A comic game runs by Kevin Cornell and Matthew Sutter. The rules are simply:

Player 1 draws a character with a power. Player 2 then draws a character whose power cancels the power of that previous character. Repeat.

Via Tim

NPR profiles Red Norvo:

Credited with bringing the xylophone, formerly a vaudeville instrument, into jazz, Red Norvo was a sideman with Paul Whiteman, Benny Goodman and Woody Herman. Norvo led one of the most admired bands of the Swing era, and he served as a catalyst for the career of musicians whose ranks include Charles Mingus. While Red received acclaim throughout his life, his innovations on the mallet instruments were far ahead of his time.

Like always, check out the program.

Published in the same year after his death, Trinh Cong Son 1939-2001 is a collection of essays on the life and work of one of the greatest Vietnamese songwriters of all time written by his closed friends and confidants around the world.

Songwriter Van Cao kicks off a short piece as an introduction. Painter Buu Chi reflects on the last memory before TCS laid down to rest. Poet Trinh Cung shares their friendship and the fortunate of having TCS composed his poem titled “Cuoi Cung Cho Mot Tinh Yeu.” Philosopher Thai Thi Kim Lan points out his love for Hue in his songs including “Nhin Nhung Mua Thu Di,” “Tnh Nho,” “Diem Xua,” “Mua Hong” and “Moi Ngay Toi Chon Mot Niem Vui.” Singer Khanh Ly refers to him as “a half of her life.” Singer Hong Nhung thanks fate for allowing her to meet him. Law professor Cao Huy Tan breaks down TCS’s peculiar lyricism and his unorthodox wordplay.

Still, the best pieces are from TCS himself. From his philosophy on love, life and death to his personal reflections, we could understand why he writes music the way he did. Furthermore, who could reveal the inspiration and motivation responsible for the classics such as “Uot Mi,” “Diem Xua” and “Ha Trang” better than the man in his own words?

Canadian chick sings southern Vietnamese folk songs. Truong Ky did a program on Doiron. I appreciate her effort.

Ang Lee’s new film, Lust, Caution, tripped up quite a few American critics. Words used in reviews include slow, sleepy and snoozy. The best one is from Anthony Lane’s of the New Yorker: “…ninety-five. That is the number of minutes that elapsed, by my watch, between the start of the film and the start of the sex, and from that you can calculate your own schedule.” A typical Hollywood erotic motion picture would start with a sex scene before the story unfolds. Whereas Lee makes you wait an hour and a half into the film to give you the lust part. Your patience will be rewarded, my friend.

Lee shows no hesitation when pushing the sex button. If he had succeeded with gay sex in Brokeback Mountain, what is there to hold back? The media has always portrayed Asian male as sexless, but Lee has proved them wrong. Lust, Caution reveals a dark, juicy affair between a school-play performer and a cold-blooded traitor. Tony Leung, a handsome, bohemian actor who has never been afraid of walking down the path he has not taken, gives his superb performance as a misogynist bastard who is in ruthless control yet bangs like porn star. Tang Wei has a luscious-yet-innocent look that could melt a frozen heart and increase tremendous testosterone level. Together they bared almost everything—even bushy armpits and pubic hair (Lee is a detail freak).

Lust, Caution clocks in at 158 minutes, yet the progression isn’t tedious at all because Tang Wei, the exotic visual, is in almost every scene. Lee has once again demonstrated the genuine master of his craft.

In an intimate setting at Trinity St. Paul’s church in Toronto, Ontario, Thu Phuong intoxicated me. Accompanied by the young Canadian jazz band, she sang her heart out on autumn-themed ballads like Doan Chuan and Tu Linh’s “La Do Muon Chieu,” Pham Trong Cau’s “Em Ra Di Mua Thu,” Trinh Cong Son’s “Doan Khuc Mua Thu Ha Noi,” Phu Quang’s “Dau Phai Boi Mua Thu” and Pham Duy’s “Mua Thu Chet.” All tunes arranged in slow tempo except for one swing and one bossa nova.

The small group of audience (around 200) not only escalated her passion and enthusiasm, but also allows room for close interaction, and she sure knew how to work the listeners. I drove eight hours to see her and she didn’t disappoint me. After loving her Trinh Cong Son songbook (Nhu Mot Loi Chia Tay) and the autumn concept of Em Ra Di Mua Thu, I have wanted to hear her rendition of Trinh Cong Son’s “Nho Mua Thu Ha Noi.” My desire was fulfilled when I approached her and made a personal request during intermission. She performed the song the way I had imagined: powerful and personal.

Thu Phuong ended the night with a snippet of “Bang Bang,” her most popular hit America, in a cappella. As she sang, “Dem nay, em se khong bao gio quen” (“This night, I will never forget”), the audience responded in the same sentiment with loud applause in standing ovation. Many thanks to Thu Phuong, lady sings the fall, for an indelible evening of intimate, intoxicating autumn.

Update: A set of the concert photos (much better quality than mine) from photographer Phuc Pham.

John Coltrane ripped the shit out of his horn. He had the meanest way of breaking down the chords and he played like a man on fire bursting with adrenaline rushes. Again, not recommended for casual listeners with the exception of Jimmy Garrison’s arresting bass solo in “Introduction to My Favorite Things.”

I am not ashame to admit that I am totally gay for Thuy Vu’s Thang Sau Troi Mua. He has such a marvelous tenor of a voice. His cello-like tone gets me every song. In particular is Trinh Cong Son’s “Diem Xua” where he holds the long notes in “Mua van hay mua cho doi bien dong…” and “Xin hay cho mua qua mien dat rong…” It’s so hypnotizing. This album has been my companion on the road. Viet Anh’s “Khong Con Mua Thu” cuts through the autumn’s misty morning and Trinh Cong Son’s “Dem Thay Ta La Thac Do” cuts through the night’s pathos. I have never been hooked on a ballad-covered album this long.

Peculiarly funny customs and behavoirs of Vietnamese culture brought to you by TTBlue.

Bugatti Veyron 16.4 only cost $1,192,057.00. Not so bad!