being racially mixed.

The first close friendship I was able to form with another Amerasian singer was with Jenny Trang.  Most people might recognize Jenny Trang for her portrayal of Amerasians in her song, Kiep Con Lai, for May Productions.  Though Jenny's father was an African-American servicemen, I never really saw much of a difference between us.  We spent so much time travelling around the United States together, performing at shows, sharing hotel rooms, we were very much like brother and sister.  Jenny was blessed with an incredible, electrifying voice.  On every show that we had performed together, Jenny would have the ability to mesmerize the audience with her powerful stage presence

Thien Phu and the Late Luu Quoc Viet

and husky singing voice.  I really thought she was on her way to superstardom.  But in the middle of it all, Jenny, sometime in the late 1990s after releasing her first solo album, decided to settle down and get married to an Anglo-American fellow by the name of John.  Today, she is still happily married to John, who speaks Vietnamese just as well as any native speaker, and is the mother of three beautiful young daughters. 

Through Jenny Trang, I became good friends with another Amerasian singer, Dai Trang.  It's rather hard to believe, but Dai Trang and I have maintained our friendship for more than twenty years now.  Not only am I close with Dai Trang, but I also consider her husband, Chau, as an adoptive older brother.  Out of all my Amerasian friends, I must say that Dai Trang is the most driven.  Throughout the course of our friendship, Dai Trang has managed to have a successful singing career, become a wife and mother, earn an MBA degree at UC Irvine, and also become a successful businesswoman running several different businesses with her husband.  As I've always said, it's hard to keep up with Dai Trang.  She's always running, while the rest of us are walking.

Thanh Ha

Dai Trang

Randy

There are two Amerasian singers that I must give credit to for helping me regain interest in singing.  Because of some personal matters, I had purposely put my career on hold and went on a seven years long hiatus from 2001-2008.  When I attended the funeral of a good friend, fellow Amerasian singer, Luu Quoc Viet, in 2008, I ran into Randy.  During this brief reunion for the two of us, Randy invited me to perform on a show in Oklahoma City, some benefit for Amerasians.  This would be the first time I would walk on stage in seven years.  Thanks to Randy, I was again bitten by the singing bug.  Right around this time, I would also be reunited with another Amerasian singer friend, Thanh Ha.  One thing I've always liked about my friend, Thanh Ha, is that she always tells it like it is.  While everyone else wouldn't have the heart to tell me I had gained too much weight, Thanh Ha sat me down once and said, "Listen to me, Thien Phu, if you really want to go back into singing, since you still can sing, the first thing you must do is lose weight."  When Thanh Ha and I first were reunited after so many years, I weighed at 236 pounds.  I know I had put on weight.  But I didn't realize the severity of it, until someone had to tell me.  Thanh Ha helped push me with the determination I needed to lose all that weight.  We became even closer than before.  But after a period of a couple years, our lives caused a distance in our friendship.  No matter what, I still consider her a good friend to this day.  The image I have of Thanh Ha will always remain as a beautiful Amerasian girl who at one point was like a sister to me. 

I can honestly say I've been fortunate not to have faced such discrimination being an Amerasian singer for Vietnamese audiences.  The singing profession has allowed to meet many incredible people, in particular other Amerasians.  While I'm aware that discrimination toward Amerasians from both Vietnamese, as well as from mainstream Americans do exist, I'm a bit puzzled as to why there is such discrimination especially from Vietnamese.  After all, before there were us Amerasians, there were Eurasians from the French colonial era.  I've met and worked with quite a few during all my years as a Vietnamese singer.  Among these Eurasians from the French colonial era, there have been Luu Hong, Dung Thanh Lam, the late Cai Luong performer and film actor, Jeannie Mai, my late aunt, Pauline Ngoc, Marie Louise, Christiane Le and Julie Quang, whose father was a French national of Indian origin.  So when you think about it, Vietnamese people are not that homogenous as a race.  There have been interracial Vietnamese people for centuries.  What's so new and shocking with Amerasians?  We clearly are in existence.  Get used to it, because we're not going anywhere anytime soon. 

