Photo Credit: Joanna Lee

Everyone can be a blogger these days, but how many of us can claim the attention of President Obama? What started out as an online space for 33-year-old Phil Yu to vent has now gained nationwide recognition in the form of Angry Asian Man, a website that dedicates itself solely to Asian American issues. Assertive and sometimes aggressive, Yu makes it clear that Asian Americans are a growing community that deserves to have a voice and be heard. Though he’s celebrating Angry Asian Man’s tenth anniversary this year, Yu is just getting started.

It all began one day with Yu simply expressing his anger over the unacceptable discrimination and racism that’s become too pervasive in our society.

“I had no plan; no real grand design. I was just doing it out of a desire to really express myself and put my opinions out there,” Yu recalls. “I wasn’t expecting anyone to read it.”

The site is exactly what its name describes, a place where Yu articulates his indignation of the discrimination evident in pop culture, politics and any form of media.

“The same kind of stuff keeps happening,” he says, of why it’s necessary to continue being angry. “You think people are past the idea of racism, but we’re totally not. I feel like there are so many instances where you have to stand back and go, ‘What the hell? We’re still dealing with this?’ It’s frustrating.”

It was clear from the beginning that Yu was not alone in his frustration. He began to receive hundreds of submissions for his blog, as well as recognition in the press. More impressively, his posts have made a difference in the actions of politicians and individuals, and, above all, served as a role model to his readers.

Over time, Yu’s accepted his newfound influence and the responsibility that goes with it.

“I still have the same opinions about a lot of things, but I’ve embraced and recognized that I have a voice and that people are looking to this blog for information and an idea about Asian America,” he says.

But beyond the powerful tool that he unwittingly created, Yu is also a perfect example of what can happen when someone dives into his or her passions head-on. Yu, as a blogger, is a wildcard in the game of taking traditionally accepted paths. Yet the risk he took has not only made him a great leader but also benefited angry Asian Americans everywhere by giving them a voice.

“People should follow what they’re passionate about and embrace that,” he says, acknowledging the severe academic and professional pressures for young Asian Americans today. “There’s a lot of pressure to go this way or that. When it comes to careers, follow the area you want to go toward. Don’t be influenced by outside factors.”

“It needs to be reinforced that Asian Americans need to follow their passions,” Yu adds. “You have to figure out what you want to give a damn about. Once you figure that out—it might take a while—just go for it. Follow your dreams.”

And no, Yu is not always angry. In fact, there are plenty of things that make the Angry Asian Man happy.

“Seeing achievements and people getting recognition for what’s really special in the Asian American community is important,” he says. “You see the pioneers making headways in areas that have never been made before. Doors are being opened up everywhere, from main stream culture to politics, when Asian Americans break out of traditional roles.”

And we know when that happens, Yu will be the first one with something positive to say about it.

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Joseph Vincent is exhausted. But if there’s anyone who deserves a break, it’s him.

Photo Credit: Garrick Fujii theyshootfilm.com

In just a few short years, Vincent has grown from receiving his first guitar at the age of fifteen and posting simple covers on YouTube to recently completing an exhilarating tour throughout Australia—which is why he was catching up on some much needed rest at home in Southern California when Mochi spoke with him.

What’s particularly notable and refreshing about Vincent’s rise to fame is his unassuming approach: in his whole life, he has never taken a singing or guitar lesson. Fate struck when his parents bought him a guitar for Christmas when he was fifteen, and from there he began learning songs by ear.

With his smooth vocals, acoustic chops and laid-back charm, the Filipino-American singer-songwriter has already garnered over 50 million views and 220,000 subscribers on his YouTube channel. Labeled “YouTube Artist of the Year 2009,” Vincent has broken out of the YouTube community and performed twice on The Ellen DeGeneres Show, with a forthcoming mix tape and solo album due next summer.

“There was no strategic planning,” Vincent says of organically growing his career by first showcasing videos of his musical chops. “People ask me, ‘What songs do you choose?’ I just choose what I like to sing.”

From Iyaz’s “Replay” to Owl City’s “Firefly,” Vincent has covered a range of top hits in various genres. He has also branched out to writing his own music, including the breezy, Jack-Johnson-esque “If You Stay” and his most recent single on being “stung” by love, “Bumblebee.”

For aspiring musicians, the music industry may seem particularly daunting to break into. But Vincent stresses that as long as artists can stay true to themselves, success will come.

“The music industry is changing, and it’s not what it used to be,” he explains. “You could and you’re actually better off as an independent artist than as a major label artist trying to push to be the next Lady Gaga, or the next Justin Bieber–because it’s hard to get to that level. Being in music–don’t think about the business. Do it because you want to do it. Stay true to yourself and to your music. It’s that simple.” Certainly, there are plus sides to being independent—namely, the freedom to choose what type of music you record.

Vincent also finds support in the tight-knit APA YouTube community, where he counts fellow musician Clara C and makeup guru Michelle Phan among his friends. “Everyone has each other’s back,” he says. Clara collaborated with him on a cute cover of the Plain White T’s “Rhythm of Love” and also featured him in her music video for “Heartstrings,” and Michelle Phan invited him to be filmed in her love story/makeup tutorial “Catch My Heart.”

“Michelle and I are really great friends, and working with Clara, she’s such a talented artist,” Vincent says of his friends. “Everyone is just trying to get to the same goal and, you’d think that would make it competitive, but it’s not.”

In terms of what inspires Vincent’s own music and songwriting, he says it all boils down to one thing: love.

“When I’m writing my music, it’s usually based off of experiences in my life and driven by love, love for your girlfriend, love for life,” he says. “Love is usually the main driving force behind the way people work and function. They do something because they love it, they stick with someone because they love it.”

So is there a special someone in Vincent’s life?

“No, not right now,” Vincent says with a smile in his voice. “I stay focused on my music.”

Despite his fame, Vincent is a normal guy who enjoys snowboarding and Korean BBQ. Perhaps most refreshingly, he remains down-to-earth and grateful for everything that’s happened to him, especially towards his fans.

“Thank you for all of your love and support,” he says. “Without all of you I wouldn’t be able to make my dream a reality.”

Learn more about Joseph Vincent at josephvincentmusic.com.

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Photo Credit: Cedric Bihr

Whether you’re a “Grey’s Anatomy” fan or someone who enjoys hanging out at cafés, chances are you’ve heard Priscilla Ahn’s whimsical and soft voice. Aside from her musical style and lyrical depth, the 27-year-old’s shameless confessionals have caught the attention of many loyal fans.

