In the Valverde reading, chapter 2, Valverde opens with the dissemination and proliferation of Vietnamese popular music overseas to Vietnamese living outside of Vietnam. The nature of illegal music and video production that exist not only in Vietnam and in the homes of Vietnamese outside Vietnam is interesting too. Through the black market, such popular music videos still have a presence in the society and are still known.
The need of Vietnamese outside of Vietnam to have "cultural center" and have that connection to the homecountry through music is interesting as well. It was mentioned in the text that this need for disaporic music will fade after a couple of generations, but in the wake of telecommunication advancements, I do not think that may be the case anymore.
However the fact that no music production house is safe from anticommunist scrutiny illustrates the exercising of authority by the communist government in one form or another. In contrast to the Vietnamese American communities who demonstrated against any performance that was remotely procommunist.
While such difference exist, the sharing of music over transnational connections continues to flourish in the Vietnamese community. How will the continuing loosing of restriction in Vietnam effect those outside of the country? And with the loosing of restrictions, will music being produced in Vietnam have an even stronger influence on outside Vietnamese community?