Anh Tu.... Je Pense à Lui

It's hard to believe but it has been more than 10 years since Anh Tu's passing.  I miss him dearly and from time to time feel that his spirit is still here with us on earth.  Of course, I'm fully aware that there is no scientific proof to back up what I feel and intellectually, this could be due to the fact that part of me refuses to let go and accept what is reality. There have been times where I've sensed his spirit so strongly beside me,  I can almost say that I've never felt as sure about anything else.

Anh Tu was one of those people that can leave a lasting impression with just about anyone upon the very first meeting with him.  He was that charismatic.  Prior to my first meeting with Anh Tu, of course, I had already known of him through his recordings and several live concert shows I had attended that where he and his sister, Khanh Ha, along with the rest of their family band members known as the Uptight had headlined.  I have always been a huge fan of both his sister, Khanh Ha, and older brother, Tuan Ngoc.  To this day, they are still among my all time favorite Vietnamese singers.  Although I had enjoyed some of the recordings Anh Tu had done on several cassettes produced by Khanh Ha Productions that I had owned, I really didn't pay that much attention to him as a vocalist, as I had done with his siblings that were more famous.  Although it was undeniable that all 7 members of this family of singers had been blessed with musical genes and tremendous talent, the success that both Tuan Ngoc and Khanh Ha had achieved being deemed as the top male and top female vocalists, respectively, of Vietnamese pop music for many years along with the popularity Luu Bich, the youngest sibling, later on overshadowed Anh Tu as a performer.  Anh Tu's impeccable ability to harmonize with perfect pitch had been taken notice of by his family from early on which is why he had been chosen to sing background vocals for the Uptight, while his other siblings sang lead.  Being in the background, he always struck me as being the shy, timid member of the family.  However, Anh Tu's talents were not overlooked completely as he, too, was able to achieve longevity as a successful singer and acquired a cult following of loyal fans that remained throughout his entire career.

When I think about how Anh Tu and I first met, our friendship almost never happened.  It was on a night at the Can club here in Orange County, Southern California.  The year was 1996.  At any of the Vietnamese nightclubs that I had worked at, every now and then some special event would take place sponsored by some organization.  On this particular night, the show was sponsored by an organization known as Club O'Noodles, an innovative group of young Vietnamese actors that had achieved notoriety for their plays that focused on issues of the day such as women's rights and gay rights.  I was singing over at the Queen Bee in Stanton, California.  It was a slow night, so I was able to go home early along with some of the other singers.  I had heard about this event over at the Can club, and since it was only midnight, I figured why not drop by and relax for a bit before I would head on home.  Right when I got to the Can club, I ran into some friends, singers Hoang Liem and Jenny Trang when I went to go greet the owner, singer Le Uyen who also goes by the name, Wendy.  As a singer, wherever you go whether it's the club where you work or not, people will ask you to come up on stage to sing a song or two.  Wendy kept on insisting I go on stage to sing a song.  As she says, and I'm sure she says this with every singer who drops by her club, "Please sing me a song.  I haven't heard you sing in so long."  Before I had the chance to even agree to singing a song that night, I was hit with the instructions from Wendy that after Hoang Liem went on stage, he would introduce my name, and after I'm finished with my song, I was supposed to introduce Jenny Trang.  Hoang Liem sang his song and introduced me on stage.  And after I was done singing Aline, which was the song that I took with me everywhere I went during that time.  And as soon as I was done, I did just what Wendy had instructed me to do, which was introduce Jenny Trang.  As the crowd applauded I saw Jenny walk up toward the stage and prepared to hand the microphone over to her.  All of the sudden, Anh Tu appeared out of nowhere, took the microphone from my hand and introduced another singer on stage.  I was in total shock.  I thought to myself, "What a jerk!  Who does he think he is to snatch away the microphone from my hand?  And how dare he embarrass Jenny Trang by introducing someone else on stage like that?" 

