Adam Salandra 「Med Student Joey Kiho Kim Has The Cure For Your Insatiable Thirst」

Posted on September 21, 2017 commentaires

The doctor will see you now.

A trip to the doctor’s office is never fun, but we’d be begging for monthly physicals if Joey Kiho Kim was our MD.

The 6’2″ stunner is currently in medical school, and luckily for us, he’s using modeling gigs to help pay the bills. Although being a model isn’t his main goal in life, he’s hoping to use his opportunities for good.

“As much as this is a hobby and fun for me, I hope that I can have some positive impact on the way that Asian-American males are portrayed in the media and viewed by the world,” Kim wrote in a social media post.

His Instagram feed is a combination of professional photos and sexy selfies, and is guaranteed to make you feel better with just a few double taps.

Check out some highlights from his feed below, including some of our favorites from photographer Hard Cider NY. Then head here to see his full modeling portfolio.

Adam Salandra
Adam Salandra is a writer, performer and host in Los Angeles. When he's not covering the latest in pop culture, you can find him playing with his French Bulldog puppy or hovering over the table of food at any social gathering.

Author: Christopher Rudolph/Date: September 21, 2017/Source:

Joey Kiho Kim

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HyunA 현아 「BABE」

Posted on August 29, 2017 commentaires

HyunA 「BABE」【베베】- from『Following』released on August 29, 2017.

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Posted on August 04, 2017 commentaires

WINNER 「LOVE ME LOVE ME」 - from『Our Twenty For』released on August 04, 2017.

Mais on vous aime on vous aime mes p’tits chéris 💕 surtout avec ces shorts et ce son tropical 😘

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WINNER 「ISLAND」 - from『Our Twenty For』released on August 04, 2017.

Aaaah le son de l'été 🏝

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Christopher Rudolph 「#MCM: We’ve Got A Huge Crush On Immense Ray」

Posted on July 31, 2017 commentaires

This cutie loves corgis.

The self-proclaimed “selfie king,” Immense Ray, has been setting our Instagram feed ablaze for sometime now with shirtless pics for his 142,000 followers.

Not only is the Shangai-based gym bunny easy on the eyes, he also loves furry friends just as much as lifting weights, because in addition to locker room selfies he also posts plenty of pics with cute corgis and kitties.

If you need some help getting through the start of another work week, scroll through below to see some of our favorite images or our newest man crush.

Christopher Rudolph
Pop culture and entertainment enthusiast. I know too much about the Oscars and Oprah.

Author: Christopher Rudolph/Date: July 31, 2017/Source:

Immense Ray 言武

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Aaron Chan 陳視耀 「The complicated journey towards identity as a gay Canadian man of colour」

Posted on July 07, 2017 commentaires
Credit: belle ancell/Daily Xtra

I’ve grown up trying to navigate what it means to be gay, male, Chinese and Canadian. It turns out I can be everything

When my short film, 「Stay」, was scheduled to screen at the Vancouver Queer Film Festival in 2010, I received an email from a local gay publication asking me to do an interview. Naturally, I was thrilled (I love talking about myself, but don’t get to do it much in person). One interview question stood out to me: “When you add your sexuality to the mix, what unique obstacles do you as a gay man of colour have to deal with?”

Although the reporter asked about being a gay man of colour, I felt the answer couldn’t be confined to just two layers of my identity. Because it would be one thing to be queer in China or Hong Kong (where my father and mother are from), but it’s another set of difficulties in Vancouver. At the same time, the question touched on the perpetual crisis of identity prevalent in Canada (and particularly Canadian literature, it seems; an English professor in college once half-joked that Canadian writing is either about identity or incest).

His question should’ve really been this: When you add your sexuality to the mix, what unique obstacles do you as a gay man of colour have to deal with specifically in Canada?

Answering this question is not easy. To begin, I’d have to go back to how I even identify myself, which I’ve never really given much thought about. I’m aware of all the different pieces that my hybrid identity consists of, but how much I identify with each of them and how that plays into what I call myself hadn’t crossed my mind. Perhaps it was time I examined myself more closely.

I’m reminded of an instance when working as a writing tutor on campus at the University of British Columbia. Most of my colleagues were also coincidentally Asian and Canadian.

“Would you say you identify as Chinese-Canadian, or Canadian, or something else?” one of them asked me one afternoon. I mentally clothed myself in both terms, trying to see which fit me and felt most comfortable to wear.

“Canadian, for sure.”

Their surprised faces met mine. “Why? Don’t you feel like you’re leaving out the fact that you’re Chinese?”

“Why do I have to add my ethnicity to my nationality? I feel like being Chinese is encompassed in saying I’m Canadian. Calling myself Canadian doesn’t mean I’m not Chinese. We’re a diverse country, right?”

They nodded, considering it. “That’s an interesting way of looking at it.”

I didn’t think it was particularly interesting, but then again, it’s a subconscious process, how one chooses to identify themselves. I’ve certainly called myself Chinese-Canadian on countless occasions and at some point, I must’ve stopped to analyze what it truly meant to label myself as such, subconsciously or otherwise.

I was born in Canada. I didn’t immigrate here when I was a kid, so I don’t hesitate to claim my nationality as Canadian. There is no doubt there.

The tricky part is whether or not to tie ethnicity with nationality – and also why or why not. We North Americans like to hyphenate our nationalities. African-American. Korean-American. I feel like most of the time, we do this out of reflex, because it is more common than simply using your ethnicity or nationality alone to describe you.

I can certainly see the merits of using a hyphenated descriptor. It presents both your ethnicity and your nationality in one. A package deal. At the same time, I can’t help but feel like by telling people I am Chinese-Canadian, I’m implying that my two identities are mutually exclusive. If I tell people I’m Chinese, they may believe I was born in China or Hong Kong. This isn’t necessarily a bad thing, but I feel as though people automatically make certain assumptions about me, such as my language skills and upbringing. And at the same time, I declare myself as simply Canadian and my friends and colleagues look at me funny, expecting my ethnicity in there somewhere too. Neither of these is who I really am.

