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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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 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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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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Courtesy of Turk Entertainment PR

Eric Yorkie doesn’t sparkle in the sunlight. He doesn’t have a thirst for blood or super senses. He isn’t immortal.

He is, however, one of Bella Swan’s close friends in “The Twilight Saga.” Played by 29-year-old Justin Chon, he’s the nerdy Asian kid who spoke to her when she first came to Forks High School and gave her the nickname “Arizona.”

If you didn’t already know, Chon’s character in Twilight is actually a combination of two characters from the original novels. Movie Eric is a hybrid of novel Eric, a geek who takes a shine to Bella and Asian American Ben Cheney, who likes graphic novels and dates Bella’s friend Angela Webber.

“I didn’t really combine them, to be honest,” Chon said of working in the two characters into the movie. “There wasn’t much about Eric in the first place. This was one of the fortunate things for me. It left a lot to interpretation. I don’t think anything got lost. I was given a lot of freedom to interpret it the way I wanted to. ”

Chon carries Eric’s geeky persona beyond the novel. Once the nice guy with greasy hair and acne, Eric has become the cute Asian guy who is particularly sweet and helpful.

“I decided that he’s a diplomat of the school,” Chon said. “He has one or two friends from each group. I felt it was his goal to make sure that he gets attracted to Bella, but also gets her on his side. I gave him the characteristic that he had maybe one too many cups of coffee, so he’s really up. He’s amiable and kind of always has a smile on his face. He’s the guy version of Reese Witherspoon.”

You can expect Eric to continue being the nice guy who’s always there for friends, Chon said. In “Eclipse,” Eric will become valedictorian of his class. As the series inches toward being a tale of young but everlasting love, there will be less and less of Eric, but he’ll always be there for Bella.

While his character is the slightly awkward but endearing one in the “Twilight” series, Chon said Eric only resembles his younger self.

“[He's] not really the current version of me,” he said. “Just kind of being awkward and not knowing what to do, that’s part of being in high school and not really being too sure of yourself. I was trying to fit in and stuff is pretty accurate, but not to the extent of Eric overextending himself.”

Chon’s ventured far from his former, shyer self. Giving off a guy-next-door vibe in person, he’s played a wide range of characters on screen in TV series and full-length films. As Tony Lee, Chon was Lil’ JJ’s best friend in “Just Jordan.” As a favor for a friend at his alma mater, the University of Southern California, he played Hugo Park , who wanted to win an underground Dance Dance Revolution competition in the short film “Turbo.” Chon then snagged the role of the big brother of Wendy Wu (played by Brenda Song) in “Wendy Wu: Homecoming Warrior,” and his career took off.

“The producer put me into ‘Just Jordan’ and turned me into a working actor,” Chon said. “That was the big break for me.”

Interestingly enough, Chon’s father is a former actor, but that wasn’t what got this Irvine, Calif. native gunning for auditions. “He discouraged it at first,” Chon said. “He said it’s a really hard life. It’s a very competitive and very stressful job.”

But after finishing business school at USC, Chon decided to give acting a shot. “It was just for fun and I just started [going to] a lot of auditions for fun,” Chon said. “But the doors started opening up and I decided to give it a shot for two years and see how it went.”

His work on Twilight took him outside of the metropolitan area for the first time. “We never filmed in Forks,” Chon said. “We filmed in upper Portland and upper Washington. I’ve been to Seattle, but not really the less metropolitan areas of Washington.”

For aspiring actors, Chon suggests pursuing an interest and sticking with it.

“The first and foremost thing: Get proper training. Go to a real acting school and get a real technique going,” Chon advises. “And have the right intentions. I have no desire to be famous. I just want to be an actor. It’s kind of a shame, all these stars who do everything. A long time ago, they used to do it—Gene Kelly, Frank Sinatra—but at the same time, you need to become good at your core thing first.”

As for Chon’s future plans, fans can expect him to be making his way into other film genres. Most recently, he starred in the webseries “Ktown Cowboys.” He’ll still be present in the “The Twilight Saga,” adding humor to the clawing, gnawing, neck-snapping and lovemaking. And while sure, Edward and Jacob could duke it out in “Eclipse,” Chon would rather have Bella to himself, if it were up to him.