I was just livid.  I walked Jenny back to the bar counter.  As I was fuming, I told Wendy to get me another shot of Tequila.  And then another.  And another.  I think I called Anh Tu every name in the book as I vowed to Wendy that he should steer clear away from me or else.  As far as I was concerned, Anh Tu was dead meat.  I had never been so humiliated.  Wendy tried her best to calm me down.  Just as I was about to leave, Wendy persuaded me to stay a little longer to listen to Jenny sing.  Shortly thereafter, Anh Tu went on stage and reintroduced Jenny along with an apology for the mix up.  The sincerity in his voice was so convincing that Jenny readily agreed to walk back onto the stage.  It made things calm down a bit.  But I was still miffed.  I thought to myself, "Well, Anh Tu cleared things up with Jenny.  But what about me?"

A couple weeks went by before I would see Anh Tu again.  I was still mad.  But then on one Friday night, two weeks from that disastrous previous meeting with Anh Tu, my friend, Christopher, convinced me to swing by and hang out at the Can club.  When I walked in, I saw that the club was rather empty.  Christopher quickly saw Anh Tu sitting at the table with other singers and suggested that we go over to say hi.  I told him that I'd rather not and proceeded to the bar counter to talk with Wendy.  As I drank and talked with Wendy, I noticed Anh Tu passing by me a few times.  Christopher kept coming back and forth from Anh Tu's table to the bar counter to tell me that Anh Tu really wanted to talk to me.  I responded by saying, "Well, tell him to come over to me.  Why should I come to him?"  A few minutes later, the situation between myself and Anh Tu only got worse when he got on stage and sang "Aline".  I thought to myself, "Oh, that does it!  How dare he sing my song?  After what happened a few weeks ago, I'm really going to give it to him." 

When he got down from the stage, Anh Tu walked over to the bar counter where I sat.  He ordered two beers and brought them over to me.  He handed one to me and said, "You must be Thien Phu."  Just when I was about ready to really give it to him, Anh Tu flashed his dazzling smile at me and that was it.  He went on to explain how he didn't know that I had introduced Jenny Trang on stage that night, given how crowded and noisy it was at the Can club that night, and that he had been instructed to introduce another singer by the band since there was no emcee.  From that moment on, we became the best of friends.

Anh Tu and Thien Phu.

There have been three people that have been most influential throughout my career as a singer; Ngoc Lan, Julie Quang and of course, Anh Tu.  Both Ngoc Lan and Julie had been my idols.  Anh Tu, on the other hand, I had met as a colleague at first.  But the more I got to know him, the more I realized there is just no one like him.  Anh Tu had a way of making everyone around him feel comfortable and laughing constantly with his jokes.  I remember once he made me laugh so uncontrollably right before I got on stage to do a song, I couldn't stop laughing and had to walk off the stage during the middle of the song.  That was Anh Tu.

Throughout the course of our friendship, Anh Tu showed me his kindness and generosity by always giving me the best advice both in the music business and in life.  When it was time for me to record my debut album, Tiec Nho, Anh Tu was one of the driving forces behind it.  He said, "You must put yourself out there.  How the hell will anyone ever hear of Thien Phu unless you do an album?"  That got me to thinking.  That is why I'm forever grateful to him.  To me, he was more like family.  He was always there for me whenever I needed him every minute of the day.  There never was any rivalry what so ever between Anh Tu and myself.  On one particular weekend, coincidentally Anh Tu and I both had separate bookings to perform in Seattle.  Anh Tu and his sister, Khanh Ha, were headlining at some hotel in Seattle that weekend, while I was singing at the Palace nightclub.  Just to show how wonderful he was, right before the trip Anh Tu and I went shopping for clothes and he picked out the outfit for me to wear.  On the night of that performance, when I got back to the hotel, Anh Tu telephoned me to ask if everything went alright with my performance and to make sure that I wore the outfit he had selected.  That just goes to show just how wonderful and caring of a person Anh Tu was. 