It’s this mentality that bothers me. It’s as if I must be ethnically white to be able to use the lone descriptor of Canadian, which I don’t believe at all. No one labels themselves as Caucasian-Canadian; less often, we see or hear terms such as German-Canadian or Irish-American or Australian-American. Though some people use them, I can’t help but think that sometimes white people just round up their nationality to Canadian because all the other white people do it too – and because no one bats an eye when they do so. Of course I acknowledge that part of this may just be a generalization and sure, maybe I have a secret mission to get back at white people for racism and colonialism and the atrocity to human ears known as EDM.

But even when, for instance, I’m on the bus or the SkyTrain and I hear Caucasian people around me speaking in Irish, English, Australian accents who mention having lived in Canada for a few months or a few years, or even when they don’t mention it at all, I can’t help but feel like other Canadians – and really, the rest of the world – would consider them to be more typically Canadian simply because of their skin colour than me, despite the fact that I’ve only ever lived in one country my entire life. I know this thinking is wrong, that I’m projecting my thoughts onto and blaming the public, but it’s difficult not to feel like this when I’ve come across so many people who have, in turn, made me feel like Canada is not my home (or the numerous times I’ve been strolling downtown and someone hands me a flyer for ESL classes, no doubt assuming I don’t speak English well because I’m Asian).

“Where are you from?”
When my sister visited her friend Anna in Winnipeg, a friend of Anna’s exclaimed, “Wow, your English is so good!” My sister simply stared at her, while Anna did a facepalm. I can’t even begin to count the number of times I’ve had someone ask me, “Where are you from?” – only to follow up with “No, where are you really from?” or “Where are your parents from?” when I reply I’m from Vancouver.

I fucking hate when this happens to me. It is beyond annoying; it is well within offensive territory. Intentionally or not, whenever this happens, people make me feel like I don’t belong and that Canada isn’t my true home, like it’s impossible for them to believe someone who isn’t white could be born and raised in Canada, that I must be some sort of immigrant and they won’t stop asking until they’ve traced back my migration route. And because of this, there’s also an air of smugness, of superiority from the inquirer that makes me automatically have a negative impression of them. If people asked about my background more tactfully (for example, “What’s your background?” or “What’s your ethnicity?”) I would have much less of a problem with it. Instead, I end up resenting their ignorance (and I don’t like feeling negative! Argh!).

It all came to a head one time at a screening at the Vancouver Queer Film Festival. I was seated next to an older gentleman with round glasses. While we waited for the film to begin, he turned to me and made small talk. It started out the way it usually does.

“So where are you from?”

Familiar with how only saying “Vancouver” can be misinterpreted as where I currently reside, I tried my best to be clear. “I was born in Vancouver.”

“Ah, I see. I mean, are you from China? Or Hong Kong?”

I bristled at his words. I had just told him where I was from, but I knew what he was really asking.

“My parents are from China and Hong Kong, yes,” I said, barely able to keep the equivalent of an eye-roll in my voice.

“Oh, I see.” I thought that was the end of it. He had already placed me outside of Canada, making me feel like an outsider, but that was nothing new. I shrugged it off. We returned to staring at ads for local businesses on the screen in silence.

“Where in China are you from?”

Oh my fucking god. I was so angry and exasperated that I was only able to growl through clenched teeth, “I don’t know. I’m not from China,” and he backed off. It was yet another one of those instances where I apparently couldn’t call myself a Canadian without having to concede that my parents – and by extension, myself – were from elsewhere.

In that moment, I thought back to how I used to joke that the next time someone asked me where I was really from, I’d turn the question back on them, just to see how they’d like feeling un-Canadianized. Detecting a European accent of some sort in the older man’s voice, I posed the alienating question to him (with some residual seething in my voice).

Sweden, he told me.

“Where in Sweden are you from?” I inquired, self-satisfied at my pompousness.

He mentioned the name, somewhere just outside of Stockholm. He had arrived in Canada when he was 17.

Unfortunately for me, he didn’t seem at all bothered by me trying to place him away from Canada, perhaps because he actually grew up in another country. It also likely had to do with him being white and thus unaccustomed to racism and its nuances. But maybe he was nonchalant because he really didn’t care what a stranger thought of him and felt assured enough to call himself a Canadian regardless. I had tried to highlight a double standard and make someone feel like an outsider the way I constantly felt, but I failed. At the very least, I hoped mirroring the same question would inspire empathy and understanding but instead, it seemingly did nothing. Mostly, I felt disappointed at the injustice of it all.

Who gets to be Canadian?
What does a Canadian look like? Everyone will give you different answers. I remember watching the opening ceremonies of the 2010 Winter Olympics on television. Sure, the games were set in Vancouver, but judging by the entertainment in the ceremonies, it was a broader, Canadian theme: the RCMP, a giant spirit bear puppet, Indigenous peoples, and fiddlers representing the Maritime provinces. It was all spectacular and impressive, but something felt lacking. My best friend Chelsea summed it up best when she lamented, “I know it’s kind of mean to say this... but they’re the Vancouver games! They’re our games, so they should be about Vancouver. We shouldn’t have to represent all of Canada. I don’t care about fiddlers!”

I think what she was driving at was that fiddlers are cool, but you’d be hard-pressed to find any in Vancouver. With visible minorities comprising more than 50 percent of Metro Vancouver’s population, and given the important role the Chinese, among other minorities, played in the history of Canada, it was disappointing (but not altogether surprising) that neither the opening nor closing ceremonies included anything that truly reflected Canada’s multiculturalism. I didn’t see myself there. We didn’t see ourselves as Canadians.

