MasterMarc 「A Kinky Japanese Fetish Model Conquering Europe」

Posted on July 29, 2015 commentaires
Yoshi Kawasaki pour Recon

MasterMarc: Hello Yoshi Kawasaki. I think after all the publicity for the Fetish Week London mostly everyone in the kinky world know your face. How was the Fetish Week for you? A lot of fun I think. Tell us a little about your experiences.

Yoshi: Hi Master Marc. I am so honored to be featured in Fetish Week London 2015. Last year my good friend, BastilleXXX (@blkbastille), introduced me to the world of fetish. I was always into bondage and S&M but never knew there was more depth in it. And then I had chance to model for Recon. This whole experience gave me a opportunity to try out something new. I am more and more into leather and rubber gear than ever, as I designed my own rubber gear. In addition to it, now barefoot and eating sweaty armpit and arse turns me on as well, which I would never expected to be interested in.

MasterMarc: You really seem to be a kinky Japaneese. I like that. Yes i have seen several of your pics and they look great. Also on the fetish week a lot of people have been watching you. It seems that they have liked what they have seen. How have you become a fetish model?

Yoshi: I’d always wanted to become a porn model but I thought it would be handy enough to have a non-porn model option as well. One day I and BastilleXXX were playing around with camera taking pics and he suggested me to do a proper photoshoot as a model. That was my very first work as a model and also very first photoshoot with Recon.

I do not only fetish, but also other model jobs as well, like artistic, erotic, fashion and etc. However I certainly feel much more relaxed and confident in fetish gear. I think that’s because I’m not acting when I’m in them. Just like the cover pictures for『QX Men』Magazine or『Dirty Boys』Magazine. I am a natural born puppy, I suppose haha

MasterMarc: Hehe, it seems as you have found a way to earn money with what you really like to be and do. Of course it is not an easy job, it is hard work, but it can also be fun. How was the feeling as you have been for the first time on a porn movie set and you have known, that in some minutes you have to perform and having sex in front of all the people?

Yoshi: Of course I got nervous for the first time before the camera. But I’m a bit of exhibitionist. (Have posted a video of me jerking off on a balcony once on my XTube) I love being watched, especially by strangers, while fucking or getting fucked so actually being watched turns me on even harder, made me moan louder made my cock harder.

MasterMarc: You really seem to be a dirty little bastard. What are the things you really like at your job? And what is your aim as porn model?

Yoshi: I love a lot of things in gay porn. But what I love the most about my job is that my job makes your fantasies come true. One day you’re a police officer and fucking a criminal with your buddy, the next day you’re a prisoner and getting fucked by a couple of hunky prison guards

I think Asians are virtually unknown in the gay porn industry and I would like to change that. I personally haven’t seen many famous Asian porn models. It is my dream and aim to fill this void and become a notable and famous Asian porn star.

MasterMarc: Probably your dreams come true. We hope it for you. You seem to be a real kinky guy. How would YOUR porn film look like, a porn in which you are storybook writer, director and actor at the same time?

Yoshi: I have a lot of ideas or fantasies I would like to become true! And all of them are more or less kinky. haha But my ultimate fantasy would be taken place in a dungeon or some kind of shed. On the wall of the place there’s a big hole. From the big hole you can see only my feet tied up against the wall and ass like I’m in a sling. From you, you can’t see my face or even upper half of my body, all you hear is me moaning behind the wall and from me, all I can see is the wall and nothing else. I don’t even know what kind of guy’s fucking me now. Of course my hands and face are tied as well. The concept is that bunch of guys just use my ass with no mercy just like I’m some fuck hole, cum dump, piss pod or some sort. I can’t stop talking about my kinky imagination. Haha

MasterMarc: You don’t have to stop because it sounds nice and horny. :-) I am sure, that a lot of people are interested what kind of man do you like. Do you have there any no-gos?

Yoshi: I LOVE male features. As long as they have cocks and asses for me to eat and fuck, basically no boundary :-p Of course there’re guys I particularly like. It used to be bulky, muscular guys but these days I found skinny hairy guys really attractive. Especially ones with dominant attitude and manly smell. I could just rub my face in their crotch, armpit and barefoot all day. Haha

MasterMarc: For how long are you now living your kinks and how have you discovered, that you need more than just vanilla? What have been your first steps into kinky action?

Yoshi: It’s been about an year now since I was introduced to kinks. Although I had been very interested in bondage and S&M when I was little, never actually had a chance to experience it.

When I went to England, I met Blkbatille on Grindr and one night I visited his house. My heart was beating hard and I opened the door naked apart from my boots and harness. His cock was rock hard and as soon as I entered his house he forced me to my knees to suck his pierced cock. He put me in leather gear then we went to a sex club in South London, he locked me on a sling and after his rough fuck, left me in there. And don’t remember how many cocks I took that night. That was the my first step of kink. From then of I was completely hooked

Don’t get me wrong, I like vanilla sex too. With cuddle and kiss. But being used as an object turns me on even more.

MasterMarc: Tender moments are part of sm too. There is nothing what we could get wrong, boy. You’re Japanese and now you’re living in Europe. How do you like Europe, how long will you stay and what do you do beside your model and porn jobs?

Yoshi: It’s such a cliche to say this but very different from where I come from and interesting. The people, the culture all the difference, The more I know the more fascinate they become.

I’ll be in Barcelona for a year and the who knows? I might stay here, go to another country in Europe or even travel to America.

So at the moment, I’m looking for something I can feel enthusiastic about other than porn and modeling.