Much of Ahn’s childhood was dedicated to finding out who she was because she felt so different from everyone else. Perhaps that is why her lyrics demonstrate an uncanny ability to look into everyone’s souls and force us to examine our lives. Ahn, who is half Korean and half white, grew up in a predominately Caucasian town but still practiced Asian customs. “We took our shoes off in the house and my mom cooked tons of Korean food,” recalls Ahn. “Korean culture was a big part of my life growing up and I really embraced it. I’ve tried to incorporate [the culture] in how I live today.”

Coming to terms with being the misfit in a group has inspired more than one wonderful tune from Ahn. She revisits this journey in “Elf Song,” from her latest album “When You Grow Up.” “I really enjoyed writing this one. It’s similar to ‘Wall Flower,’ and I imagined this elf girl who feels so gawky compared to all these other elves. Maybe a part of that is me because in my teenage years my feet were huge and I had long arms—I was not put-together like the other girls.”

In a generation where mainstream music has become sex-centric, Ahn is a breath of fresh air from the many messages telling women and young girls that the only way to be happy is to find a man and fit in with the norm. “Even though the girl [in the Elf Song] is so gawky, she’s a beautiful person and a beautiful soul.”

This positive message is one that Ahn tries to convey in all of her work. Ahn believes that everyone should remain true to themselves and that no one should ever settle for anything less than their own definition of happiness. “What I would love to tell everyone is that you’re not alone. Even though your situation is so unique, we all go through similar kinds of feelings of loneliness and pain,” says Ahn, “I know my music isn’t mainstream in any way, but I’m way more proud of that than selling out or writing hits to make money or be popular.”

Photo Credit: Henry Diltz

For someone who used to stare out her window at the moon, wanting to get out of the small town she grew up in, Ahn’s certainly come a long way. But this doesn’t mean she’s stopped growing yet. “In the past five years, I’ve done a lot of self-reflection on my childhood and my life, and how I got to where I am,” says Ahn. And it’s these experiences that she shares in her music—her life experiences and struggles—that provide a way for listeners to relate to the spectrum of emotions that come with adult life: loneliness, hopefulness, and the giddiness and comfort that comes with finding someone special.

Ahn specifically opens up on her struggles in relationships, especially in the beginning. “The big thing for me was fear—fear of being hurt, opening up yourself too much, and this person might not be someone you can trust,” she says. “The [Korean] culture has very restrained love; that’s how I approached my relationships. I wasn’t physically affectionate and a part of that was because I didn’t know that growing up. It was scary for me to do that and open myself up that way.”

The musician sagely notes that all relationships, good or bad, take much effort. “It’s a lot of work to listen to someone who is not happy with something you’re doing. It takes a lot of strength and courage to sit there and listen.” She’s learned that “if you’re really invested in it, it’s going to require work on both sides. Communication and listening is key, and so is trusting each other and opening up that soft side.”

Ahn’s determination to stay true to her voice in conveying such experiences sets a moral standard for an industry that is continuously making way for superficial values. “The pressure is on to sell new records. That’s not why I came into any of this,” Ahn asserts. “I stand up for my music and what I believe in.” Refusing to become a stereotype that the music industry demands today, she’s a positive role model for not only aspiring young artists but also for anyone who wants to be comfortable in his or her own skin.

Wallflower or star, she has us leaning forward in our seats, anticipating what she has in store for us next.

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Photo Credit: Patricia Williams

While she is technically one-eighth Chinese, celebrated author Lisa See, whose novels have landed on The New York Times bestseller list, has always felt a deep connection to her Asian roots. Many of her works, such as the most recent Snow Flower and the Secret Fan (which was turned into a Hollywood movie), as well as Shanghai Girls and Dreams of Joy follow the perspectives of strong, young female characters overcoming various hardships and challenges. And through her beautifully written stories, See sheds light on the unique and fascinating aspects of Chinese culture, all while spinning compelling hook-line-and-sinker stories.

It was only natural for See’s unique ethnic background and upbringing to serve as inspiration
for her novels. As the great-granddaughter of Fong See, who is known as the godfather of Los
Angeles’ Chinatown, and with a large extended family of over 400 Chinese relatives, she grew
up immersed in Chinese culture. “You identify yourself by the people that are around you,” See
said. “This is what I grew up with.”

Like other authors, See’s writing reflects the influence of her family, but what’s especially inspiring is that she uses her writing as a means to learn more about herself and her own background. In order to give her stories such a realistic touch, See conducts extensive research on the story before she begins, whether it’s to paint a picture of life in Communist China in Dreams of Joy or in the Manchu period in the 17th century in Peony in Love. She even traveled to a remote part of China—where she was apparently only the second foreigner to have visited—to research the art of nushu, or the secret form of writing she had her main characters communicate with in Snow Flower and the Secret Fan.

“As I’m writing these books, I’m looking at some aspect of myself,” she said. “That was a way for me to explore that part of my family that I didn’t know.”

As far as inspiration for the characters goes, See explained that part of it is simply the direction that a story takes her, where it might turn out that a young female voice best fits. But she also draws from her own experiences to craft what words and thoughts the character might use. “I fall back on what I was like—when I was still innocent, a little naïve, idealistic, stubborn, optimistic and feeling very open,” she said, citing the character of young Peony from Peony in Love as an example. “I find those attributes in myself, to reach that part of myself.”

See’s prose flows so gracefully that readers may be surprised to know that she initially didn’t have her sights set on becoming a writer. Before she realized she wanted to write, she had dreams of being a costume designer. “I was 19, and thought I really knew what I wanted,” See reflected. “There are those things that you’re so sure about when you’re younger.”

In encouraging inspiring writers, See takes a moment to pause before highlighting the importance of keeping an open mind, since her own life didn’t necessarily go as planned.

“Be more open to new ideas and change,” See said. “When I was young I was very scared, very nervous … so I had to do one thing a week that made me nervous. I had to build courage. That doesn’t mean doing crazy stuff—just trying stuff that you’ve never tried, and tasting the world.”

Going forward, See’s influence is widening beyond just her readers. The film version of Snow Flower and the Secret Fan, one of her most-loved books, recently came out in July.

“A novel is one kind of art; a film is its own work of art,” said See of having her own novel on screen. “There were some major, major changes in the film, so I thought it was better to let them tell the story they wanted to tell. I certainly told the story that I wanted to tell.”

See’s continued exploration of the unknown and her own background has led to her eye-opening and engrossing novels. While fictional and entertaining, these stories are based on historical fact and careful research and reveals incredibly nuanced details about Chinese society for the closet history buff in all of us. And through her writing, See passes on not only the joy of a good story, but also the knowledge and insight of Chinese traditions to millions of readers around the world.

For more about Lisa, visit her website at www.lisasee.com.
For more on the movie Snow Flower and the Secret Fan, check out the official website here.