The history of Chinese in Canada can be traced back to the 18th century – and possibly earlier – even before the influx of workers who toiled away on the national railway. The Chinese were largely viewed as “others” and job stealers by the white Canadians; segregated from the rest of society, the Chinese built their “Chinatowns.” Despite the fact that Chinese families have lived in the country for generations, many Canadians continue to believe they aren’t true citizens. Colonialism, in all its glory.

And this borderline xenophobia goes both ways. Growing up, my mom used to tell me, “Don’t forget that you are Chinese first, above all else” – “all else” meaning Canadian. I’ve tried to explain my nationality to her, to remind her that until I was 23 I had never set foot in either China or Hong Kong (or Asia, for that matter). She just waved me off.

To my mom and likely other hyphenated citizens, it doesn’t matter where you are born. Ethnicity trumps all.

I’ve had customer service jobs where people approach me and automatically start speaking in Cantonese or Mandarin. Although I try my best to converse, I almost always resort to Chinglish – easy words in Cantonese, everything else filled in in English, in the vain hope that they will understand. Most of the time they don’t, or they get a vague idea. At least people are really understanding about my rudimentary language skills; once they hear me struggling with the language, they ask if I was born in Vancouver. When I tell them yes, they usually say, “Ahh” and nod, and I can’t help but feel like I’ve let them down.

When I tell my mom of my embarrassing run-ins, she clicks her tongue at me. “That’s why you should’ve stayed in Chinese school. More and more people are speaking Chinese these days. I keep telling you how it’s an important skill to have.” Many times, I have pointed out the fact that we live in Canada, where fluency in English is more important (as evidenced by me frequently helping her spell words to be written on cheques and sick letters, but the irony is lost on her).

Comedian Margaret Cho jokes about her childhood, “It’s hard when you’re a child of immigrants. You spend half of your day in America, and the rest of your day in a foreign land,” emphasizing the last two words as if it is an exotic and magical realm.

When I was a teenager, I often slashed the pages of my journal with a pen, venting about my mother, “I feel like I’m living with someone from China!” She didn’t understand nor speak English very well, and mostly communicated with me in Cantonese. Getting good grades and studying were her highest priority, and were enforced. She yelled at me if I didn’t practice piano; if I went out, I had to basically give her full disclosure of who, what, where, when, how, why. Sometimes, I was cognizant enough to see that we are simply two very different people living in different societies in different times. However, this realization only served to make me feel further from my family and my culture, instead of reconciling us.

I’ve met other Chinese-Canadians who nonchalantly toss out, “Oh, you’re a banana too, eh?” or “I’m pretty much white-washed too.” To me, both “banana” and “white-washed” have negative connotations, as if I’m rid of any and all Chinese culture aside from my skin. At first, I wholly rejected this term. The concept of being yellow on the outside and white on the inside makes it sound as if I’m a white person in yellow-face and Chinese drag. It just seems so odd to me to claim such a thing, but I realize I’m speaking from the experience of being a first-generation Canadian to parents who were actually born and lived in Asia.

On second thought, is that not who I essentially am? I’m an atheist compared to my Buddhist mother; I don’t really follow the Lunar Calendar and I’m certainly not as traditional as my parents. The only things Chinese about me are my skin, the fact that I eat Chinese food, and my recollection of a moderate amount of Chinese words and phrases. I’m into classic movies, Sarah McLachlan, and internet access for all. Seems pretty non-Chinese to me.

Oh, and I’m gay too.

For the most part, being gay and Canadian isn’t really a point of contention (except maybe if you live in Alberta). Yes, there are still issues here and there, like in 2006 when Stephen Harper held a vote in Parliament to re-address same-sex marriage even after it had been legalized.

It would be naive to believe that you can be out and queer all across Canada, regardless of where you go. There are still gaybashings; homophobia and transphobia continue to linger, and will probably do so for years to come. For the most part though, I felt like it was okay to be gay growing up. The Vancouver Public Library had lots of books about and for teens; I discovered and attended a gay youth drop-in. Although my high school had a gay-straight alliance, the rest of the school seemed fairly indifferent to it. When I came out to my aunt at 14, she advised me not to tell my classmates because teens were bullied and sometimes killed due to their sexual orientation. I remember disbelieving her warning because she lived in the US and didn’t understand that things were different in Canada. At the time, I was all too familiar with gay teens getting assaulted and harassed (from the many young-adult gay-themed novels I read, not having experienced it first-hand), but I never believed that people at my high school were homophobic enough to enact violence. Sure, I heard people say homophobic shit every day, but it was so casual that it suggested stupidity and ignorance rather than a broken jaw.

My mom once casually mentioned, “Everyone has a sickness. Your sister’s sickness is that she stays out too much and too late.”

“And mine?” I asked, not taking her seriously.

“Yours is you’re gay.”

And the sad thing is that I knew she genuinely believed it.


It might be obvious, but the part of me that struggled with homosexuality was my Chinese side.

“How can you be gay? No one in our entire family is gay,” both my father and mother told me when I came out to them in my teens. I’m pretty sure that although it would appear that no one in our current extended family is gay, it doesn’t mean they aren’t. (Just because someone marries someone of the opposite sex doesn’t mean they’re straight. I have a specific relative in mind who may be gay but I probably shouldn’t mention who they are). It also doesn’t mean that no one in the entire line of Chans in the history of the world has ever had a homosexual experience.

Needless to say, being Chinese and gay has been, and still is, a battle. In Chinese culture, it’s a taboo subject. And because so few Chinese gay men (and probably women too) come out, there is little discussion, education and understanding around it. Chinese people are supposed to get married and have kids, to pass on the family name. It’s not a Chinese thing to be gay.