MasterMarc: Hehe, I can imagine that it is different. How is the gay scene in Japan and how the fetish community?

Yoshi: Gay scene in Japan is pretty active, I think. Not as active as some European countries. However slowly but steadily becoming bigger and bigger, luckily.

Since I haven’t really come back to Japan, I don’t know what the fetish community in Japan is like. But I want to be part of it in the future and would be great to spread the pleasure of Fetish!!

MasterMarc: At the moment you’re checking out the business to plan your new engagements. Do you have any projects and labels you would like to work for and why?

Yoshi: At the moment I’m trying to get in touch with some American companies. KINKMEN.COM is one of the companies that I am very keen to work with. Their movies are extremely hot and the quality is also very high.

When it comes to kink and fetish, I think CAZZO FILM is one of the bests definitely. Their movies always make horny. The concept they come up with is like the kinkiest fantasy you could possibly imagine.

MasterMarc: I think a lot of our readers would like to see you suffer and be used in one of the kinkmen movies. ;-) We wish you all the best for your career. I am sure we will talk again soon.

Yoshi: Thank you. it was a pleasure to talk about my projects. And you, dudes, check out my hot movies I have done with UKHotJocks. And there’re much more to come in the near future so don’t miss out!!

Author: MasterMarc/Date: July 29, 2015/Source: http://sadosam.com/a-japanese-porn-model-conquering-europe/

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Joy Hopwood 「Interview with Australian actor Remy Hii (Marco Polo, Betterman, Neighbours)」

Posted on July 15, 2015 commentaires

Remy Hii is an Australian actor. He attended the National Institute of Dramatic Art for three years and appeared in various theatre productions before being cast in television. Hii starred as Van Tuong Nguyen in the miniseries 「Better Man」 and was cast as Hudson Walsh in the soap opera 「Neighbours」 in 2013 and currently starring in 「Marco Polo」. Hii was born to a Chinese-Malaysian father and an English mother. His early theatre work was with The Emerge Project an arm of Switchboard Arts. There he performed in a number of original productions in Brisbane by local playwrights between 2005 and 2007. From 2009 to 2011 he attended the National Institute of Dramatic Art (NIDA) in Sydney where he graduated in 2011. I was lucky to interview Remy who’s currently filming for 「Marco Polo」

1) When you were growing up who were your role models on Australian TV & Film?

I actually grew up as a young kid in Papua New Guinea; we didn’t have television reception out there so my grandparents in Sydney would send out the TV guides from back home, and I’d highlight the shows I wanted to be taped, and they would mail back VHS tapes for us to watch. Gary Sweet in 「Police Rescue」 was a pretty big part of my life back then. Sadly looking back to my younger years, I don’t recall there being many faces of colour on our screens to look up to.

2) What made you want to break into Australian TV / Film?

I’ve always been motivated to succeed in this industry, as an artist, to be able to tell stories that excite me and in turn excite others. To get people passionate about Australian stories again. My friends and I always bemoan the often heard line “It was good... for an Australian film.” Somewhere along the line our storytelling stopped connecting with the audience: it stopped reflecting the country that many of us are living in; and yet there is a strong push now for new voices to be heard and that is something I want to be a part of.

3) How did you get started in your career?

A fantastic co-op theatre company in Brisbane run by Dr. Errol Bray allowed me to hone my craft as a young actor and recognise the importance of new writing in Australia. It was through performing there that I was asked to audition for a new play at the Queensland Theatre Company – 「The Estimator」 written by David Brown. It won the Queensland Premier’s Drama Award in 2006 and I was playing the title role to sold out shows for an extended season. It was a wonderful induction into the industry, and cemented for me the idea that perhaps there was a place for me as an actor in Australia.

Coming from theatre in Brisbane, Film and Television seemed like this unattainable and mysterious thing. I found myself being sent for roles like Asian Gambler in 「East West 101」, Asian Nerd in 「The Strip」, and Asian Ladyboy in 「SeaPatrol」. It wasn’t until I graduated from NIDA that other options started opening up for me, and chances to play interesting characters who were more than their skin colour or racial stereotype started to present themselves. Looking back, I’m kind of glad I never got the part(s).

4) Do you see a positive change to colour blind casting in Australian TV / Film and Theatre?

This is a really tough question to answer, as I can only speak from personal experience and sometimes it seems like we’ve really made it and sometimes it feels like we’re back living in the 50’s. I think we are making baby steps towards a place that reflects the wonderful variety that is our nation. It’s slow, and there’s a long way to go but television is no longer the same as when I was young and diversity on our screens meant the other variations of white like Greek and Italian.

5) What changes would you like to see in the TV & Film industry?

More risks. Some of our countries greatest runaway hits have come from projects that the commercial networks would recoil from. Shows like 「The Slap」, 「Please Like Me」 and 「Redfern Now」 have all found success and audiences here and overseas, and they refused to be safe – from casting to themes and subject matter. Rather than being afraid of what makes us different, we should be embracing it.

6) What more do you want to achieve in the future?

I feel like I’ve barely even begun! I’ve been working for the last few months on the second season of Netflix’s 「Marco Polo」. It’s a very big budget, action heavy production requiring hundreds of actors and extras, hours and hours of physical training, fight choreography and punishing hours on set. It’s an incredibly rewarding process, and I’m thrilled to be a part of it, but I’m looking forward to coming back home and getting back to the theatre. Just a stage and that magic connection between the actor and the audience.