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Photo Credit: Dove Shore Photography

Acting, like many professions, is not the easiest to break into. Most aspiring actresses hear “no, no, no” repeatedly before they get a single “yes”—unless you’re Kelsey Chow.

After a stint in community theater got Kelsey hooked on the spotlight, her agent set her up with her first audition ever— a spot on the teen favorite show “One Tree Hill.” “I thought the role was for a cheerleader, so I went in a cheerleading uniform,” says Kelsey, who admits she was an “O.C.” fan and hadn’t seen “One Tree Hill” before the audition. “To book that was absolutely surreal,” she says of her first role ever, which she filmed while in high school. “I was the youngest of them all—I was 13 when I started, and the other actors joked that I was the only actual high schooler playing a high schooler. And I was nervous because it was my first gig, but everyone was unbelievably friendly,” she says. Perhaps that’s why four seasons later, several of her fellow cast members are still working together every day.

While the part didn’t call for any specific ethnicity, most of the auditioning actresses were Asian American, though the character of Gigi Silveri ended up being Italian. “It was fun to play people of different backgrounds,” says Kelsey. “With my mixed background [of Chinese, English and Cherokee], it’s ambiguous.”

Her role called for a nerdy but boy-crazy character who meets series regular Mouth McFadden when they co-host the commentary during the basketball games. Though the guest role was short-lived, producers asked Kelsey to return a few seasons later as a bombshell college intern at Mouth’s news station. “At that point, I was 17 and now playing a 21-year-old,” she recalls. “I read the script every week, and thought, ‘Oh goodness, what am I doing now?’ But it was so fun to play that transition.”

Now, as one of the stars on Disney XD’s “Pair of Kings”, Kelsey plays Mikayla, the tough assistant to the show’s two kings (played by Mitchel Musso and Doc Shaw) and a guard in training. “It’s completely different from ‘One Tree Hill’,” she says. “It’s a world with infinite possibilities. I am so lucky because I love everyone on the show. We have such a family dynamic.”

And while she’s between seasons of the show, Kelsey heads back to the East Coast, where she’ll split her time between the two Columbias—the South Carolina city, where she is from, and the university, where she is studying global health. “I’ve been hearing classic college spring break stories,” she says. “I want to go back!” Despite being in relatively youth-oriented shows, Kelsey does get noticed on campus. “The mailman recognized me from ‘One Tree Hill’, and a girl in the elevator recognized me from ‘Pair of Kings.’ I was like, ‘you watch that?’ But I’m glad they’re watching the shows and enjoying them,” she says.

As the current TV season wraps up and the fate of the show that jumpstarted her career hangs in the balance, Kelsey is open to heading back for a potential series finale. “‘One Tree Hill’ will always be so special to me,” she says. “Mark Schwann has been very good to be me and I would be there in a second.”

At such a young age, Kelsey, who cites Natalie Portman as one of her role models, can take her time choosing her career path. “I’d love to explore different kinds of acting, whether it’s film, theater, or more television,” she says. But some of her short-term goals do have some sense of urgency: “I’d kill to work with people like Annette Benning and Sean Connery. But I read that he’s retiring—I better hurry!”

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Courtesy Sony Pictures Publicity

It’s highly likely that you’ve heard of Jay Chou before—he’s the Taiwanese singer-songwriter behind hits such as “Cute Girl (Ke Ai Nu Ren),” “Simple Love (Jian Dan Ai),” and “Silence (An Jing).” If you haven’t heard the original songs, you may have seen YouTube covers by Mandarin and non-Mandarin speakers alike (our favorite: sisters Riney and Bam, who used Chou’s music to learn Chinese), or heard his catchy melodies while singing karaoke.

If you’re a fan (or if you grew up in Asia), you may have even caught him on the big screen. He’s acted in movies such as “Initial D” and “Curse of the Green Flower,” and even directed a movie called “Secret” in 2007, with a sequel planned for next year.

But if you haven’t heard of Jay Chou before, get ready to get introduced to him in January, with his first foray into Hollywood as Kato in “The Green Hornet.”

Courtesy Sony Pictures Publicity

“I’ve always felt an affinity toward movie adaptations of comic books,” Chou said. In fact, his first starring role was in “Initial D,” an adaptation of a Japanese manga series. But Chou has chosen what is far from a low-pressure role to introduce himself to American audiences. Aside from an immense fanbase of its own, “The Green Hornet” also stars A-listers such as Seth Rogen and Cameron Diaz.

“When I was chosen for the role, I was extremely excited,” Chou said. “This is an opportunity for people to get to know me, especially those who don’t know my music.”

Not that Chou really needs the additional exposure. He got into music at age four, when, like many Taiwanese children before and after him, his mother pressured him to study piano—and study it hard. He recalls how strict she was, making sure he practiced every day, but he also credits her with building the foundation of his musical career. And when he started listening to pop music, he decided to take a stab at writing his own songs as well. Since then, he has become possibly the most recognized pop star in Asia, with hit after hit, album after album.

Chou’s musical success has always been somewhat of a safety net for him. When auditioning for the role, he wasn’t too stressed.

“Movies are a sort of hobby for me,” he said. “Music is my business.”

Courtesy Sony Pictures Publicity

But when Hong Kong actor Stephen Chow dropped out of “The Green Hornet” and the role was given to Chou, he gave it his all. Aside from studying Kung Fu and driving techniques (the original Kato was a valet for main character Britt Reid), Chou had to work hard on his English.

“In between filming, I had to practice my English, which was very tiring,” he said. “Even as a student, I was never good at English, so getting reacclimated was nerve-wracking. My only relief was the director, who told me my English was getting better and better.”

Another difficult part of filming “The Green Hornet” was getting the comedy right.

“I’m not a funny person,” Chou said. “As a singer, I put on a cool persona, and rarely joke around. But when acting with Seth Rogen, who is hilarious, I had to try to be just as funny as he is. And that’s hard.”

If audiences respond well, Chou could become an international star—one of the most difficult barriers for Asian artists to break through. But even if they don’t, Chou is grateful that his career has allowed him to be selective about his projects, and make only the type of music and movies he is passionate about. As he should—Chou is nothing if not a hard worker. As 2010 wraps, he is getting ready to go promote “The Green Hornet” internationally with cast and crew. In January, he’ll play concerts in Los Angeles and San Francisco to further promote his music and movies. And finally, while he plans to keep acting in 2011, he hasn’t lost sight of his claim to fame.

“I put out a new album every year—that’s an absolute must.”

Note: This e-mail interview, conducted in Mandarin, has been translated into English by Mochi editors.

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Courtesy Wilfred Chan

Like runway strobe lights prepared to guide a supersonic airplane to takeoff, electronic drums pulse and clang, lining the first verse of the hit single, “Like A G6.” But there is no airstrip here—I’m standing in Times Square, and instead of thundering jet engines I am surrounded by a horde of screaming fans, who literally cause the air to shake with a roar of recognition as Far East Movement plays the first notes of their latest and most infectious song.