In the months and years after I came out to my mother, I forced myself to tell her about the dates I had, queer events I attended, and relationships I was in. For the most part, my mom said nothing or, if she said anything, there was a long pause, followed by something along the lines of, “Don’t get into that stuff right now. Just concentrate on school.” Conversations were so awkward, so stilted and unnatural that I really wondered if it was worth it to keep bringing up my sexuality with my mom, making both of us so uncomfortable that we avoided speaking to each other the rest of the day.

Even as China and Hong Kong become more modern and open, older generations still remain traditional. My dad cited how being gay wasn’t natural. My mother advised me never to tell my grandparents because she said they wouldn’t understand. I’ve met dozens of gay Chinese men who are in the closet, some firmly (and happily so). When I tell them I’m out to my Chinese family and have been since I was a teenager, they look at me wide-eyed as if stunned I’m alive to tell the tale, then ask me how it happened.

Let me say this: I’m proud to be gay and Chinese. It might be a strange thing to have pride in, and it’s a little complicated to explain. Part of it is having the courage to defy what others and the heterosexist culture you grew up in want you to be in order to be yourself. If it’s true that zero of my ancestors were openly gay, I’ve broken tradition, broken taboo.

In a wider context, although it may be unfair to compare myself to other gay Chinese men for the sake of feeling proud and superior, it does make me feel somewhat special to know that I can come out to my parents, my friends, and my work, and lead an honest life while some of them remain afraid to lead the lives they truly want. Of course, I wish they could join me and live freely too. I’ve tried to explain to them that coming out is really not as bad as they make it seem, but fear paralyzes them, sadly.

A few years ago, there was controversy when a group called Parents’ Voice opposed an anti-homophobia policy proposed by the Burnaby School Board. The parents consisted mostly of immigrant families – more specifically, religious Asian parents. They claimed that the policy protected queer kids but not everyone else from bullying; they later added that the policy would force their kids to take sex education classes and learn about homosexuality. Despite accusations of being homophobic, they insisted they were not, that it wasn’t the issue.

When the story broke, I couldn’t help but feel like I knew exactly what these parents were doing. On the surface, they tried to appear reasonable, their concerns legitimate. It was the classic Chinese thing to do. But whenever they spoke of their children, all I heard was, “I don’t want my child to be around gay things because I am threatened by them.” Whenever they mentioned how they weren’t homophobic, I translated it to, “I’m very homophobic. I was taught that gayness is a terrible thing. Teaching my kids that it is acceptable is wrong.”

When they claimed that news media didn’t understand their culture and background, I wanted to shout, “Well, I’m gay and Chinese, so I do understand. And I think this is clearly about you, so stop hiding behind your kids – who, by the way, already know about and accept gay people. Sorry. Someone had to break it to you.”

Once again, it seemed like there was a clear divide: there are gay people, and then there are straight Chinese people. No in-between.

I think this discrepancy can be explained quite simply: if no one speaks about homosexuality and no one is out, then of course it seems like being gay is non-existent in Chinese culture. And which depictions of queers have they likely seen? All those white celebrities living in those Western countries where men can marry men and everyone basically walks down the street in their underwear for all to see. In such a conservative society, it’s no wonder older Chinese generations misunderstand and disapprove.

Not that the gay community is super accepting of Chinese queers either. Which isn’t to say it’s completely unwelcoming; I’ve always walked down Vancouver’s Davie Street without incident. The few times I’ve gone out to the Pumpjack Pub or to other gay clubs or bars have been uneventful (too uneventful, I’d say. What do I have to do to get a handsome stranger to say hi and buy me a drink?).

But when you think of the gay community and its members, who do you picture? Perhaps some of the gay subgroups: hairless twinks and burly bears, whatever the hell otters are; older gentlemen who lived through the HIV/AIDS era; regular dudes like Neil Patrick Harris and Matt Bomer; not so regular dudes like Elton John and Perez Hilton. How many of those people did you imagine were white? How many were of colour?

When the Burnaby School Board was in the news, the policy’s supporters were slinging their own hate. “Say goodbye to your businesses you Asian pricks, you will be run out of town. We will protest your stay in Canada and your fucking corner shops. Goodbye!” someone posted in response to one of Xtra’s articles.

As awful as that comment is, in their defence, this sentiment and others like it was directed at the older, ignorant demographic that many considered unreasonable and illogical, not necessarily at those like myself. But a racist statement is still a racist statement; ignorance fighting ignorance is still feeble. I also don’t find it fair to attribute homophobia to an entire race. Fred Phelps, of the infamously homophobic Westboro Baptist Church, is white, but we don’t consider all old, white people to be hateful.

Another reader noted, “I don’t understand why I have to put up with people coming into Canada and trying to change our progressive country/city because they’re ignorant.” Is it bad that I can understand this point of view and support it? I don’t want our hard-earned rights eroded away because people come to live here and don’t like what’s established. Yet, I can’t help but feel guilty for thinking this, as if I’m letting down current as well as prospective immigrants, who may share the experience with me of being minorities from similar cultures. And the Canadian part of me says we should accept them and their beliefs because freedom of opinion is one of the fundamental freedoms enshrined in our charter and guaranteed to all Canadians, even if I disagree with their views. That’s part of what makes our country great.

Who do I listen to? Who is right? And if I choose one and not the others, does that mean I can no longer identify as such?

What do I call myself?
Sometimes I feel like I have three identities and each one expects me to pledge allegiance to its side: are you Chinese or Canadian? Are you gay or Chinese? Which one will it be? Choose carefully or you won’t be invited back.

For years, it eluded me what to call myself. It took me a while to realize that despite these identities being disparate slices of a pie, they all had one thing in common: me.