The day Anh Tu died was probably one of the worst days of my life.  I remember receiving a telephone call from Viet Dzung with the startling news.  I dropped everything and rushed over to UCI Medical Center to be there with him.  I didn't want to believe what I had just heard.  After I parked my car, I saw Tuan Ngoc and his wife, Thai Thao, exiting the hospital with his father, Mr. Lu Lien.  I looked at Tuan Ngoc and asked, "How is he?"  I'll never forget the look in his eyes when he said, "I'm sorry, Phu.  He's gone!"  I couldn't help but burst into tears and put my arms around him.  I ran into the hospital to Anh Tu's room hoping what they just told me was a lie.  But it wasn't.  He was indeed gone. 

Part of me to this day still can't believe that Anh Tu has died.  I still hear his voice momentarily.  I feel his spirit.  In my heart, Anh Tu has never left us and is always surrounding me everywhere I go.  I truly miss him. 

Julie and Me

I remember the first time I saw Julie Quang, the famous Vietnamese singer, was on a television weekly show called Vietnam Program which aired each Saturday morning on KSCI, channel 18.  I was about 14 years old at the time and hadn't really gotten into Vietnamese music all that much yet.   Having left Vietnam at such a young age and lived in the United States for so many years, I had been Americanized and like many typical Vietnamese-American kids I had found Vietnamese music altogether rather boring.  Each week I would see Vietnamese singer after Vietnamese singer appearing on television singing the saddest songs, wearing "ao dai" after "ao dai", our Vietnamese traditional dress for women's attire, and looking so lifeless as they each would stand still, almost motionless while lip-synching to the lyrics.  Not to discredit the following artists, but I had gotten really tired of seeing Huong Lan, Khanh Ly, and Thanh Thuy week after week doing basically the same thing over and over again as they appeared as the special guests during the music segment of the weekly show.  Just when I was about to give up on the possibility of acquiring any interest in Vietnamese music and performing arts, one day I saw Julie's performance on Vietnam Program covering a French popular song, Enrico Macias' classic, Paris, Tu M'as Pris Dans Tes Bras,  my perspective on Vietnamese entertainers changed completely.

Unlike the rest of the Vietnamese singers I had seen before, Julie stood out with a distinct look and sound of her own.  Instead of wearing an "ao dai", Julie appeared dressed as a French male waiter with a drawn-on mustache for the first half of the music video and then changes into an elegant evening gown for the second half.  I loved how natural her gestures were as she mouthed the words in French and Vietnamese.  She looked so beautiful and chic.  And then there was her singing voice, so likable, yet so unique.  But what really caught my attention about Julie was the fact that she really didn't look Vietnamese.  I remember asking my mother, what is she?  Is she Vietnamese?  South American?  Italian?  She can't be Vietnamese.  My mother answered to me, "She's just like you.  A mixed Vietnamese."

My mother would later on tell me about how she had known Julie from way back in the day in Saigon, South Vietnam prior to 1975.  You see, my grandmother back in Vietnam had owned a popular cabaret nightclub in Saigon called Au Ma Cabane where many famous Vietnamese singers performed there nightly.  Among the line-up of regular performers was a Vietnamese pop music group known as the Dreamers, which were comprised mainly of the children of the late legendary Vietnamese composer, Pham Duy. The group started out with two lead vocalists.  Duy Quang, Pham Duy's oldest son,  the group's male lead vocalist and his then girlfriend, a beautiful half-Indian, half-Vietnamese girl named Julie,  the group's female lead vocalist.  The Dreamers first found their success performing at clubs and music venues around Saigon which catered to primarily US military personnel and civilians whom were either stationed or working in Vietnam, respectively, during the years of the US involvement in the Vietnam War.  Upon becoming Duy Quang's bride, Julie would then become known as Julie Quang.

Julie Quang and Duy Quang during a performance in Saigon, 1970.

By the time of the Dreamers' collaboration at my grandmother's nightclub, Au Ma Cabane, Julie Quang had gone solo after she had achieved stardom with her recording of Mua Thu Chet, a song that had been penned by her father-in-law, Pham Duy, and was inspired by the French poem, "L'adieu", by Guillaume Apollinaire.  Julie Quang was then one of the headliners as a solo act at a larger nightclub in Saigon called the Ritz and only occasionally would appear with the Dreamers over at Au Ma Cabane, since the group's new female lead vocalist was now Duy Quang's younger sister, Thai Hien.  According to my mother, what she remembered of Julie Quang back in the day was that she was "incredibly beautiful', that she "looked like a French or Italian girl" despite of her being of part Vietnamese and part Indian mixed origin , and that "Duy Quang was one lucky man to have landed her."