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Klod Narongkorn กลด ณรงกร 「It's not their fault」

Posted on July 14, 2015 commentaires

Klod Narongkorn 「It's not their fault」【หมดใจไม่ใช่ความผิด】- released on July 14, 2015.

Dans le genre traditionnel de la balade larmoyante thaïlandaise, Klod Narongkorn chante la triste histoire du mignon Suppakorn Chaiyo, qui assiste au mariage de son mec se marie avec une meuf lambda, et oui, encore une histoire d'amour gay malheureuse :( Blame society!


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Nicole Chung 「An Interview with Alexander Chee」

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© M. Sharkey

I’ve loved Alexander Chee’s writing for some time, from the powerful essays that served as my introduction to his work to his debut novel,『Edinburgh』. Chee won a Whiting Award for『Edinburgh』, and is a recipient of the NEA fellowship in fiction and residencies from the MacDowell Colony, Ledig House, and Civitella Ranieri. His writing has appeared in『The New York Times Book Review』,『Tin House』,『Slate』, and on NPR. The Toast asked Alexander to talk with us about writing, teaching, changes in publishing, his recent “Future Queer” cover story for『The New Republic』, and his forthcoming second novel,『The Queen of the Night』(Houghton Mifflin Harcourt, Feb. 2016).

The Toast: New York is home for you, but you grew up in Korea, Hawaii, Guam, and Maine, and in some of your essays you’ve mentioned moving a lot as an adult, too. Can you talk a little bit about growing up in so many different places? How has that, and moving around so much, influenced your writing?

Alexander Chee: I suspect I don’t have quite the same relationship to place.

I remember when we moved to Maine and I realized that we wouldn’t keep moving — in a way, staying in place was harder. And the kids I met, this was age 6 — they couldn’t imagine or even pronounce “Guam”. It felt like meeting evangelical Christians and knowing there are other gods.

So for a long time after that, I felt as if my real home was someplace I had yet to find. Part of that was about being biracial in that historical moment — my parents’ marriage was illegal just a few years before they married. People would say, for decades, “Someday everyone will look like you,” which made me feel as if the place I belonged was the future, not the present — and which also made it feel as if it would never arrive. It was like being born into exile, an immigrant at birth from a country that didn’t exist yet — a country I’d have to build or, maybe, find.

A therapist once accurately described me as someone with many identities I keep in reserve for those who can understand them — and that I needed to experience myself as whole, not as a series of aliases created in order to have connections to others. I suspect that may be why I write fiction. That’s something I do explore in my new novel — a feeling of being permanently outside, always pretending to belong to the landscape, of changing one’s identity regularly and starting over, again and again. I gave that to Lilliet, my narrator in『The Queen of the Night』, though I didn’t realize it until near the end of writing it.

After your recent Future Queer cover story for TNR, you hosted a #FutureQueer conversation @tnr. What has most surprised or stuck with you from that discussion and the overall response to your story?

I was and am still very moved by the very personal responses I’ve received. Stories of the emotional cost. A friend whose godmother wanted her whole life to marry her partner and now at 93, her partner’s Alzheimer’s would make it an empty gesture, or a one-sided one.

There was a certain amount of people who believed I was saying whatever they needed me to say — that I was for or against marriage, for or against assimilation, despite my trying to describe my very real ambivalence and my fears about the future. But mostly I think that what I was trying to say was heard.

In the Twitter chat what was immediately apparent, though, was the way the problems in America are the problems in the LGBTQI community — in our case, an exhaustion with looking at two white men in suits carrying bouquets and not seeing any other faces or getting the stories of other lives. Behind the word “intersectionality” is so much potential strength — and it’s exhausting to see that unmet still as much as it is.

In that story for TNR, you wrote: “My hope is that marriage equality queers marriage rather than straightening queers — that we reinvent it and keep reinventing it” — I really appreciated this, and also wanted to know if you could explain a bit more about what you mean by “queering marriage.” What would that look like for you? And I know you already wrote eloquently about what you think could be next after marriage equality, but I’d love to hear your thoughts after the Supreme Court ruling, which occurred after your story ran.

In college when I came out, my four best friends, all men, immediately questioned their own sexuality. It was as if my own openness allowed them theirs. I think I mean that sort of thing, on a larger scale. It’s already happening, but I want it to happen more. A way of looking at marriage that is more about making it what you want rather than blindly participating in traditions and institutions. Words like “husband” and “wife” are really loaded artifacts. I’ve seen friends make their marriages entirely their own and who have found great happiness, openness and pleasure in being married and in reinventing all of the traditions of it. And I’ve seen many friends just completely unable to take the language on — or who do, and whose relationships fail after they marry, relationships that worked well beforehand. It’s as if the labels come with invasive programs, viruses that take over people’s minds if they don’t really think about it. There’s just so much historic inequality in those words. Among my straight women friends, especially, the word “wife” itself can be like this blight on their whole life. That’s the sort of thing I’d love to see change.

We are going to have another interview, closer to your book release, about『The Queen of the Night』, but for now could you talk a bit about the process of writing it compared to your process for『Edinburgh』, and anything else you would like our readers to know about your new novel?

I began writing my first novel,『Edinburgh』, after a really ambitious earlier novel had been rejected for being potentially too long, and so I decided: “Well, I’ll just write a shitty autobiographical novel like every other asshole and call it a day.” But I dropped that bitterness soon enough and began in earnest to write a novel that described what I felt I never seen described — the way sexual abuse could feel, afterward, as if something had replaced you.