I have a choice in how I present myself. Who says that if I’m going to label myself as Chinese, I have to speak fluent Cantonese and adopt traditional Chinese customs? Who made it mandatory to denounce minorities for being intolerant in order to be gay? The answer to both seems to be the vague “they” of society – or another way of looking at it: no one in particular.

This whole quandary is like the concept of masculinity. There isn’t a checklist of traits or a test a man has to pass in order to call himself “masculine.” A giant, ’roided-up guy can say he’s masculine, but so can a swishy, bleach-blonde. I believe they’d both be right. After all, who would anyone be to say otherwise? There is no masculinity judge who gives you a stamp if you’re masculine enough. It’s a subjective term.

Identity functions the same way. I know enough Cantonese, know enough about Chinese culture and customs to be able to comfortably and confidently call myself Chinese. I was born and raised in Canada, one of the best countries in the world, and I’m proud that I can think critically about political issues and enjoy the freedoms that I’m entitled to. And I’m not ashamed to admit that being queer is a significant part of my life.

In fact, I genuinely feel like these three parts share equal space in me. Despite the fact that they shouldn’t necessarily get along, they do, at least for me.

Nonetheless, it hasn’t always been easy. This journey of exploration, as complicated as it’s been, has actually made things easier now; even writing this essay has made me more comfortable using Chinese-Canadian to describe myself (though I’d still say I prefer saying Canadian).

With all this in mind, I returned to the original interview question:

“When you add your sexuality to the mix, what unique obstacles do you as a gay man of colour have to deal with?”

I paused for a minute to gather my thoughts, to listen to the three parts of myself and channel their answers:

“Hmm, if you mean unique obstacles I face as a gay Chinese man in life (and not film-related), well, where do I begin? Seriously though, there are always issues with the two, or at least with me. Despite having raised their children in Canada, my parents are traditional Chinese people, which, as I’m sure you can imagine, already brings up problems. It was difficult to come out to them because I never felt like they understood what it was like to be gay or even the concept of it. The whole subject of being gay is a taboo in Chinese culture, so if no one talks about it, how could they understand it, let alone me? And I guess more unique to me, I feel like I am a different breed of gay Chinese man – and not necessarily in a good way. I think some people look at me and dismiss me as a typical gay Asian man but for one, I’m completely out, which a lot of Asian men aren’t. I’ve lived here all my life, and though English is my first language, I don’t consider myself white-washed; and I’m not particularly into the ‘gay scene’ (ie. clubbing, going to bars and big parties, etc).

“I’m a strange mashup of Chinese, Canadian, and gay, where I feel like there’s a balance of all three.”

Aaron Chan is a writer from Vancouver, BC. His writing has been published in numerous literary magazines and anthologies, and his debut poetry chapbook,『Romantic Hopeless』, was published in 2017.

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Donovan Trott 「It’s time we start telling Asian American gay stories.」

Posted on June 29, 2017 commentaires
(Art by Cat Baldwin/Very Good Light)

Editor’s Note: As Pride Month comes to a close, we here at Very Good Light are dedicating an entire week on LGBTQ+ voices, stories, and the beautiful diversity that the community has to offer. Today, we review a community that rarely receives attention: LGBTQ+ Asian American men. Below, an eye-opening story about what it means to feel invisible.

With recent hit shows like 「Transparent」, 「Sense8」 (RIP!) and 「Orange Is The New Black」 putting trans talent and issues front and center – and last year’s historic Oscar win for 「Moonlight」 – some groups, which have often found themselves sidelined in LGBTQ centered stories, are finally beginning to make gains towards greater representation.

However, one group that continues to wait for its breakthrough moment are gay Asian American men. Gay Asian Americans face a uniquely barren landscape when searching for images in media that reflect their experiences. In recent history, there was 「Entourage」‘s Lloyd Lee, the flamboyantly endearing assistant to cantankerous Ari Gold or the blatantly racist portrayal of Han in CBS’ 「2 Broke Girls」. What’s more, the images most commonly associated with the group, i.e. the flamboyant best friend or the a sexual computer nerd (see 「How to Get Away With Murder」’s Oliver), rely on harmful stereotypes that can have real consequences in the everyday lives of these men.

For Asian Americans, the challenges of under representation in film and TV are far from anything new. One report released from USC last year analyzed 109 films and 305 TV series and found that at least half or more of all cinematic, television, or streaming stories failed to portray even a single speaking or named Asian American part onscreen. That amounts to a mere 2.3% of all characters.

“Many gay men don’t even consider me an option for dating.”

A lack of representation has had a real effect on Asian American men and their own gay identities.

(Ricky, a corporate lawyer based in Washington D.C. says his dating life is affected because of his ethnicity. Photo courtesy: Ricky Mempin)

According to Ricky Mempin, a 25-year old corporate law attorney in DC, the consequences of this underrepresentation are especially steep for gay Asians. This, specifically when it comes to finding love.

“Many gay men don’t even consider me an option for dating,” says Mempin to Very Good Light. “Because young queer people typically have to teach themselves about the community, often in secret, LGBT people particularly rely on whatever media they can find to make sense of our culture. Since most LGBT representations are white, the community has internalized that that is what is romantically desirable.”

“People have definitely assumed things about my sexual roles.”

(Jon, a chef based out of NYC, says there are always preconceived assumptions on his sexual roles. Photo by: Ron Anthony Photography)

Complicating matters are Hollywood’s stereotypical or oftentimes uncomfortable assumptions of Asian men. “People have definitely assumed things about my sexual roles,” says Jon Pham, a 29-year old chef living in New York City. “The size of my dick, and other things of that nature, or I’ve been assumed [the role] of the passive Asian princess to be taken care of by some older man.”

“I’ve had people respond to me on apps saying that I’m not their type or that it’s not a good match, specifically because they’re just not into Asians,”

Dealing with assumptions about their sexuality is only half the problem; gay Asian Americans are also subject to widespread marginalization on the basis of their race. This trend is particularly noticeable on dating apps where it is easy to find users with profiles that state racial preferences like “no rice,” slang for no Asians.