I had the chance to sit down with Far East Movement backstage right before their Hard Rock Café performance back in October, in an attempt to capture them at a new turning point in their success as artists. The recent rise of the group (abbreviated FM) has been as quick as the private jet referenced in the song name; “G6” has shot the group’s four members from the cement to the stratosphere, grabbing both #1 on iTunes and the coveted #1 spot on Billboard’s Hot 100. The song itself is now ubiquitous—conceived in LA’s Koreatown as a staple of California clubs, it has charted on lists across the world and has people of all backgrounds feeling “so fly like a G6.”

Courtesy Wilfred Chan

What is unknown to many new fans is that Far East Movement is comprised of four Asian American artists who go by the names Kev Nish, Prohgress, J-Splif and DJ Virman. While they may appear to be fresh faces, the group has already been in the music business for years.

Sitting across from me on a couch in a back office of Hard Rock Café, Kev Nish described the evolution of their band.

“When we first started, we would record music in the attic of a homie’s crib… so we would take an old school computer, big monitor, plug it in, RadioShack mic and record music. The first song we ever did was a song about our lifestyle. We wanted an international outlook on downtown LA—a generation that’s not defined by any specific genre but a mixture of your playlist.”

Flash-forward about a decade to the present and three studio albums later, the group’s core creativity has survived undiluted. Kev Nish recounted how a Cherrytree Records executive told them, “You guys have a party that we want to be invited to,” upon signing the band. Given the license to forge their own sound, the band described wanting to create something different and refreshing: “We fused everything we were a fan of, everything that inspired us: hip hop, pop, electronic, alternative, put it all into one—created that sound and called it Free Wired.”

Courtesy Wilfred Chan

As they spoke, I couldn’t help but notice a remarkable ease and poise about the four musicians, who seem as relaxed minutes before the concert debut of their new album as any friends might be on a regular weekend afternoon.

“We’ve been homies for so long,” explained Prohgress. “You gotta make sure that all four of us are on the same page with everything, whether it’s our ties, or whatever, everything has to be straight… we’re like brothers now to an extent.”

When I asked them about their recent success on national charts, especially in light of being the leaders of Asian American music in the American mainstream, the group remained steadfastly humble.

“We’re really proud,” said Kev Nish. “We really appreciate the fact that the [Asian American community] sees it that way, and we appreciate the fact that they’re proud. And at the end of the day, we grew up in downtown Los Angeles; we grew up as American kids. For us, the struggle of being an artist, as it is—we want to inspire everyone equally, anyone that’s creative, that’s trying to pursue their dreams.”

Part of their effort to inspire includes helping out with 4c The Power, a non-profit organization that provides training in the arts by professional artists for the youth. When FM first started, they never had anyone to talk to in terms of how to make music, and relied on trial and error. As a means of giving back, they teach workshops for kids on how to write songs to help build confidence in the community (the four C’s stand for culture, community, creativity, career).

“It’s really cool because the kids—they actually have more ideas than we do,” said Prohgress. “We might use a couple of those ideas for the next album ‘cause they didn’t copyright it or nothing,” he joked. “Nah, but it’s just a lot of fun working with them. And we work with them the same way that we make our music—it’s just a big round table—we’re clowning each other, he’s making fun of my glasses, and we’re just having a good time.”

Thinking of our dear readers, I couldn’t help but ask if they are currently single before we wrapped up. Sighing slightly, they all affirmed that they were.

“But you know what, right now we’d probably be the worst boyfriends in the world, because we’re traveling,” said Kev Nish. “Our careers are important to us, and we’re never home. So you know that definitely doesn’t make for good husband material.” Here, Prohgress was quick to inject his own thoughts: “Aw man, it’s a Free Wired world, you know, I could be Skypin’ with her all the time.”

As the band members each shared their thoughts on their ideal girls, answers ranged from “stays on the computer” to “ten toes, ten fingers.” However, in the end they all agreed that it was about being “Free Wired”—being open-minded, confident, able to “geek out,” and having “good taste in music.”

Moments before heading out onto stage, I asked FM what was going on in their minds and what they do to prepare.

“We’re humbled, and we’re flattered, you know,” admitted J-Splif. “We’re nervous, we’re excited, we’re stoked, all of that jumbled into one little bowl, so we’ll see what happens when we get out there.”

Prohgress added, “Always gotta get our prayer in, gotta get a rehearsal in, and always gotta probably get on the chat for a couple minutes. If you guys ever wanna hit us up, we’re always online—Facebook, all that, Twitter… go on our website, we’re always blogging, doing all that.”

As each member came up to me afterward and graciously thanked me and Mochi for the interview, I felt a visceral excitement for the group and their immense promise. Not only are they a success story for the Asian American community, but they are a testament to the power of dedication and an example of justly rewarded creativity and talent. It was a rare treat to talk to Far East Movement at this major turning point in their career, and it is nothing short of thrilling to see where they will go in the future.

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Courtesy Penguin Group

Internet gurus (and Mochi alums) Teresa and Serena Wu first began documenting the funny things their mothers said in October 2008, when they created humor blog My Mom is a Fob. The site was such an immediate hit that they ended up getting several book offers. We got together with the two good friends, Teresa (currently working for Google in New York) and Serena (a design consultant based in San Francisco) to chat about their upcoming book, fobby moms and becoming an author. Look out for their book, “My Mom Is A Fob,” with an introduction by comedian Margaret Cho, in stores on January 4.

MOCHI: How did the two of you meet?
TW: I’ve known Serena since known preschool, apparently. But I don’t remember being friends…I only know this because we have pictures together!
SW: We started chatting again in high school, I believe?
TW: Yes, mainly because of journalism class. I was editor-in-chief and she was the special features editor of our school newspaper.

MOCHI: How did the idea of the blog come along?
TW: Late one random night, we talked about how funny it would be to start a blog about the funny things our moms say. So we just went on Tumblr and started posting at that moment…
SW: Within a week there were over 60,000 page views! It was surreal but awesome.

MOCHI: Since Teresa is now based in New York, you guys are on opposite coasts. How is the work divided?
TW: Updating the blog is not extremely time consuming—we do it about once a week. Serena is in charge of My Dad is a Fob [the spin-off site] and I oversee My Mom is a Fob.
SW: With the launch of the book, we’ve been receiving many emails with questions regarding publicity events and all that is going on as a result of the launch. If anything, it’s harder to keep up with responding than it is maintaining the blog.