That novel took 5 years to write and 2 to sell, and was rejected 24 times.

This was a real education. My agent and I got questions back like “Is it a gay novel? Is it an Asian American novel?” — as if I had to choose. Marketing departments were rejecting it claiming they didn’t know how to sell it. I would say in response, “It’s a novel.” I think it’s interesting how much MFA culture gets blamed for what gets published, given that as far as I know, programs don’t decide what gets published. Publishers do.

『The Queen of the Night』, at that time, was just a short paragraph and a few pages, and that almost eclipsed『Edinburgh』entirely. Publishers wanted me to write Queen first and I didn’t know how to trust that. What if I then went and wrote Queen and it wasn’t what they thought it would be? I just felt like I couldn’t spend any more of my life trying to be whatever they wanted me to be without losing my mind. As far as I was concerned, the publisher I wanted would take this novel first. I eventually found an independent publisher, Welcome Rain, and an editor there, Chuck Kim, a real champion who took it on, and based on the reviews they were able to sell the paperback rights to Picador, who I can’t say enough good about. Now I’m at Houghton Mifflin Harcourt, and they’ve been tremendous.

As for what to say about Queen, it’s a novel about an opera singer in 19th-century Paris. She’s approached by a writer about creating a role in a new opera, one based on a novel of his, and when she asks about the story, he learns that it could only be a story about her — about a part of her life she didn’t think was known to more than a very few people. This suggests to her that either it’s a complete coincidence, or a trap of some kind. And that a very old deal she made — one that allowed her to transcend her origins and become a singer — has come undone, and that this person hopes to make her pay one last price. So she sets out to discover just what happened and why.

I started the novel wanting to get as far away from myself as possible. I had an image of a woman singer on a train with a circus, walking the train in the dark, sitting in the elephant car and writing about her life. The plot came from how I was interested in the ways people wrote about each other then, among other things — and in part, what it would be like to have someone write a novel about you. I was also interested in trying to write about that woman I would see in the edges of biographies and novels from the 19th century — hippodrome riders who could walk on their hands and were the favorite lovers of kings, and yet mysteriously didn’t rate more than a few sentences, much less a novel. I was fascinated also by how much of our world comes from 19th-century Paris in ways we don’t seem to examine — ideas about fashion, celebrity, luxury, class.

I first came to your writing through your wonderful essays. Can you work on both fiction and non at once, or do you find it easiest to focus on one at a time? What is most important to you about each form?

Thank you. Sometimes it is quite easy to write them side by side. Sometimes not. Novels tend to be greedy, and a writer’s career can go blank while they work on one.

They’re very different ways of thinking about ideas, to my mind, and I think this is often lost in discussions about their distinctions, or discussions that insist there are no distinctions, in part because Americans tend to be suspicious of even the idea of fiction with ideas. It’s as if all we want from our fictions is for them to be trustworthy guarantees of a good time — and from our nonfiction, we want trustworthy guarantees of “wisdom”.

Both fiction and nonfiction are, to me, investigations happening inside of limits. I do think they have different limits and that the limits matter, formally, in the way limits matter to a sestina or a sonnet. This is very reductive, but for me the difference is, in fiction, the limits are set by a character. In nonfiction, the limits are set by your character.

Can you share some of your views on the current state of publishing, and also how Amazon might be changing the game?

Well, we know publishing profits have improved while writer pay has declined. So that is terrible. I’m greatly encouraged by some recent developments in publishing in terms of what is getting published and reviewed.

What worries me most is that we are still in a weird place where, 20 years in, we’re being told we still don’t know how the Internet affects book sales or readership, and so writers can’t be paid as much for writing written online — even as every major media outlet is now online and increasingly abandons print editions. Yet so far, you still get paid more for print even though it is often read less — and you get paid less for digital, and yet everyone reads that. That has to change. Because it’s a scam.

It’s time to admit the Internet is here.

I was going through old files and found pay stubs from digital writing I did in 1999 that are roughly what is still getting paid for something that you also have to fact check yourself and in some cases copyedit — but that is also given a title you don’t choose. And because of content grabs in contracts, it may not even belong to you.

And so I don’t have any comment about Amazon except to say that over time I am less and less interested on any seasonal focus on Amazon’s most recent moves, whatever they are — like many American companies they are a mix of good and bad, what I agree and disagree with — and I’m more and more interested in the larger context for this, the Internet and America, income inequality and the destruction of the creative class. We’re in this horrible world where everyone wants everything for free now or almost free because to pay for it reminds them of how little they are paid and that reminds them of their powerlessness in the face of that. Or at least how powerless they feel. And there’s so much blocked anger there.

Historically, despots kill the artists, writers, journalists and professors when they seize power, as what they teach is critical thinking, and what comes with that is the ability to resist tyrannies of various kinds. What America is doing, purposefully or not, is historically distinct: delegitimizing the work of that class, and acting as if an education is the tyranny, all while insisting writers and professors make work on starvation wages, while also paying exorbitant fees for everything from healthcare to housing to taxes even on what grants remain. In order for an artist to have any respect they have to have amazing sales — or be dead after a life of poverty. So I’d prefer a bigger conversation about all of that instead.

All of which is to say, Amazon isn’t changing publishing — everyone involved in publishing is, from the writers to the editors to the readers. If we want to improve publishing we have to talk about the whole thing related to how writers are valued and compensated, and what we want our literature to contain.

As a writer, how do you feel about social media? How useful is it? Do you think it has any drawbacks for writers?

