Thao & The Get Down Stay Down 「The Feeling Kind」

Posted on March 31, 2014 commentaires

Thao & The Get Down Stay Down 「The Feeling Kind」 - from『We The Common』released on March 31, 2014.

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Posted on March 29, 2014 commentaires

Il y a tant à dire pour la prochaine AZN, le samedi 29 mars 2014, qu’on préfère faire un copier/coller :


- 3 sessions (quasi) blackout de 10/15mn
- plus de 100 lightsticks « king size » offerts et distribués
- 3 sessions gay-pop et kpop « live versions »
- déco « ciel étoilé » phosphorescente (+ de 180 étoiles) pour recréer l’ambiance d’un concert ou festival d’été en plein air.


2 places pour un vrai live pop-asiatique avec le concert de l’un des boysband Kpop du moment, après leur carton soldout et hystérique au Trianon en 2013 : TEEN TOP - 2014 WORLD TOUR HIGH KICK IN EUROPE - PARIS, FRANCE - LE BATACLAN le 13 Avril !

Tirage au sort avec participation gratuite (merci à nos partenaires) :

1er PRIX : Une place sur « liste invités » offerte par la production + un CD dédicacé par les Teen Top en personne (CD choisi par le management) remis au gagnant le soir du concert !

2e PRIX : Une place standard offerte par AZN + une bouteille de champagne pour l’un des prochains befores gays UNIVERS JEUNES, un samedi au Banana Café :)

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Kergan Edwards-Stout 「Interview With Author of Gay Star Leslie Cheung’s Biography」

Posted on March 19, 2014 commentaires

A film and music superstar in his homeland of Hong Kong and throughout Asia, Leslie Cheung broke barriers as an out gay man, finding international success acting in such films as 「Farewell My Concubine」 and 「Happy Together」. Acclaim, awards, and fans followed, which made it all the more shocking when, on April 1, 2003, Cheung lept from the 24th floor of a hotel room to his death. Nigel Collett’s extraordinarily detailed new biography provides a glimpse into Cheung’s path to stardom, his relationships and struggles, and the pitfalls of fame. The author of『Firelight of a Different Colour: The Life and Times of Leslie Cheung Kwok-wing』, Collett kindly shared more with me about the man ranked as the favorite actor in the 100 years of Chinese cinema and whom CNN called the “Most Beautiful Man from Hong Kong Cinema.”

Kergan Edwards-Stout: Like many Americans, Leslie Cheung first appeared on my radar with his starring roles in 「Farewell My Concubine」 and 「Happy Together」. You had a similar experience. What is your earliest recollection of him?

Nigel Collett: I watched 「Farewell My Concubine」 in ‘97 and saw him then onscreen for the first time. Alas, I never met him or saw him in the flesh, though I was in Hong Kong the day he died, and drove by the Mandarin Hotel when the mountain of flowers was being gathered on the road side where he fell. As I discovered more about him, I came to see the story as a classic tragedy — a gay man brave enough to be himself in the brash entertainment world of this city, felled from a uniquely prominent position by a condition beyond his control.

Edwards-Stout: Long before making a splash in the U.S., Cheung was a huge star in Hong Kong and Asia. You write about how, for almost 30 years, he was at the forefront of the Asian art and music scene.

Collett: Leslie overcame a complete absence of education or training to establish himself first as a TV star, then as a film star and singer, by dint of his own talent and irrepressible self-confidence. He was in the forefront of all the major entertainment waves that turned Hong Kong into an independent cultural entity in the ‘80s and ‘90s and for many he came to encapsulate the city itself. His appeal was far wider, though, for his films and music reached out to Mainland China, Japan, South Korea, Singapore, Thailand and the great Chinese diaspora across the world. He is probably the biggest Hong Kong star worldwide ever.

Edwards-Stout: Like many struggling actors and singers, Cheung didn’t experience fame immediately. He had a great number of steps forward, only to face setbacks. What about his personality was instrumental in moving himself toward success?