MOCHI: How does it feel like to be approached by a publisher and have a published book at such a young age?
SW: It was exciting, but because we were so new to it, it felt like we were actually behind the wave. Most bloggers who had book offers had their books published way before us. We weren’t experienced with the process, so it took us longer than most authors.

MOCHI: Can you explain and describe the process of going from blog to book deal to publishing?
SW: Four or five agents approached us, and we ended up choosing Writer’s House (who also represents Stephanie Meyer, the author of the Twilight series). Our agent left shortly after we signed, so we communicated directly with our publisher. It was up to us to tread the waters on own and we took the initiative to communicate with our publisher Perigee, a division of Penguin Group.  After that, there was just a whole lot of editing for the both of us—but it has been a wonderful ride.

MOCHI: What advice do you have for girls out there who want to become writers or publish a book?
TW: If you want to be a writer today, there is a lot of competition. Many people are willing to do it for a byline, so you really have to be strong willed and have a hard working personality and immense drive. You have to be truly passionate about it, because you might not get a lot of recognition in the beginning.
SW: I would consider myself a designer more than a writer, but when you first start off, as Teresa mentioned, you really have to pay your dues. My first gigs, I was working for no compensation. But it allowed me to gain experience and build up a portfolio for future opportunities.

MOCHI: Why do you think the book’s theme resonates so well with Mochi readers?
SW: I feel like as an Asian American, our parents are predominately first generation immigrants, and we all share the same communication and cultural barriers. Some of us may feel like they may have to blend into American culture or that there is no happy medium for our identities. We get a lot of emails from fans, saying “Thank you for creating MMIAF/MDIAF,” because it allows them to embrace their differences and not be ashamed of it.  I believe the blog has created a space for Asian Americans to share experiences and connect.

MOCHI: What is your relationship like with your moms?
TW: I’m pretty close to my mom. I call her two to three times a week just to catch up. I know I am the most important person in her life, and she makes me feel that way… It’s cheesy but true. I think the same can be said about most Asian parents. We know we owe them so much for pretty much dedicating their whole lives to working in order to make ours better.
SW: My relationship with my mom is a little more atypical – she travels a lot for one to two months at a time, so we communicate mostly through email, Facebook and Twitter. We have more of an e-lationship where she likes to stalk me online. She will even comment on my sister’s profile to reach me because she’s on my limited profile. But it’s nice that she’s tech-savvy so we can communicate via social media. She even has her own blog!

To win a copy of the book, submit your own Mom and Dad FOB moments in the comments below. Three winners will be chosen. Good luck!

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Courtesy Chang Rae Lee

When acclaimed Korean American author Chang Rae Lee paid a visit to my western literature class back in high school, I was unfortunately ignorant of his recognition in the literary world. However, the impression that he left was immediate. Although soft-spoken in the discussion we had about J.D. Salinger’s novel Franny and Zooey and cultural assumptions in society, his words held a keen insight and profundity that naturally commanded everyone’s attention.

After that class, I did some research and quickly discovered just how much Chang Rae Lee is celebrated. To this day, I feel privileged to have met him in person. Lee’s stories of personal exploration and struggle have struck a particularly strong chord among the Asian American community. Topics of identity, isolation, cultural disparity, war and endurance resonate strongly among immigrants from all backgrounds—or with anyone who has ever questioned his or her place in the world.

“I think being an immigrant, aside from just Korean American, influenced me most. The perspective of being an outsider in one’s society is often painful and revelatory,” said Lee, who came to the U.S. from Korea at the age of three. He also credits his parents for being strong influential figures who worked hard to create a good life for him and his family.

Interestingly, Lee was a financial analyst on Wall Street before deciding to try his hand at a career in writing.

“I always loved literature and writing and knew I would always write, but didn’t believe it would be a career—perhaps just a serious hobby,” he said. The large success of his first novel, Native Speaker, which follows a Korean American immigrant trying to fit into American society, was a clear sign that he made the right career change.

His novels are beautifully crafted and multi-layered stories that bring to life the emotions, trials and complex inner and outer journeys of the characters. Most known and admired for his distinctive writing style, Lee writes incredibly detailed prose that is both lyrical and deeply emotional. Readers immediately find themselves immersed in the complicated web of personal and societal relationships that protagonist Henry Park navigates throughout Native Speaker and struggle along with June Han from The Surrendered as she tries to conquer her inner demons from the Korean War.

As Lee tells his creative writing students at Princeton University, “To be distinctive is key, and the only way to be distinctive is to write naturally, instinctively and without regard to the opinions of others.”

Lee’s words couldn’t ring more true to his own success. Over the course of his career, Lee has garnered numerous accolades, like the Hemingway Foundation/PEN Award and ALA Notable Book of the Year Award, among others. Pick up one his books, and you’ll not only be inspired to think more deeply about your surroundings, but may even wish to reevaluate the different connections you hold in your own life.

Ultimately, Lee hopes his novels affect “a thoughtful, engaged person who doesn’t shy away from the difficult questions or subjects of life.” His is a straightforward but meaningful message we can all take to heart—that it’s perfectly acceptable to have questions about our identity or place in life, and to always be inquisitive and attentive to our world around us.

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Courtesy Aimee Lucas and Richard Che

Fans of TV talent shows such as “So You Think You Can Dance” and “Dancing With The Stars” know that those hoofing it up on stage only constitute half the equation. Choreographers are increasingly—and deservingly—sharing the spotlight with performers, allowing a rare behind-the-scenes glimpse into their art and method. For Filipino celebrity choreographer and dancer extraordinaire Shaun Evaristo, that method is often non-verbal—particularly when he’s working overseas, teaching moves to megastars like Korean recording artiste Taeyang.

“We’re able to understand each other through dance alone. Trust is key,” said Evaristo, who choreographed a number of music videos for the K-pop star, including the popular “Wedding Dress.”

Like many of the Asian artists Evaristo works with, Taeyang speaks limited English, and Evaristo doesn’t exactly have an effortless command on the Korean language (though he’s getting there). But words are frequently of little use anyway.

“Taeyang, he’s amazing, such a nice dude. He’s my homie. He works really hard, his work ethic goes over the top,” said Evaristo.

Courtesy Aimee Lucas and Richard Che

Talking to Evaristo, you’d never know otherwise that the 26-year-old Bay Area native has danced for stars such as Omarion and Vanessa Hudgens, and choreographed for artists including NLT, Travis Garland, Korean groups Big Bang (of which Taeyang is a member) and 2NE1 and the “K-pop prince,” Se7en. He thanks me several times during the interview, seemingly surprised that anyone would want to learn more about him, despite the fact that his Facebook, MySpace and YouTube accounts are overflowing with heartfelt praise and gratitude. One says that simply watching Evaristo was inspirational, while another praises Korean record label for making the smart move of hiring Evaristo for choreography. The words “inspiration” and “amazing” pop up in almost every other comment.