Chon sums up Team Eric easily: “Why does it always have to be the supernatural people? Why can’t the Average Joe have some fun?”

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Courtesy Anna Ryon

You may have met him at an indie coffee shop when he lived in Brooklyn, NY, or gone to one of his shows in Washington, D.C. If you’re in Seattle, don’t be surprised to find him at some of his local haunts, including Bauhaus and Caffé Vita. And if you were lucky enough to catch the last Clap Your Hands Say Yeah tour, say hello to their opener, Kazutaka “Kaz” Nomura. He also goes by PWRFL Power and Half Yogurt.

Just to set things straight, Nomura started PWRFL Power exclusively as a singer-songwriter. Half Yogurt is him, reinvented as a guitar shredder, as well as music label and tour organizer.

Carrying blues and folk tones, Nomura’s upbeat, poppy lyrics—such as “Let me teach you how to hold chopsticks. You’re so pretty and holding them. You’re so pretty, but holding them wrong”—send listeners on a laughing spree. Long intervals of acoustic guitar shredding—soothing, yet engaging—leave them entranced and audibly content.

Whoever said “experience is the best teacher” was spot on. Nomura has toured around the U.S. twice and then in Japan. Half Yogurt has produced for indie artists such as Olympia’s Geniferus, Ed Askew and Dennis Driscoll, among others. Along with all this, Nomura is still making music and performing. He even got married to fellow artist Tennessee “Cap Lori” Rose.

On one of the rare sunny days in Seattle, Mochi got a chance to sit and sip with Nomura. Here’s a little on the life of the artist.

Mochi: So you’re from Asahikawa City in Japan. How’d you make your way to Seattle?

Kaz Nomura: In Japan, I had an English teacher who graduated from the University of Washington. She was also Mormon. I originally wanted to study jazz music composition, and she said I should go to Salt Lake or Seattle. I thought, “Well there’s nothing in Salt Lake,” so I went to Seattle.

I took English as second language classes at Shoreline Community College and then went to Cornish College of the Arts for classical music composition. It was really nice because I got to tour while I was still in school. [Cornish] was really laid back. I would say, “Oh, I’m going to do a show in Portland,” and my teachers were OK with it. I’d go for a couple weeks, come back, and go to school.

Mochi: Then you moved to Brooklyn…

KN: I was dating a girl who was the director of a commercial agency over there. I moved for her, but it was also time to leave Seattle because I was playing at the same places over and over again.

I was touring every other month, and I played along the East Coast. My favorite city was Washington, D.C., because I made many friends there and played a lot of shows. I also liked Providence, R.I.

But it gets old if you keep doing it. Up to the fifth time you get to play somewhere, it’s fun, but it’s kind of like going from work to your place. You get used to it. You know which cafe you’re performing at and where to go.

Mochi: How’d you meet your wife, Tennessee?

KN: I was performing at the Capitol Hill Block Party and she was in the audience. After the show, she came to talk to me at the merchandising booth. I got married in August. Tennessee and I went to do a lot of sightseeing. I think we stayed there for 10 months. We also toured around Japan. I think we performed, like, 50 shows together. We toured everywhere and went to most of the major cities.

Mochi: What was performing like in Japan?

KN: Most people didn’t understand what I was singing, but they still liked it. I think they’re intrigued, and they feel some pride in seeing a Japanese American singer. People also told me they like the music, even if they don’t know the lyrics. They seem to appreciate what I’m doing. I wanted to hang out with people from the Japanese music scene. I ended up opening for Clap Your Hands Say Yeah in their last tour, and that was really cool. All the shows sold out.

Mochi: What is touring and traveling like?

KN: I stay with friends a lot. Usually, I don’t have a solid place to live. I couch surf. It’s fun to spend some time in one neighborhood and then in another one. I don’t really have a lot of stuff. I usually bring two suitcases full of stuff. Half would be CDs and half merchandise. The rest are clothes. You don’t need much. You can eat out, so you don’t need cookware. I live like a homeless person. I have my stuff and my guitar.

Mochi: And the wife?

KN: She wants to come on tour. It would be more efficient if I did it alone, but it’s still fun and nice to have company all the time. She’d open for me.