It really is a social thing for me at its core — I’ve made so many good friends there or deepened older friendships with those at a distance, and I do use it to stay connected to family, or to take a short break from work. As far as it also being a work thing, if you teach at all at the college or university level, you’re used to living with the people you work with and being judged by them more or less constantly. I’ve gotten a great deal of work from it, whether it’s readings or jobs or relationships to editors, so I couldn’t ever act like it’s a time waster.

Social media for writers, well, that means you can take someone’s moment of interest in your career and turn it into a relationship to that reader. Someone reads something you wrote and they search for you on Twitter, and it becomes a way to watch your career, find your work. So in some ways you should treat it a little like any piece of writing you prepare for a reader.

The drawbacks vary according to the form, I think. With Facebook, people overwhelmingly prefer connecting to your personal page rather than your Author page, which can get awkward at times — they know you in one context, and you and your friends know yourself in another. I also always think twice before I connect to someone I know professionally there. An editor interested in you might get really fed up with your Facebook, for example, thanks to the algorithm, which can turn someone you might otherwise enjoy a normal relationship with into the Internet equivalent of a roommate. You don’t want that editor to feel like you’re the guy leaving the milk out on the counter.

Twitter’s biggest drawback is the rough draft of history quality — it can act like a frozen sea of thoughts, half-finished ideas that feel written because you Tweeted them. But instead of bemoaning that, it can be a resource also. Which is to say, if you haven’t, you really should go through your feeds and re-read them periodically, just to see what you’re thinking about. I have students do this. I also have them re-read their favorites this way. Anything you’re not telling yourself is potentially in there — and is potentially a topic for an essay or for fiction.

I recently found your essay “Korean Enough” from a June 2008 issue of『Guernica』; at the time you mentioned you were concerned for students who might feel they have to work and write within a certain “brand” of “Asian American Fiction” or “Korean American Fiction.” Are we working, hoping for the day when terms like “diverse literature” and “Asian American literature” don’t seem necessary — when our stories and our writers just find an audience without that kind of branding? If so, what do you view as the main obstacles in the way?

Concerned, sure. I guess you could say I want the world to be different for them. As I discovered when I was trying to get『Edinburgh』published, publishers have set ideas of what they believe to be true about novels and the public and that’s how they make decisions, no matter what you wrote. Whatever their unconscious idea of a novel is or of a novelist or of the world, that’s what they publish and publish toward — they’re often called gatekeepers, but I would call them world builders in a different sense than we use that phrase — they’re building the culture we all live in, or with.

To the extent that publishing isn’t as diverse as it could be, that is really about how much we who are not white or straight don’t exist to them. When they were asking me “Is it an Asian novel or a gay novel?” that meant they couldn’t imagine me, a gay Asian American man, writing a novel about a gay Asian American man that was neither about being gay nor about being Asian American. The novel was right in front of them and they didn’t seem to understand it. My main character wasn’t trying to come out, nor did the novel describe his struggle with being an immigrant. He was dealing with sexual abuse.

After『Edinburgh』came out, it was reviewed strongly, and the paperback rights were offered. And something like 11 of the 24 houses that rejected it became interested in acquiring the paperback rights. This was incredible to me. I remember I saw Heidi Julavits when I found this out and she shouted, “It’s the same book, right?” I was glad she was appalled because I was thinking, “Is it just me?” One of those houses had no memory of rejecting it; another said “We don’t know why we turned it down.” I tried really hard not to take it personally, but it made me wonder if I was wasting my life trying to be seen by people who just couldn’t see me.

We know there are so many stories that haven’t been told — but who knows how much of it was written? For all of my misfortune, I was lucky all the same:『Edinburgh』had won a prize from the Iowa Writers’ Workshop while in manuscript, The Michener, and that gave me the tenacity to hang on and some money to do that also. How many writers didn’t get something like that and didn’t hang on? I’d bet more than a few. How many novels in which so many of us would feel the life we recognize around us, how many of them don’t get through to print because of the way publishing is so white when the world isn’t?

I feel like that’s what we’re talking about with diversity. If someone’s ignoring you, that’s one thing — at least you exist to them enough for them to ignore you. When you’re not real to them, you’re not even a ghost. You’re not even there.

Who are some of your personal literary obsessions?

Lately, I’ve returned to some old loves: Angela Carter, James Baldwin, George Sand, and Ethan Mordden. A new one is Iris Murdoch. I’m also obsessed with Queequeg from『Moby Dick』. And then lately travel writing that is actually about something, not just retail — reading it and writing it. I’m reading Jan Morris currently,『Last Letters from Hav』.

You just returned from teaching a fiction workshop at Disquiet International in Lisbon. I’m curious about the unique challenges and rewards of teaching with a compressed schedule, like a summer program, as opposed to a class that stretches over an entire semester. Does the short length of time require you to be very organized — stick to a schedule and a plan for what you want to communicate? How much do you map out in advance and how much is based on the response of the students you meet? What emerged as the focus of this particular workshop, for you and your students?

The Lisbon class was organized with a focus on the basics of writing the novel, beginning with character, moving into ways of thinking about plot, structure, subplot, point of view, revision. I offered a mix of writing prompts and short lectures before workshop.

You do have to be a mix of organized and then also give room for what emerges in conversation in class — the students will feel ignored if you’re not responsive to what their concerns are and you just plug on with what you planned. As for what emerged? I was lucky enough to have Mary Gaitskill come to class for a Q&A. And she answered questions about how she wrote『The Other Place』, one of my favorite of her stories. She described essentially bringing one of her fears to life as we all do, imagining something that terrifies us again and again, until she found she had the narrator, and a story. I turned that into a writing exercise: what scares you so much you imagine it again and again? And is it possible there’s a narrator, and a story, there?