It is difficult to properly capture into words Evaristo’s style of dance. More complex than traditional hip-hop, there is a precision, smoothness and intensity to his moves that elude definition. Even he has trouble putting a label on his own technique.

“It’s more than just hip-hop. It’s just my style. At the end of the day, I just love dancing, and that’s what it is,” said the ever-modest Evaristo. “It’s just exciting to do this as a hobby and really make movement our lifestyle. It’s something that made sense to me.”

Dancing has long come naturally to him. Mimicking Michael Jackson and Janet Jackson music videos from the age of five, and forming dance group Gen2 in his garage with his cousins at 10, there was little doubt for Evaristo that dance was in his future.

“By 18, I just knew this was what I wanted to do with the rest of my life,” he said. “I decided that this was my path.”

Courtesy Aimee Lucas and Richard Che

After taking tap, jazz and hip-hop classes in high school (where he was frequently the only male in the class), he gradually crafted his own style of slick moves to call his own, forging an early career in dance and choreography that quickly caught the attention of pop stars here and abroad. And unlike many other Asian American narratives, Evaristo’s parents were supportive from the start.

“My parents are the best. They didn’t second-guess me. Whatever I needed, they would give me,” he said. “Through dance, I want to provide for them. I want to give back to them because I’m forever grateful.”

Since moving to Los Angeles in 2006, Evaristo has been quick to do more than just dance. Aside from teaching workshops and choreographing routines, he is also the president and founder of Movement Lifestyle, a “full-service choreography management company” that represents artists like himself. While the company is still in its infancy, he hopes to build it into a larger entity with healthcare for all its employees.

“I feel like I’m just starting,” he said. “I want to go as far as I can go.”

This seems to be his mindset in business, dance and life—that everything is boundless, with no end to the growth of creativity. His advice to budding performers who are trying to find their own style runs in the same vein.

“If you’re trying to be you, the best thing is to explore,” said Evaristo. “Exploring is key. It’s part of the way. Run as fast as you can in that direction. Find you.”

Check out Shaun’s choreography for Taeyang’s music video “Wedding Dress” and a music video of Shaun’s performance to Miguel Jontel – “Sure Thing:”

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Courtesy Janet Hsieh

Taiwanese American Janet Hsieh has a job most girls would die for—she travels the world, visiting exotic locales and trying fine foods. As the host of Discovery Travel and Living’s Fun Taiwan, which is broadcast to 25 countries throughout Asia, Hsieh introduces audiences to the island’s attractions—both of the tourist and off-path variety—and wins them over with her charming personality and daring attitude. Due to the success of the show, Hsieh has broadened her horizons and is now taking on all of Asia as the host of Fun Asia, which began filming in 2008.

While Hsieh is well-known across Asia due to her TV shows and recent book, Traveling with 100 Toothbrushes, she is also beginning to make her presence known in her home country—the U.S. Among Taiwanese American circles, she is beloved for the very reasons she appeals to Asian audiences—her spunky attitude, adventurous personality and, of course, good looks. Recently, she was the closing keynote speaker at the 2010 ITASA Conference at her alma mater, MIT, where she shared her experience of stumbling into her dream job and exploring Taiwan.

Born and raised in Texas, Hsieh had never visited Taiwan until she graduated from MIT. Growing up, she considered herself more Taiwanese than American, and so figured living in Taiwan would be simple. But even though she has lived all over the world—Ecuador, Argentina, France and India to name a few—she found living in and exploring Taiwan to be one of the most fascinating, as well as challenging, experiences of her life.

After arriving, she was often frustrated. “People would consider me an idiot because I was not fluent in Taiwanese and my Mandarin, at the time, was limited,” she said. “But, living here has given me an incredible opportunity to learn about my identity.” She also noticed how the stereotypical Asian female archetype—docile, pale and skinny—was highly esteemed in Taiwan—a discernible difference from the strong, independent type she aspires to be and is so touted in the U.S.

She admitted, “I got sucked into being a girly girl, but with Fun Taiwan, I showed people that it is OK to be a healthy, adventure-seeking, outdoorsy girl.” In time, Hsieh has become particularly successful at differentiating herself from many of Taiwan’s celebrities, pouring her love of the outdoors and outgoing personality into a much-coveted, fun and dynamic job.

Although she has always loved traveling, Hsieh did not plan to be a TV host of a hit travel show. When she first became a host, she constantly sought ways to improve herself, looking to Samantha Brown and Anthony Bourdain for inspiration and admiring their natural on-camera personalities and ability to be themselves.  She has come into her own, conversing easily with locals and working seamlessly between English and Taiwanese with a can-do attitude.

While she does not formulate the creative direction of the show, she is an active contributor, helping to decide locations and improvise voice-overs.

Courtesy Janet Hsieh

She has particularly enjoyed visiting theouter islands of Taiwan, considering them “a little escape from reality.” With the aboriginal culture largely untouched and all the comforts of being on an island, Hsieh often seeks refuge on the outer islands. Outside of Taiwan, she raves about Fiji for the diving and Queensland, where she skydived and flew a sea plane, for an adrenaline rush.

While Hsieh once dreamed of being a doctor to change the world, she now leverages her celebrity status to give back to the global community and spread awareness of issues close to her heart, such as human trafficking and international children’s issues.

Hsieh advises teenage girls who wish to follow in her footsteps to work hard and reminds them that being a celebrity is temporary. Looking back, she said, “I wouldn’t change any experience—good or bad—even during my really low moments. In a way, those moments have made me who I am today.”

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Courtesy Fresh Clean Media

Who would have thought that being bored out of your mind would be the best thing that ever happened to you? While looking for something to do one day, singer-songwriter Zee Avi picked up a guitar and taught herself how to play. At the time, Avi was a college dropout living at home with her parents in Malaysia. Today, she is a rising musical star living her dreams in Brooklyn, New York.

For Avi, posting the videos on YouTube was an outlet similar to an online diary. Her work caught the eye of Raconteurs drummer Patrick Keeler, who sent a clip to his manager, Ian Montone. Montone collaborated with Jack Johnson’s Brushfire Records to release Avi’s records and her musical career took off.

“You can say it all derives from boredom,” said Avi. “But knowing how to channel it is really what it is.”

For Avi, making music was a way to share her many memories and thoughts. If there is one thing Avi cannot live without, it’s music. Avi’s songs are inspired by anything that piques her interest, but primarily focuses on heartbreak, which she claims to have experienced one too many times.

“Enough to make a record, that’s for sure,” she said.

Her success, ironically enough, began when she dropped out of the American Intercontinental University in London. After fighting to go to school for fashion design, she left after three years, not wanting to waste money on something for which she lacked passion.