My friendship with Julie would begin while I had already gone into the singing profession.  I had been a tremendous fan of her music for many years before we actually met.  From that moment I had first watched Julie on television, I was a die-hard fan.  From that French song she sang on television led me to many other of Julie's recordings I would come to love.  I started collecting all of the cassettes that Julie had appeared on, whether it be her solo albums or her recordings on compilation cassettes featuring various artists produced by Asia Productions, Kim Ngan, Da Lan, etc.  Especially on those compilation cassettes featuring various artists, I would find myself often taking a liking to the songs recorded by Julie the most on each cassette.  I loved the way she sang in French, particularly her cover renditions of  "Chanson d'Orphee", "Qui Sait", "Une Femme a 40 Ans", "Parlez Moi de Lui", "Cheri", "Tu Te Reconnaitras", "Une Femme d'Aujourdhui".  And the list goes on and on.  Among her solo studio albums that had been released during the 1980s, "Ngan Nam Van Doi", released in 1987, and "Vao Thu Nua Doi", released in 1989, I had loved so much that I had to buy several copies after they were worn out from being played and replayed repetitively on a daily basis.  After so many years idolizing Julie and her music, one could just imagine how thrilling it was when I finally got to meet her.

I'll never forget the first night I met Julie.  Actually, we had met a few times in the past whenever I had gone to watch her perform at her live shows.  At these shows, I would make it a point to come up and greet  her with compliments just like the rest of her fans.  But this would be our first meeting where we had an actual conversation.  It was sometime in the fall of 1995.  I was singing at bars, coffee shops, and weddings with a local band.  Occasionally I would fill in for more established singers at the bigger nightclubs such as the Queen Bee and the Majestic whenever they were out of town touring.  Every time I would get a call to fill in for one of the singers at any of the nightclubs, I would jump at the opportunity because I had been told that by singing at these places would give me better exposure that I needed to further my singing career than I would singing at bars and coffee shops.  One of those nights at the Queen Bee would also be an event held in honor of Viet Hung, the late legendary performer of Vietnamese opera known as "cai luong".  It was a star studded event, as all the famous overseas Vietnamese singers were in attendance.  Among them was Julie.

Huy Khanh, the late famous Vietnamese film actor and singer from back in the day in Saigon, was manager of the Queen Bee nightclub and also whom I had affectionately referred to as  "Dad" was the person who introduced me to Julie that night.  I was really nervous and really didn't expect her to be so warm and welcoming.  We immediately exchanged numbers that night.  From then on a close friendship between Julie and myself was firmly established and continues to this day.

We've gone through a lot during the years of our friendship.  She experienced the death of her mother.  I experienced the loss of my grandmother.  Together, we both experienced the loss of another performer, Anh Tu, whom was also a close friend of Julie's.  We've been at times like mother and son.  When I think about it, she has been like a second mother to me.  Julie was generous enough to have contributed a song on my debut album, "La Vie En Rose", in which she had sung beautifully in both Vietnamese and French.  One of the things Julie taught me, which I'll never forget was when I'm in the recording studio, I should sing from the heart while standing still rather than to act it in animation.  For those who know me personally, that's something I tend to do, which is I speak with my hands.  Three people I'll always hold dear to my heart for helping me during the production of my first album, the late Anh Tu, Alan Nguyen, and of course, Julie.

It's been a while since Julie has participated in the music industry.  For the most part, Julie is pretty much retired from singing.  Not because her fans no longer exist.  Believe me, her fans have stayed loyal to her.  I hear her music being played all the time whenever I'm at a Vietnamese restaurant.  I tell her all the time that her fans are waiting for her return to the stage.  Her response usually is, maybe someday.  All I can say is, don't make us wait too long. 

Thien Phu and Julie