“I’ve had people respond to me on apps saying that I’m not their type or that it’s not a good match, specifically because they’re just not into Asians,” says Mempin. “The sad part is that these people are more honest than most. It’s hard not to suspect that people who don’t respond to me are considering my race in their decision, especially when they have almost nothing but a picture of me to go off of.”

Mempin’s experiences are not unique. One recent survey found that 79% of gay Asian American men report having experienced some form of sexual racism from within the LGBTQ community. And while some argue that having a racial preference when dating is not a legitimate form of racism, research shows that those who exclude certain minorities from their dating pool tend to have less favorable views of those minorities in other aspects of life as well.

This knowledge, coupled with what we know about how much the media influences the public’s attitude toward minorities, makes clear just how important multifaceted depictions of gay Asian Americans really are.

“Having been raised in the same racist culture as other LGBT Americans, I also grew up believing that whiteness was the primary desirable factor in gay relationships,” says Mempin. “It is only since I started dating more as an adult that I began questioning the reasons behind this belief, and whether things can be actively done to work against it.” It’s hard to say what is actively being done to work against harmful depictions of gay Asian Americans at the moment, but there are some hopeful signs.

Though the character he plays is straight, openly gay Filipino actor, Vincent Rodriguez II is one of the very few Asian American actors on television with a romantic storyline, playing the affable Josh Chan on the CW’s 「Crazy Ex-Girlfriend」 “... one of the things that’s come up with me playing Josh is that I play this male love interest and that’s so not what we’re seeing on tv and that’s so new,” Rodriguez said of his role to TV Insider. “It’s new but it’s not. It’s new for TV but in the world, it’s so not.”

Perhaps the most famous gay Asian American entertainer to make waves in sometime is 「Rupaul’s Drag Race」 finalist, Sang-young Shin, better known as his stage name, Kim Chi. Although he did not win, Kim Chi was able to make a lasting impression on fans, earning him a loyal following of thousands. “Asians in American pop culture are generally portrayed in a comic relief way,” said Kim Chi when asked of his impact on pop culture by The Center of Asian American Media. “They make fun of the way we talk and the way we act. I get comments like, ‘oh my God, thank you for sharing our story.’ ‘I’m going through the same things you’re going through right now,’ and ‘thank you for showcasing to the world that Asians aren’t just comic reliefs.’”

With big studios lagging far behind on delivering nuanced portrayals of gay Asian Americans, some have begun to take matters into their own hands. Mempin, who also acts, is currently in pre-production on an indie comedy/drama called 「No Chocolate, No Rice」 (Disclaimer: a film that I personally wrote).

The film follows two best friends, one Asian, one Black, and their tumultuous love lives against the backdrop of racism within gay “hookup app” culture. “Although mainstream America likes to consider itself officially open to the LGBT community... empathetic or even serious representations of Asian gay men still remains practically nonexistent,” says Mempin. Producers of the film, which will be shot this year in DC, will be launching a Kickstarter campaign over the summer to secure funding.

Of his hope that the film will serve as a learning moment Mempin says this: “I hope that a perspective from the side of LGBT racial minorities will help people understand that although all LGBT people are marginalized by mainstream American culture, the fact is that racism affects our community as well... more generally, as long as the public faces of the queer community are kept almost exclusively white, white gay men can remain free to believe that their struggle is the same as everyone else’s, which is simply not the case.”

Asian Americans as a whole may soon take on a more visible face in the American cultural landscape, if for no other reason than simple economics. Asian Americans are the fastest growing minority in the country with current U.S. Census projections showing that they are on track to become the largest immigrant group in the nation by 2055.

But even before then, Asian Americans will wield considerable influence in the marketplace with a cumulative buying power which is on track to reach 1.1 trillion dollars by the year 2020. If media outlets wish to strike a chord with this group then they’ll have no choice but to begin developing programming and images geared to the Asian American community’s specific tastes. Stories that don’t rely on worn out stereotypes, and images that give a well balanced view of modern life for gay Asian Americans in all its complexities.

Donovan Trott is a freelance writer and performer living and working in his hometown, Washington DC. He covers politics, social justice issues, entertainment and LGBTQ rights. He’s currently producing a film which he wrote for the screen entitled 「No Chocolate, No Rice」.

Cat Baldwin has been a Brooklyn-based illustrator for 8 years after fleeing the scent of patchouli that haunted her formative years in the Pacific Northwest. She spends her free time seeking out delicious food and maintaining what she likes to call her “moon tan”.
Follow her on Instagram @catbee643 for photos of cats, pizza, and colorful city living.

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Posted on June 22, 2017 commentaires

BLACKPINK 「AS IF IT'S YOUR LAST」【마지막처럼】- released on June 22, 2017.

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Emma Do 「This photo series captures what microaggressions feel like」

Posted on June 13, 2017 commentaires
Bryan Tang’s images explore frustration, prejudice and internalised racism in Australia.

Having your identity casually put under the microscope is a common source of anxiety for those who are visibly “other.” For those with faces and voices that don’t fit the prescribed “Australian identity,” it only takes a passing comment from a stranger, friend or even a lover to suddenly feel displaced. Migrating to Australia from Malaysia in his teens, photographer Bryan Tang’s experience echoes migrant stories of past and present.

Recently, Bryan was invited to create a set of photos around the theme of ‘Asia and Australia.’ As a young fashion photographer, his body of work has thus-far mostly steered clear of politics, but given the explicit go-ahead and chance to present with a group of other Asian photographers, he decided to create a series that would confront racism head on. In 「Colour Correction」, Bryan re-stages the moment when his subjects were the target of microaggressions. Here, Bryan talks about untangling internalised racism in his own life and work, and why shooting Asian faces is relatively new to him.