After moving back to Malaysia, Avi pondered futures in creative writing and philosophy, and took courses to teach English as a second language.

Courtesy Fresh Clean Media

This was the time Avi began her YouTube endeavors.

Avi describes the start of her fame as nerve-racking.

“Then you get used to being in different places … A part of what I love about life is experiences. There is no such thing as a bad experience.”

As a teenager, Avi described herself as best for causing chaos. The young troublemaker, who wore all black and sported pink highlights in her hair, was a rebellious teenager full of angst. She played hooky when she was supposed to be in class and read self-described “pretentious” philosophical books rather than school-assigned textbooks. According to Avi, she calmed down when she reached her first year of college when she decided “being pissed off at life is totally unnecessary.”

Avi is currently recording tracks for a new record, which is due to be out in the spring. For artists who hope to achieve the same level of fame from YouTube, she suggested “not thinking of fame or fortune if you genuinely want to display your art. Do it because you want to.”

Or perhaps, because you’re bored.

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For one, K-pop has helped Korean American teens stay connected with their heritage. Lois Lee, a 17-year-old Korean American from the San Francisco Bay Area, uses K-pop as a way to practice her Korean. Since reading Korean newspapers and novels can be difficult for Asian Americans whose primary language is English, Lois finds it easier to practice by listening to K-pop and watching television interviews of her favorite stars.

Courtesy Creative Commons ygfamily_2ne1

“On TV shows, K-pop stars do try to aim their language to make it more formal (no slang) and easy to understand. So I pick up a few words here and there. It’s easier to form sentences when you listen to a language for longer [duration], and what better way to do that than to have fun with TV shows and songs?” said Lee.

The global interaction of K-pop has also become a way for Korean Americans to relate to Koreans from the “motherland” halfway across the world. Last year, when the news broke about K-pop boy band 2PM’s loss of their lead singer, Asian American heartthrob Jay Park, girls in America and Korea alike mourned together through online forums and discussion groups.

Watching stars both on and off the stage through YouTube videos has also helped Korean American girls keep up with the latest fashion trends in Korea, be it thick winged eyeliner or the latest twist on fake glasses. This continued connection, something that is not so readily found with many other first-generation immigrants and their native countries, helps explain the fierce loyalty that many Korean American teens express to their native Korea.

What sets K-pop apart from the rest is the fact that it is able to attract a substantial non-Korean following as well. For 17-year-old Chinese American Lucia Lin, who is also from the Bay Area, K-pop was an introduction to Korean culture.

“Ever since I’ve been following K-pop, I’ve been watching countless [Korean] dramas, eaten a variety of Korean dishes both at home and in restaurants and really began interacting with many more Korean friends. I’ve even been told that I act Korean,” said Lin, who is planning to visit Korea for the first time with friends next summer.

Lin finds K-pop appealing because it exhibits a combination of singing and dancing that she finds lacking in American performers. As for the language barrier, Lin finds her way around Korean culture with the help of subtitles, translators and Korean-speaking friends. However, Lin does admit that sometimes there are clashes between her Chinese American heritage and her love for Korean culture.

“Ever since I’ve been following K-pop, I’ve become more disappointed in my own nationality, especially since China has no reputation whatsoever in the entertainment industry,” she said.

Courtesy Emily Yi

For other non-Korean teens who follow K-pop, the culture clash is less of an issue. Richard Yu, also age 17 and living in the Bay Area, said “K-pop is somewhat similar to my own culture already. Taeyang’s songs, although in a different language, are not that much different from the raps of Jay Chou.” But he, like Lin, prefers K-pop to American music, as he feels that each Korean pop song and group is unique.

K-pop’s influence on both Asian American teens is not without its faults. The Korean entertainment industry’s focus on beauty and appearance has made teens, such as Lin, more focused on appearance and fashion, and the prevalence of plastic surgery among the model-like pop idols has conditioned many teens to think that beauty requires plastic surgery.

Lee said, “People doubt that [celebrities] haven’t had anything done, because all stars have had ‘touch-ups’ in some places.” There are, however, some groups that are breaking that stigma. During a televised interview with female pop groups this July, 4Minute’s Hyun-a claimed that none of them had ever gotten cosmetic surgery. On the flip side, LPG (during the same interview) claimed to have 27 procedures done between the five girls. Oddly enough, 4Minute seemed to receive more negative feedback, with the show’s host joking about how plain they all looked without any makeup.

Despite the materialism of the Korean entertainment industry, K-pop’s influence still produces a positive influence on teens. For one, most Korean music has clean lyrics and positive messages—you are far less likely to find songs about partying, drinking or hookups. Both Lee and Lin agree that from an American teenager’s standpoint, Korean music videos and on-stage performances feature cleaner dance moves and less revealing clothing. Unlike American pop stars, K-pop stars are constantly promoting their music with frequent live stage TV performances, endorsements and interviews.

As Lee sees it, “because they get bad rep if they do anything inappropriate, they are more careful with what they do and say.” This industry standard for having a clean, more conservative image is in part because of the Korean culture and its stricter censoring, limiting the content of many songs and videos in Korea. Popular singers like Rain (Bi) can have their lyrics censored for having “magic stick” in his lyrics, while in America, artists can have a whole song dedicated to the subject.

As a Chinese American teenager surrounded by K-pop obsesses but not entirely obsessed myself, I’ve been able to witness the passion that so many people have for music from a country across the world. This summer, when the Wonder Girls and 2PM came to San Francisco on tour, thousands of Asian American teens flocked to the concert, some waiting in line for hours just to take pictures with the stars. There are times where I complain that this entire K-pop craze can get annoying, but ultimately I think it is a positive, if unexpected, influence on the Asian American teens around me. That, and the fact that the tunes are just so damn catchy.

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Courtesy LXD Ventures

“We’d pretend to be robbing a bank, or go on a Jurassic Park adventure,” he recalled. Some time later, the preteen hassled his father until he bought him an electronic mixer to edit the films with. As soon as he got his hands on it, he cut together one of the vacation videos and showed it to his family that night.

“They were in tears watching it,” Chu said. “I remember thinking ‘wow, this is powerful.’” This is the moment Chu pinpointed when asked when he first realized he wanted to be a director.

Chu, better known today as the director of “Step Up 2: The Streets” and “Step Up 3D,” the mastermind behind online web series “The LXD” and man behind the highly anticipated Justin Bieber movie, is not one to stray from his dreams.

“I used to stay up late making videos for school assignments,” he said. “My mom would come in and say, ‘You can’t keep making these videos, you’re up all night. I’m going to call the school and tell them you can’t do videos.’” So he told his mom that filmmaking wasn’t a hobby, but a serious career interest. “The next day, she came into my room with a pile of books about filmmaking, and said, ‘If you’re going to do this, you’re going to do it seriously.’”