I had planned to address the way it is important to write close to your fears, among other things. So often people speak of writing into their passions, but what does that really mean? It sounds like something disgusting to do, but you’re after the things you feel most urgently about. Fear, anger, jealousy, lust, disgust. I was surprised to find it all came together that way. It was more or less spontaneous, a mix of her thinking — which I did not know in advance — and mine, but I couldn’t have planned it better.

As a teacher, what do you think is the most important advice or encouragement you can offer your students? What is the toughest criticism to give?

The most important advice changes. It’s always career advice about whatever nightmare waits for them. Right now I tell them not to write for free, and to safeguard their time. I also warn them to read their contracts — these days contracts with major outlets often sign away rights in perpetuity with the first piece the writer writes. These new contracts effectively lock writers into terms they could fight if they had a lawyer or an agent, but they are offered on pieces they write hoping to find their way to that lawyer or agent. It’s an appalling cruelty, to kneecap writers as they rise. So, read your contracts, insist on payment. Push back. Don’t be rude, just firm. You’d be surprised what you can get by just saying plainly, “I’m sorry, I just can’t sign away all reprint rights to anything I might write for your company for $600.”

The hardest critique to give? I try to remember a student who wrote me after our class years ago and thanked me for telling him what was wrong with his work. Amazingly, no one ever had. “Everyone was always only nice to me and would never tell me what I was doing wrong,” he said. “You were different. I was able to improve with you.” The loneliness of that — of no one telling you what you were doing wrong — stayed with me. However hard a critique is to give, I try to remember that instead — how hard it is to never get it, suffocating instead in niceties.

Let’s say you’re not teaching or traveling; it’s just a day at home and you’ve got writing to do. Do you have a usual routine on days like this?

Yes. I get up and make coffee and breakfast. I have a fondness for elaborate breakfasts I make myself — kimchi fried rice with eggs, or breakfast tacos, or breakfast sandwiches. Also, I like to read in the morning for an hour before writing. I get to my writing studio — I work in one of those shared spaces — no later than 11. I write until 4 or 5. Then I try to get to the rest of my life. But with deadlines that can bleed over, or the day can start earlier. I do think it’s important to commit to a schedule, though, as you can, and as a part of a process whose integrity matters no matter the goal you’re after that day. That protects you, no matter how well the writing itself is going.

Author: Nicole Chung/Date: July 14, 2015/Source: http://the-toast.net/2015/07/14/an-interview-with-alexander-chee/

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Palais de Tokyo 「Interview Tianzhuo Chen」

Posted on July 07, 2015 commentaires

Palais de Tokyo 「Interview Tianzhuo Chen」 - posted on July 07, 2015.

Le Palais de Tokyo présente la première exposition personnelle en France de Tianzhuo Chen (né en 1985, vit à Pékin, Chine), l’un des artistes les plus prometteurs de sa génération.

À travers une imagerie colorée, grotesque et kitsch, dominée par les références visuelles directes à la drogue, à la vague hip-hop queer, à la culture de la rave londonienne, au butoh japonais, au voguing new-yorkais et à l’univers de la mode, les œuvres de Tianzhuo Chen sont intimement liées au constat d’un effondrement des représentations morales et des croyances. Si les personnages mis en scène par Tianzhuo Chen revêtent un caractère d’étrange familiarité, c’est qu’ils reflètent, en l’exagérant, le ridicule de notre quotidien envahi par les images des célébrités de notre temps. Leurs faits et gestes composent une nouvelle mythologie, s’érigent en de nouveaux systèmes de croyances, dont les adeptes évoluent parfois en adorateurs aveugles.

Pour son exposition au Palais de Tokyo, Tianzhuo Chen conçoit un ensemble d’œuvres inédites, dont une performance avec l’artiste et danseur Beio et le collectif parisien House Of Drama. Mêlant peinture, dessin, installation, vidéo et performance, elles intègrent différentes symboliques religieuses à des éléments iconographiques empruntés à plusieurs subcultures urbaines communes à une jeunesse mondialisée.

Commissaire : Khairuddin Hori, directeur adjoint de la programmation artistique du Palais de Tokyo

「ADAHA」, documentation de performance, 2014, Artist and Bank Gallery, Shanghai, Photographed by Yan Zhuang



Tianzhuo Chen 「ADAHA II」 (Trailer) Performance Live @Palais De Tokyo - posted on July 03, 2015.

「ADAHA II」 (Trailer) Performance live @Palais De Tokyo 22/Jun/2015

Full Length: 44mins
Directed by: Tianzhuo Chen
Written by: Beio & Tianzhuo Chen
In Associated with: House Of Drama (France), Grebnellaw (Sweden)
Starring: Beio, House Of Drama, Grebnellaw, Han Yu, Dope Girls
Music by: Zhiqi, SovietPop, Mi Zhang

Tianzhuo Chen 陈天灼
Official Website: http://tianzhuochen.com/
Vimeo: https://vimeo.com/tianzhuo
Instagram: https://instagram.com/asian_dope_boys/

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Musk Ming 「Best Friends」

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Musk Ming 「Best Friends」 - posted on September 30, 2014

© 2014 LightGeist records
Officially selected for the BERLIN MUSIC VIDEO AWARDS 2015

Location: Blueberry Bar Berlin, Motzstr. 58, 10777 Berlin
Starring Musk Ming and the wonderful Gang: Bea Müller, Benita Mussolini, Polly Sportage, Dolores Retromuschi, Jil-Maria Burger, Marleen Veronica, Lilith von Styx, Grady van Oranje Weiß, Hannelore Grotten-Meier, Franzi Irene van Bergen, Cosmo, Renate Weinert, King Ralph, Lord Läster



Musk Ming 「Best Friends」 @BMVA 2015 (club mix) - posted on July 07, 2015.