Collett: Leslie had huge belief in himself. In his early days, no one thought he could sing, and no one taught him to act. He had huge dedication and patience in getting what he did exactly as he wanted it to be. He was humble enough to learn from other stars and to credit them when he did, but he was never a follower. He was always seeking to take his art to the next level, to be cutting edge. He had no typical role or single type of music. His career was a flowing pattern of development and change.

Edwards-Stout: Cheung was friendly with Danny Chan, a fellow entertainer and Hong Kong star, but eventually their friendship ended. What brought them together, and what drove them apart?

Collett: Leslie and Danny were brought together by a gay star of an earlier generation, the highly flamboyant Roman Tam. They were both gay, both unattached, and though they weren’t each other’s types, they were looking for fun. They burned the midnight oil together. It was showbiz that broke them apart. Danny’s singing career took off first, and he was at the start a classier act on screen. Leslie had to play second fiddle, and didn’t enjoy that. It was Danny, though, who caused the breach. He could see Leslie was by far the better actor and resented him. After the breach, there’s no sign Danny minded much, but Leslie did.

Edwards-Stout: Cheung first found international recognition through his starring role in John Woo’s film, 「A Better Tomorrow」, and later with 「Farewell My Concubine」. How did Cheung deal with this increased level of notoriety?

Collett: Leslie was always conflicted about his fame. Stardom and success was what he sought, but he did not like the shallow lifestyle and perpetual hounding by the media which it brought. He wanted to treat people honestly and live what most would have felt was almost a simple life, but he couldn’t. He hated the way the media lied about him and hounded him about his sexual orientation. It drove him to Canada to escape and be himself, but he couldn’t shake off the need to achieve, to be a star. It was one of the conflicts, I guess, that came together in the clinical depression which eventually killed him.

Edwards-Stout: You write extensively about Cheung’s success in music, with which many Americans may not be familiar...

Collett: Leslie started out wanting only to be a singer, but he couldn’t sing. Audiences taunted him with having a ‘chicken’ thin voice and booed him off stage. It took him years of training and working on his voice before he could turn his belief in his voice into reality. When he did, he found the sweetest, silkiest Cantonese singing voice of his generation. He could be really raucous and loud, too; some of his early numbers were more like western sixties rock than anything of the time, but he got them dancing in the aisles at all his shows.

Edwards-Stout: While initially, in his early days of stardom, Cheung publicly dated women, you detail his life as a gay man. Eventually, he came out as openly gay, which is rare for any celebrity, let alone in his cultural environment. In sketching out Cheung’s early days, you note that nothing about his story foretold the fame he would eventually achieve. But what led to his strength in living as an openly gay star?

Collett: I think it was the same huge belief in himself that made him a successful performer and allowed him to come out in public, something no other major Hong Kong star had done and which none would do again till 2013. His coming out was helped by the megastar status he had achieved. Before he reached his pinnacle, he had to be as discreet as most. By the time he was back in Hong Kong in the ‘90s, he was virtually unassailable. Even them he wrapped himself in a cloud of uncertainty which only gradually dissipated. Many young gay men today accuse him of timidity, but I think that is totally unfair. For his day, he was the bravest man in Hong Kong’s entertainment world. At the end of his life, he had given Hong Kong the message that it didn’t matter whether you loved a man or a woman, as long as you loved. That was revolutionary back then.

Edwards-Stout: Cheung took a huge leap, starring in the gay-themed 「Happy Together」, which he knew would likely lead to being asked about his sexuality.

Collett: Leslie’s acceptance of an openly gay, and in fact a very sluttish, role in 「Happy Together」 was, I think, timed deliberately. He was in the process of drawing back the veil about himself. Hong Kong was gradually changing, opening up a little. It was time, he thought, to push the envelope. Wong Kar Wai’s art house films were as safe a way to do this as any. He was expected to be outrageous, off beat. In the event, the film had no adverse effect on Leslie or his career at all, rather it helped establish his position as an actor internationally.

Edwards-Stout: Cheung found happiness in his relationship with Daffy Tong, his childhood friend and later lover, who survived him in death. What made their relationship work?