And that’s exactly what he did. Chu later went on to the University of Southern California to study film, and his final short film eventually caught the attention of Steven Spielberg. “That’s when things became very real,” he said. When the two finally met, they spent hours discussing musicals, movies and more. “From then on, he became a mentor to me,” said Chu. “He bought movie ideas from me, developed them for DreamWorks, invited me on set to watch him work. And the industry responded.”

Soon after, Chu was approached to helm a direct-to-DVD project: the “Step Up” sequel. His first thought: “C’mon, I met Spielberg. I’m not going to do direct-to-DVD.”  His second thought: “When did I become such a snob? If I’m a true storyteller, it doesn’t matter what medium it’s in, whether it’s direct to DVD or web video. I’m just telling a story.”

So, in his words, he decided to make the “best damn direct-to-DVD ever.” He revamped the script and prepared a video teaser, which led to a meeting with the president of Disney.

“Within 20 minutes, they greenlit the movie,” Chu said. “Full theatric release, from five million to 20 million budget and a release date of February 14, 2008, which was eight to nine months away.”

The movie went on to make $150 million worldwide.

The success of “Step Up 2” led to “Step Up 3D,” which Chu said was about making dancing the star of the movie (as opposed to Channing Tatum or the actual storyline). “We built it like a musical,” he said, “When words weren’t enough, dance would tell the story.”

In fact, he said it was almost more of a video game than a movie. “Every battle was a different culture, planet, dance style, which made it fun for us. If we had fun in this world, the people watching would as well.”

A few days before “Step Up 3D” was released, Chu got another important phone call.

“Paramount called and said they were doing an interesting, different thing—a film about Justin Bieber,” he said.  He didn’t have to ponder the job offer for long. “I’m a pop addict. I love pop culture and I love Justin Bieber. If it were any other artist, I would have said it’s not my thing. I’m not a big documentarian. But the story about Justin is so interesting. He’s an underdog. He comes from Canada and was not chosen by a big corporation, or “American Idol.” This story is so unique about how he became a megastar within a year. And I think it’s right in my wheelhouse—telling a fairy tale about how he came to be. He’s been anointed by Usher, Ludacris and Kanye to carry on the hip-hop and R&B tradition. He falls into the tradition of other artists that start young, like Michael Jackson and Stevie Wonder.”

Chu hasn’t forgotten his self-reprimanding words when he almost turned down the “Step Up 2” job that made him Hollywood’s go-to dance guy. No matter the medium, Chu can tell a story—whether it’s a big-screen movie like the “Step Up” follow ups, a web series like “The LXD” or a documentary about Justin Bieber, he’s a master at every platform and technology.

“I get so many messages on Twitter and YouTube,” he said. “And it humbles me every day. It reminds me of when I showed my parents my first video and they were crying. People all respond in different ways, and for any filmmaker, it’s the ultimate gift. Once you make something, and you hope people like it, and they respond back—that’s instant gratification. It’s why I do what I do.”

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Photo by Austin Young, Courtesy Ken Phillips

In her work and her life, Cho has always pushed boundaries by challenging traditional notions of being female, Korean American and a performer. Tattooed, tantalizing and lovingly loudmouthed, Cho’s standup routines often touch on taboo issues such as sex and drugs, as well as plaguing issues such as immigration and same-sex marriage.

Saying what needs to be said is no problem for Cho.

“I never allowed any doubt to seep in,” Cho said. “Don’t worry about the consequences.”

It was perhaps this mindset of complete abandonment and absence of fear that has made Cho a leading figure and voice for a number of social issues.

Besides speaking frankly about gay and lesbian rights in performances, Cho is known for her advocacy for same-sex marriage and acceptance of the LGBT community. Cho’s satire exaggerates events and experiences gays and lesbians go through.

In one of her standup routines, Cho takes on the role of her very traditional Korean mother, talking to Cho’s answering machine about sexuality: “Are you gay? Come talk to Mommy about it. You have a cool Mommy. Mommy is so cool and Mommy know all about the gay … They all over the world, you know. But not Korea. Not Korea. Everywhere else.”

Offensive, perhaps, but skits like this one are among Cho’s specialties, as they help shed light on the side of Asian society and culture that is rarely expressed.

For her work, Cho has been recognized by the most prominent LGBT advocacy organizations. She was deputized to preside over same-sex wedding ceremonies in San Francisco when the city legalized gay marriage in 2004.

“It has nothing to do with whether it’s constitutional,” Cho said about same-sex marriage. “Having a partner is very important.”

Cho also pokes fun at racial prejudice, bringing her experiences of growing up in a traditional Korean family to stages and screens. Her thoughts on immigration and racism appear frequently in her standup routines and served as the storyline for her 1994 sitcom, “All American Girl.” Her message: Making fun of people can be pretty funny, but it can be really mean when you mean it.

In the early years of her career, she was the opening act for Jerry Seinfeld’s standup comedy series and then the star of a sitcom based on her standup routine. But along with the great roles came pressure from network executives, stress and eventually substance abuse and addiction.

“I turned to drugs and alcohol and food and shopping and this and that and whatever in order to endure the pain of people,” Cho wrote in her blog. She also detailed her life, career and substance abuse in her autobiography, “I’m the One That I Want,” in 2002.

Cho’s latest project also touches on dependency. Her debut album “Cho Dependent,” which was released August 24, is a product of her latest musings—singing and songwriting—as well as collaborations with artists such as Ben Lee, Fiona Apple and Ani DiFranco.

“It’s something I wanted to do about dependency and addiction.” Cho said. “Not only to drugs and to people, but everything you experience in life.”

Those experiences, according to “Cho Dependent,” include love, lice and the pursuit of large genitalia—another display of Cho’s unconventionally bold (but honest) humor.

There is a song about killing a lover and stuffing him in an attic (that humorously comes with a music video featuring Andrew Bird as a dead man). Then there is a tune about needing an intervention (featuring Tegan and Sara, who write a letter to Cho about her “problem”).

Cho is currently on her “Cho Dependent Tour,” where she will perform a few songs from her album. You’ll also see her this fall on the newest season of “Dancing With the Stars.”

“I’ve got some mean stripper moves and I can pick up a dollar with my butt,” Cho wrote in her blog. “However, the Viennese Waltz is all-new for me. I’ve been training with my partner for three days now and I can’t believe how much my body hurts. I’m trying to embrace the pain.”

May we suggest using the experience as emotional (and physical) fodder for her next project? We’d love to hear about Mike “The Situation” Sorrentino and Bristol Palin on her next album, which the constantly multi-tasking entertainer says she is already thinking about now.

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