How did you have the idea for your photo series?

My friend Mike Souvanthalisith was curating a photo exhibition at the restaurant Burma Lane and asked me to take part. Most of my work was fashion based so I thought I could do something more personal with a message I haven’t been able to express in fashion. In the creative world Asians are mainly sidelined to be behind the scenes, not so much in front of the camera, whether in fashion or film. I thought it would be cool to shoot a series in a cinematic way so Asians would be the protagonists.

You mentioned in our past conversations that you haven’t shot many Asian models in your fashion work. Why has that been the case?

I think there aren’t many male Asian models compared to females. Thomas, one of the guys in the photos, is one of the very few Asian male models in Melbourne. But to be really honest, I think I still need to take that step forward of choosing to shoot more non-white faces and trying to push that harder with people I work with. Sometimes when an agency forwards me a list of models to shoot, there’s only one Asian face. Recently I had a chance to do a paid shoot for a publication in Asia. They straight up told me they wanted a Caucasian model because that’s what is seen as luxurious and prestigious, even though the photos would only be seen in Asia.

How did you feel doing this project where you only shot Asian faces?

It felt refreshing and true. It felt like something I’ve always wanted to do but didn’t realise.

How did your subjects feel about re-staging moments where they experienced racism and various microaggressions?

I think they were very open. A common response to these microaggressions is shock, or not saying anything because it’s happened so many times you can’t be bothered. You just know that sometimes no matter how much you try to explain to a person why something they said is wrong, they may not get the point. It’s educational labour. So there was a general sense from everyone I shot like ‘we’ve always had these things bothering us internally and now we have a place to express it.’

Tell me about the people in the photos. How did you link up with them?

The portraits feature Jenny Wang, Lei Lei K., Thomas Chow, Nick Teng and Charmaine Salvacion. It’s a mix of people I follow online and who I’ve worked with before. Jenny was one of the first people I thought of for the series because she’s very vocal about race issues. Even her Insta name is so in-your-face (@asiangirlfriend). That’s how people seen Asian females.

I imagine a lot of Asians in Australia instantly recognise these quotes. The one where Lei Lei is being told she isn’t Asian seems odd though, she obviously looks Asian. What was the context surrounding that comment?

Lei Lei’s old friend told her that. The implication was that because she’s Asian but grew up in the West that she benefits from white privilege. But the sentiment was also that Lei Lei doesn’t look Asian. You look at her and you think how on earth could she be someone who looks white or even white passing? It’s jarring. Lei Lei was so shocked she just tried to move conversation on.

Charmaine’s quote about being told she looks half white really struck me because the idea that being ‘half’ is more beautiful was quite prevalent among my Asian family and friends growing up.

Charmaine said that she heard that comment from a lot of Asian people. She said she initially felt a sense of pride to know people thought she looked half white, even though she isn’t, but as she grew older, she became more conscious and proud of her Filipino identity. She was like, “why aren’t my Asian features celebrated in the same way?”

Even the way people say “you look half” without needing to qualify that with “half white” just shows how deeply entrenched white beauty ideals are in our Asian communities. Since starting your creative work, have you come across your own prejudices that you’ve worked to overcome?

One clear memory was when I first started out. I was too self-conscious and ashamed to use my full name in my photography work. I would use a moniker instead. At the time, I didn’t know of other successful Asian creatives here. I had this mindset that if I used my real surname then people wouldn’t take me seriously or want to work with me. I think it took a long time for me to be like, ‘screw it.’ Now that I use my real name, it feels like I’m not lying to myself. In terms of people’s attitudes, I haven’t seen much difference. But hopefully that’s because I’m making better work.

Why was it important for you to make a series directly confronting racism and microaggressions?

Racism comes in all shapes and forms, it has no definitive identity – it could come from not just strangers, but friends, or even loved ones. I think the general public is more used to the direct form, but not the indirect. This series is my way of subtly highlighting what may pass as offhand comments or compliments even. In reality they are part of a cycle perpetuating ingrained stereotypes or assumptions people may not be aware of. I hope that it starts a deeper discussion of what race means to be an Australian and internal self-reflection.

Text Emma Do
Photography Bryan Tang

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Bryan Tang
Official Website:

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Alice Nicolov 「The Japanese artist using sport to talk about sexuality」

Posted on June 12, 2017 commentaires
The sportsman and performance artist Yuki Kobayashi on gender, identity and being naked

Basket by Yuki Kobayashi

How free do you think your mind actually is? Are you entirely absent of race and gender stereotypes? Do you reject society’s standards of what beautiful means? Yuki Kobayashi’s art will force you to confront the depth of your own convictions.

Using sport as a platform for his uninhibited performance art, the 27-year-old Tokyo-native employs his body and his clothes to explore the neutrality of gender, challenge racial stereotypes and raise questions of the self. Kobayashi’s work is pretty unique in the world of sport: an arena where people are endlessly categorised, stereotypes are usually deeply ingrained and matters of gender, race and sexuality are thrown into sharp relief. “I started to be naked to show this isn’t dangerous; this isn’ dirty; this isn’t negative,” Kobayashi explains when we meet. “Let’s just see it as a real body – this is what you’re hiding under the clothes you choose. It’s a body and you can’t choose how you’re born. That’s your original skin.”

Kobayashi, who trained as a professional tennis player, is brave. Almost unnervingly so. He dismisses the idea of fear – he likes performing too much. “Or maybe I’m too stupid to feel afraid?” he ponders. That’s a trick question. Kobayashi is not stupid. A fine art graduate of both Central St. Martins and the Royal College of Art, Kobayashi challenges preconceptions intelligently. He’s not aggressive or dogmatic – he simply opens doors for people to explore ideas in a safe space, be it in an art gallery or through a picture.