Collett: Daffy was the rock on which Leslie stood. His mercurial talent needed a stable base from which to flourish. Daffy put up with it all, never let him down, never betrayed him, was always there to go back to. More than this, Daffy was a highly talented man, a financial expert who could manage their joint lives and relieve Leslie of all their worries. Daffy, too, was an elegant, very attractive man. They were opposites that made a whole.

Edwards-Stout: Battling depression, Cheung eventually took his own life. In your view, was this a result of years spent living in the closet, mental health issues, career challenges... ?

Collett: There must have been things that sparked off the depression which killed Leslie, but we don’t really know what. It had to be something to do with his career, perhaps the attacks he’d received in his last world tour concerts, or his personal life, conflicted thoughts about his mother, maybe. Once it took hold, the depression was both physically and mentally debilitating, humiliating to a man who had always put such store by his abilities, looks and relationship with his public. It destroyed his life to such an extent that it was better to abandon all he loved and die rather than carry on. That point of blackness is inconceivable to anyone who has not gone through such mental pain. The effect of mental illness is still a taboo subject in Hong Kong, and Chinese society generally. Leslie’s life will help those families struggling with depression to know it can affect anyone, that it is just a medical condition, and that you have to get help.

Edwards-Stout: In life and death, Cheung has amassed a devoted following of fans. What do they gravitate to, and what legacy has he left them?

Collett: Leslie’s fans came to him through their love of his music and his performances on the screen, both large and small, but they stayed with him, and even now, over 11 years after his death, they stay with him because of his warmth, simplicity and humbleness of character. Leslie valued people for who they were, no matter how great or small their place in the world. He was kind, genuine, and generous. He touched each of the fans he came in contact with, and they love him still.

Nigel Collett’s『Firelight of a Different Colour: The Life and Times of Leslie Cheung Kwok-wing』can be found at Amazon and other fine booksellers. Originally posted on

Follow Kergan Edwards-Stout on Twitter:

Author: Kergan Edwards-Stout/Date: March 19, 2014/Source:

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Lee Yang 「The Problem With Racial Humor and Representation」

Posted on March 17, 2014 commentaires

When it comes to the portrayal of Asian-Americans in the media, visibility is not always positive or enriching to our community. At the risk of sounding like a broken record: I, being a male of Asian descent, am tired of being portrayed as the forever social outsider who will never be part of the crowd. Society tells me that what I lack in testosterone, I supposedly make up in intelligence. Or something.


While TV shows and movies can educate an audience by depicting issues that only racial minorities face, we all know that the media likes to use stereotypes as a cheap way to facilitate storytelling and provoke humor. A recent example of this is the popular CBS sitcom 「2 Broke Girls」, which features such heavy stereotyping of its three racial minority supporting characters that it inspired massive public outrage last year from various media outlets and bloggers.

The backlash reached its peak when, at a press conference with the show makers, producer Michael Patrick King deflected the criticisms by saying that it is acceptable for his show to poke fun at all minorities because he himself is gay. Calls for changes were ignored, and the show went on to receive three Emmy nominations and even win a People’s Choice Award for “Favorite New TV Comedy.”

Am I missing something here?

But just because I think 「2 Broke Girls」 is painfully unfunny doesn’t mean I’m some overly sensitive person who’s completely devoid of a sense of humor. Of course I enjoy the occasional ethnic joke – when it’s well-executed. In my experience, minority stand-up comedians do this exceptionally well. My main problem with 「2 Broke Girls」 – and most things that come out of Hollywood – is that rather than using racial humor as a tool against prejudice by ridiculing the depicted stereotypes, the jokes often end up becoming just another way to belittle and demean marginalized minority groups.

The Hollywood trope of ignoring the impact and consequences of stereotyping racial minorities is obviously not unique to 「2 Broke Girls」; ratings and advertising spots remain the bottom line for the profit-driven entertainment industry. As long as producers and screenwriters are rewarded with record ratings, accolades, and more work – why should they care about fair and equal representation? Why should they care that stereotyped characterizations get absorbed into a collective public consciousness that perpetuates inaccurate perceptions about minority groups?