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Rachel Cook 「It's time the gay community got real about racism」

Posted on July 06, 2015 commentaires
Is racism a bigger problem within the gay community than the broader community? Rachel Cook speaks with three people who say this is an issue it’s time we stood up and owned.

This month three years ago MCV ran an article written by comedian/writer Scott Brennan titled 「No Rice No Curry」. It was about racism directed at Asian men on dating apps largely from men from Anglo and European backgrounds. The article caused a flurry of online debate between Asian men speaking out about their experiences and those who were defending their right to ‘express their preferences’ as they called them.

As a follow up to that story I interviewed three men, one from the Philippines, one from India and one from Indonesia. They had all experienced racism directly from Australia’s gay male community. Again the story attracted widespread interest and debate. In light of an upcoming forum run by the Australian GLBTIQ Multicultural Council (AGMC), 「Chilli and Spice, Curry or Rice - Sexual appetites, ethnic stereotypes, and racism in our LGBTIQA communities」 which is taking place at Hares and Hyenas later this month, we thought we’d take a look at where we are at with racism in our community. Has there been a shift in the way people ‘express their preferences’ on online dating apps? Are we seeing more integration between different nationalities within the gay male world and if not, why is it that racism in the gay community seems to be so intrinsic?

Andrew Li was born in Australia to Chinese parents. If his name sounds familiar it’s because he won the Grand Prize for the Men on Men Art Competition last year. Andrew says that while he experienced little racist behaviour at primary and high school it was a different story once he entered the gay community.

“I was quite shocked because you come out and you enter this community and you identify with it and then all of a sudden you’ve got this prejudice and discrimination in this place that’s meant to be accepting. It’s quite disheartening,” Andrew says.

When Andrew had first come out he chose to not use an image of himself on his dating site profile. However, as he chatted with different men he would eventually send his picture through. He says some men expressed their disappointed that he hadn’t told them he was Asian while others were outright abusive.

“One of them said ‘I hate people who don’t state their ethnicity in their profiles’. He was expecting a non-Asian guy and then he got an Asian guy.

“However, the worst one I received was from a guy who had no picture himself either, but then asked me to show him one, when I did he said you’re a disgusting Chinese person. I was shocked, but it wasn’t because it was so much racist it was because the person on the other side was intent on leaving this nasty message knowing that another human would receive it. I find that happens on dating sites all the time, people don’t realise there is a person on the other end.”

According to Andrew it is still common to see ‘No Asians No Indians’ on dating sites. He says his Asian friends are all aware of the problem of racism in the gay community. One of his friends filed a formal complaint with a popular dating app but said it seemed there was little that could done about it.

For Andrew and his friends the issue lies in the harshness and bluntness of the language used. While they accept people will have preferences they say we need to look at how that is expressed.

“You wouldn’t go to a person of colour in a bar and say don’t talk to me because you’re Asian – so I don’t see why you should do it on an app or online”
– Andrew

“I think the biggest issue is when people express their preferences in a disrespectful and hateful way and I think that is really unnecessary. You can see profiles where people express what they like and they don’t put people down and I think that’s more acceptable.

“You wouldn’t go to a person of colour in a bar and say don’t talk to me because you’re Asian – so I don’t see why you should do it on an app or online,” Andrew says.

For Andrew his experiences of discrimination are changing, not because he sees a huge shift in attitudes within the community but due to how he has decided to deal with it.

“I used to be gutted by seeing that stuff but now I try not to let it get to me. I try and fight through it and at the end of the day I try to maintain a positive outlook.”

Budi who moved from Indonesia to Australia in 1998 agrees with Andrew in terms of there needing to be a shift in the language men are using on dating sites.

“We need people to understand that someone is on the receiving end of those rejections,” Budi says.

“And that that rejection is not based on their personality or their qualities or their attributes but because of the colour of their skin and that is damaging. And whether it’s about being rejected or being exoticised it still has a negative impact on our well-being and that’s a conversation that people need to understand.”

“I still remember coming out as a gay man 20 years ago and white men were the standard and now as gay Asian men, and really just Asia in general, we have more security in the economy and there is a sense of pride about being Asian. I see that now and so for some Asian men now the white man is no longer the standard, it’s no longer seen as the only option. It is a growing change in the culture way it is a changing mindset.”
– Budi

Part of the problem is the current emphasis on masculinity and the assumption made about Asian men and masculinity. Budi says the stereotype of the effeminate Asian man is still alive and well.

“It seems as if now gay men are obsessed with looking for a straight acting man and the cultural construct of gay Asian men is that we are effeminate men, we are still being emasculated – so because of that some of my friends still say that face that rejection.”

It could be said that the narrow assumptions of who Asian men are largely due to the lack of representations of people from Asian backgrounds in the media and Australia’s entertainment industry. While we have a significant population of people from different Asian heritages living in this country their profiles in newspapers, magazines, television, film and advertising is still almost non-existent.