In this day and age, we idolise the image of the body and strict, sometimes invisible, rules govern our thoughts and discourse. But when Kobayashi confronts us with the real thing, we have to ask questions about our received cultural ideas. Dazed spoke with the artist ahead of his upcoming performance at the Yokohama Paratriennale in October to find out more about norm-defying work and why he refuses to compromise.

“Let’s just see it as a real body – this is what you’re hiding under the clothes you choose. It’s a body and you can’t choose how you’re born. That’s your original skin.”

Why do you combine sport and performance art?

Yuki Kobayashi: For me, sport and performance work are very close. The aspect of using the perception of physicality, following your intuition before you think something and how you occupy space and time are similar. Maybe the difference is that in the performance there is no opponent, no winner or loser and, while there are some rules, you can expand or reduce them by yourself and create by yourself. In the performance, action and emotion become very significant materials for making the work.

What are you trying to do with your work?

Yuki Kobayashi: When I went to Florida to play tennis there weren’t many Asian guys and I didn’t see many black guys either. I felt a little bit weird in that situation and when my friends and I tried to join in socially, there weren’t a lot of acceptable situations for us to be involved in. I was a teenager at the time so I didn’t take it too seriously but now I look back it was a little bit weird.

I want to change people’s prejudices. Humanity and biological stuff won’t change – people’s physicality is really different and it depends on how you’re born, but it’s about changing the way people think and breaking those boundaries. I don’t like using the word discrimination but it’s about how you think about everyone else and how you think about yourself – it’s more like self-discrimination. For example, ‘I’m Asian so I can’t really win in sports against stronger people.’ I want people to break down those kinds of boundaries and I want to say: ‘No, don’t think like that, you can do it!’ I think you just have to win. If you win everyone in the audience is going to think, ‘If this Asian guy can win, I can too.’ Winning is the proof and evidence that you can do it. It’s a good way of opening up people’s minds and changing their negative thinking into a positive mental attitude.

What took you from painting on a canvas to making yourself the art?

Yuki Kobayashi: I wanted to show how to make artwork that didn’t have to be painting or installations; it can also be only your body. Performance is better for communicating because it’s more direct. It’s one on one and eyes to eyes so you can feel things from the audience and it’s the most direct way of expressing yourself to someone in that moment. When I’m performing I can see every single person in the audience’s face – that’s why it’s more comfortable for me to do that. I like performing or otherwise why would I do it? I also feel a duty and a responsibility to try and bring about changes. I may be wrong, but I do believe that.

Why do you wear what might be considered typically female costumes?

Yuki Kobayashi: I want to experience what people are feeling and understand how people are looking at sexism and racism – that’s why I wear those costumes. I want to totally change my body’s identity. It’s not about my body needing to be female; I know myself that I have the body of a man. The question is how can you look more neutral? The idea of clothes as an identity and that what you wear is down to your preference is common, but in sports, you have to wear a certain costume. So women have to wear a skirt in tennis and at Wimbledon the players have to wear all white clothes. Those kinds of traditions and rules are pushing people’s identities in one direction. That was what gave me the first idea of starting to wear female clothes and playing sports in gallery spaces.

Did you ever feel like you were having an identity pushed onto you in the world of sport?

Yuki Kobayashi: I would never be pushed by anyone to wear anything I didn’t want to so I’ve never felt bad. But I’ve seen it happen to other people – that’s why I started doing this. People are really fascinated with clothes. For example, female tennis players are expected to wear sports bras, but some don’t and you can see their nipples and people comment on it. Those kinds of issues make me feel really strange like, why are people going crazy about that? It made me think about stadiums almost changing into strip clubs and that made me feel really, really weird. Why are people looking at athletes like that? It’s a sport. I don’t like the sexualisation and the sexism. I want there to be more respect and for people to see the sports. It’s just about winning and losing.

Why did you choose a cheerleader’s outfit for one of your performances?

Yuki Kobayashi: I played sports but I had never tried cheerleading before. When I choose clothes there are a few things I look for: first is whether I like it and I want to wear it. The second is how does it fit on my body? More like a modelling mentality. Then I think about the ideas, the culture and concept of those clothes and the message you send when you put them on your body. Finally, I think about how it works with the concept of neutrality.

“Cheerleaders are in a really weird position. They’re performing in the same stadium and on the same stage as the players, but somehow people don’t think they’re athletes”

That’s why cheerleader’s outfits are nice. Cheerleaders are in a really weird position. They’re performing in the same stadium and on the same stage as the players, but somehow people don’t think they’re athletes. They’re always there in the gaps or in the break time when the teams are taking a rest and they have to get up and perform. It’s an ironic situation to be in. Sometimes the players are kind of tacky – they’re too excited and full of testosterone, but the boys cheerleading with the girls seem much more gentle. I feel like the male cheerleaders are always there, supporting the women, throwing and catching them. They’re still strong but they’re kind gentlemen. I really like that idea.

Do you ever feel vulnerable when you’re performing?

Yuki Kobayashi: In Asian countries, they always think that nudity isn’t good to show and that it’s not really art. For me, it’s not good to compromise an artist’s work. I want to break the walls of the limits of showing artwork in a gallery space and that's why I started to use more nudity. I don’t think my body is dirty – it’s good to show your body as a sculpture and as a piece of art. I don’t feel vulnerable when I’m performing. I don’t really care. I don’t ever feel anything negative from the audience. Whatever the situation is, it’s about just making your work. My work doesn’t change depending on the situation because I never want to compromise myself. I just do the maximum I can in that moment. I wish I could talk to every single person and tell them to be free and that you can be whatever you want to be.

Follow Alice Nicolov on Twitter here @alicenicolov

Yuki Kobayashi 小林勇輝
Official Website:

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