Because stereotypes are nonsense. Because a person is never the sum of their physical features. Because when you reduce someone to a stereotype, you stop seeing them as a human being.

And I suppose we shouldn’t place the blame entirely on the media. I mean, at what point do we hold the mirror up to our own behavior? Society has thrust its constructed expectations onto us without asking for our permission, so why shouldn’t we get to do the same to others?

This is where we come in. We know that there are a number of dedicated blogs and individuals devoted to AAPI issues out there, but we also recognize that there is still this dearth of critical attention being paid to the portrayal of our issues in the media. For every Phil Yu and Juliet Shen out there, there exists a bewildering number of mind-numbing Twitter trolls, primed for virulent ignorance.

Moreover, we are doing our part in creating a positive space that encourages constructive building within ourselves, so that we may add our voices to the conversation on how to make things better, on how to transform our minority identities beyond the stereotypical caricatures ascribed to us by the media and our peers.

Truth is, you can never know someone just by looking at them – no matter how hard you stare.


Lee Yang

Co-Editor in Chief
Kollaboration Blog

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Skrillex with Diplo, CL 씨엘 & G-Dragon 권지용 「Dirty Vibe」

Posted on March 14, 2014 commentaires

Skrillex with Diplo, CL, & G-Dragon 「Dirty Vibe」 - from『Recess』released on March 14, 2014.

Sans surprise, voire chiant, mais peut-être que ce morceau marque les prémisses de carrières internationales pour CL et G-Dragon...

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Matthew Yeung 楊家輝 「What Being Gay and Asian Has Taught Me」

Posted on March 11, 2014 commentaires
It is difficult growing up different from everyone else, and being gay in Asian culture is no different. Growing up, there was nothing I wanted more than to fit in, but fitting in meant abandoning my identity.

Around the same time I began to understand my sexuality and come to terms with being gay, I also realized there is simply no room for diversity in a society that supports uniformity. I am an Asian Pacific Islander of Chinese and Filipino descent. And as a gay Asian born and raised in the United States, I found myself in an uncomfortable culture that combines strict Asian traditions, the American lifestyle and the stigma of being gay, all in one inferior reinforcement: I was less than.

I look at myself in the mirror only to be disappointed by my appearance — an introverted, skinny, four-eyed braceface with small eyes and dainty, effeminate features. I did not see the masculine, hypersexual confident male model I saw in the media and internalized, telling me what I thought I should be.

I was put to shame. I felt like a conundrum. I was rejected by my Asian culture for being gay and shunned by LGBT circles for my Asian heritage. The backhanded homophobic comments from my Asian family and the racist compliments from the gay community — including, but not limited to, “You’re hot — for an Asian.” — undermined my confidence and left me feeling isolated and alone.

I tried so hard to fit in this mold, only to be miserable. But as I grew older, it was through my advocacy work in the LGBT movement that I discovered a community that shared the same experiences as my own. Today, I have learned to see my authentic, beautiful self. I discovered that the truth to my identity is not to live a life that fits into the norm, but pushes against it. The flaws I thought I had were never imperfections at all, but rather flawless perfections that defined who I am. I now embrace my odd charm and awkward likeableness because they make me different.

The understanding of who I am, as both gay and Asian, has made me a strong person. The slow realization that I was not a nobody, but a “somebody,” taught me to love myself and to own my individuality. I have become a person who respects all people, regardless of any marginalized characteristic decided by society. Coming to terms with my identity has only fueled my aspiration to end racial discrimination and LGBT inequality, and for that, I will be forever grateful and happy.

Matthew Yeung is a GLSEN Student Ambassador.

Author: Matthew Yeung/Date: March 11, 2014/Source:

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Neon Bunny 야광토끼 「I'ts You」

Posted on March 07, 2014 commentaires

Neon Bunny 「I'ts You」【너여야】- released on March 07, 2014.

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Thaiboy Digital 「Tiger」

Posted on March 04, 2014 commentaires

Thaiboy Digital 「Tiger」 - posted on March 04, 2014

Produced By @whitearmor1
『ส』mixtape coming soon
video by @bladeecity

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