Budi says:

“I would like the media to be more inclusive so we see more representations and I’m not just talking about the gay media but media in general.

“Having said that, my issue in the wider gay culture is that we still don’t see representations of Asian men full stop, and the underlying stereotypes of the feminisation of Asian men is unfortunately still there because we haven’t been portrayed in any other way.”

In Tony Ayers 1997 film 「China Dolls」 he explored the idea that Asian men are seen as feminine which stands in stark contrast to the idealised masculinity of the west. Ayers’ film looked at how this contributed to Asian men feeling as if being with a western man is the ultimate goal – a kind of internalised racism. Budi says for Asian men he sees these attitudes shifting.

“I still remember coming out as a gay man 20 years ago and white men were the standard and now as gay Asian men, and really just Asia in general, we have more security in the economy and there is a sense of pride about being Asian. I see that now and so for some Asian men now the white man is no longer the standard, it’s no longer seen as the only option. It is a growing change in the culture way it is a changing mindset.”

There is also the fact that some Asian men will gravitate towards each other for support. Especially when they first arrive in this country.

“It’s about the sense of familiarity and shared cultural backgrounds they have even though we are from different nationalities,” Budi says.

“It’s a way to find support and to speak candidly without people accusing us of being too sensitive or accusing us of putting race at the forefront all the time.”

In regards to the upcoming forum Budi hopes those in attendance will own this issue. As we saw when we published the previously mentioned stories on the issue of racism in the gay community the issue sparked heated debate with some people feeling as if this debate is a straight out attack on western men.

“There is a tendency now for some people to say they don’t want to address racism so they see it as an individual thing,” Budi says, “well racism is actually a social issue, so all of us can do something about it.”

Maria Pallotta–Chiarolli from the AGMC is well aware of the pitfalls this debate can slide into. The forum organisers are keen to steer clear of a blame game and are urging all those in attendance to voice their concerns as respectfully as possible.

“This night is not going to be ‘let’s get all the Anglos’,” Maria says. “In Australia we can’t be that simple. The debate has been taken over by this idea that it’s all the Anglos against the ethnics – what we want to address is that different men have different stereotypes and let’s talk about it.”

“We’ve had Middle Eastern guys say that they have been called terrorists or ‘towel heads’ and being ridiculed if they refuse to do drugs or drink alcohol because it is not their culture,” Maria says.
– Maria

Maria says the idea for the forum came about because AGMC attendees continually bring up their experiences of racism and exoticism at their meetings.

“Some of the guys who may be darker or more masculine get fetishised and then others, such as men from Asian backgrounds, can feel like they are seen in a particular way as well.”

While women involved in the AGMC have also said they have experienced discrimination within the lesbian community, the group decided to run this first event as a men’s forum due to the fact that the prevalence of racism in the gay male community appears to be much more significant. Maria says she imagines there will be a similar forum for women in due course.

Like Andrew and Budi, Maria says this is about people losing their assumptions of what they think men from Asian, Middle Eastern, Anglo and European backgrounds are like. The stereotypes still abound and few in the community seem to be willing to look past them.

“We’ve had Middle Eastern guys say that they have been called terrorists or ‘towel heads’ and being ridiculed if they refuse to do drugs or drink alcohol because it is not their culture,” Maria says.

“There are also stories of guys being in gay venues who say they never get approached or if they approach someone they get looked over as if to say why would you think I’d want to go out with you? It’s that demeaning way of going about it that needs to be addressed.”

All involved in the event know this isn’t a new issue and don’t expect to find all the answers after one forum. The idea is to get the discussion started and keep it going.

“This event will be provocative and it’s going to be tough because people will give personal stories and there will be questions from the audiences,” Maria says.

“But it’s time we do this. We need to say let’s own this in our community, we all do it to some extent and we are all complicit in this.

“Let’s come up with strategies on an individual level and look at how we are going to get the messages out there.”

AGMC Forum ‘Chilli and Spice, Curry or Rice - Sexual appetites, ethnic stereotypes, and racism in our LGBTIQA communities’, August 2, 5.30pm – 7.30pm, Hares and Hyenas

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KENZO 「Here Now」 a movie by Gregg Araki

Posted on July 04, 2015 commentaires

KENZO 「Here Now」 a movie by Gregg Araki - released on July 04, 2015.

Les directeurs artistiques de KENZO Carol Lim et Humberto Leon ont engagé le réalisateur indépendant américain Gregg Araki, un des leaders du mouvement cinématographique New Queer, pour écrire et réaliser un court-métrage original pour présenter les collections Automne Hiver 2015 Homme et Femme.
On retrouvera dans 「Here Now」 un casting de jeunes acteurs, dont Jacob Artist de 「Glee」, Jane Levy de 「Suburgatory」, Grace Victoria Cox, Jake Weary et l'acteur et chanteur Avan Jogia. Nicole Laliberte, qu'on avait vu dans le film de Gregg Araki 「Kaboom」 sorti en 2010, jouera aussi dans ce court-métrage.

KENZO creative directors Carol Lim and Humberto Leon have tapped American independent filmmaker Gregg Araki, one of the leading lights of the New Queer Cinema movement, to write and direct an original short film featuring the brand’s fall collections for men and women.
「Here Now」 features a cast of young actors including 「Glee」 alum Jacob Artist, 「Suburgatory」 star Jane Levy, Grace Victoria Cox, Jake Weary and Canadian actor and singer Avan Jogia. The film also stars Nicole Laliberte, who appeared in Araki’s 2010 film 「Kaboom」.


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