Mochi: How about the parents?

KN: They’re very supportive. They come to my shows when they’re in town. I think they’re happy for me. I save up enough money and do well enough to keep going.

While Nomura enjoys the couch surfing and traveling, he plans to stay in Seattle for a while and settle into married life—for now. “I like going back and forth, but I don’t want to just be the guy who’s here or some guy touring all the time,” he said. “I like where I am.”

Read more about Kaz Nomura, his music and his label at www.halfyogurt.com.

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Courtesy John Russo

No one wants to go through life known as “the Asian dude.” But for Harry Shum, Jr., it’s a dream come true. The 27-year-old plays football player and show-choir member Mike Chang on the hit show “Glee,” but he’s much better known for being “the other Asian,” a nickname dubbed by Jane Lynch’s scary cheerleading coach character, Sue Sylvester.

Shum is no stranger to being a token Asian. Growing up in Costa Rica, he was often the only Asian in a crowd of Latin American faces. “My parents spoke three different languages in one sentence, and I would get so confused as a kid,” he recalled. While he spoke Spanish and English at school, it wasn’t until he moved to San Francisco at age six that he began to learn Cantonese as well. But that wasn’t the only difficult part of his childhood. “I was a really shy, really quiet kid—almost to the point where my parents thought something was wrong with me,” he said. So how did a young child who never spoke or socialized with others end up with a life in the spotlight?

“I always loved movies,” said Shum. “Inside, I always wanted to perform in some way or the other, but I never did. I was just too shy.” But in his room, alone, he was free to emote as he pleased. “I would sing songs and act out scenes in movies. But if anyone had walked in the door, and saw me, I would have been so scared.” His favorite performances to reenact were cartoons like “Transformers” and Michael Jackson’s music videos.

It wasn’t until one day in junior high that he got up the nerve to try out for a school play, which led to multiple performances at school. Then in high school, a good friend dared him to audition for the dance team, which exposed him to different styles of dancing, like hip-hop. “We did dances to songs by Ginuwine, and girls would scream,” Shum said. “And the football players suddenly wanted to join us.” Sound familiar? “In high school, I fell into the dance team like Mike [Chang] fell into Glee club.”

Shum’s experience acting, singing and dancing in high school set him on a path to pursue a career in the performing arts. After a brief, three-month stint at San Francisco State (where he studied cinema and international business—“to make my parents happy”), Shum and his best friend took off one day and never looked back. “He’s a music producer now,” said Shum. “We wanted to go and live our dreams.” While his parents originally had their doubts, Shum was able to convince them to let him give performing a real shot.

Courtesy John Russo

It goes without saying that the bet has paid off. He went on to dance in “Stomp the Yard” and “Step Up 2.” While working on the latter, he hit if off with director Jon M. Chu and joined his dance crew, The LXD (short for The League of Extraordinary Dancers). “Chinese people aren’t known for dancing, especially hip-hop wise,” Shum said. “I’m not saying they can’t do it, but they haven’t been portrayed [doing so]. It’s something that resonates as cool and hip, not the geeky Asian that people usually see.” The LXD is slowly changing this perception with the national attention they’ve received from their performances at the Oscars and the TED conference.

Of his breakthrough role in “Glee,” Shum remembers hearing that people were auditioning for Vocal Adrenaline, the rival show choir, in the pilot. “They told me [“Glee”] was cool and funny, but you hear that about a lot of shows,” he said. “I auditioned like everybody else, and I had to sing and dance.” When he got the call and e-mail letting him know he had received the part, there was no word on how involved of a role it would be. “I thought I’d be there for one day, and it ended up being rehearsal tomorrow, shooting next week. And then it kept going on, and no one told me how long I would be staying. That’s when I realized I would be there for awhile,” he said.

In the time he’s been a full-time cast member, Shum has developed a strong bond with his “Glee” cast and crew. “We don’t get sick of each other, which is really special about the cast. To be honest, that’s what makes the show work,” he said. “I’m close with everyone in different ways. Cory [who plays Finn] and I sit around for hours talking about technology. Matt Morrison [Mr. Schuester] knows some Chinese words, which he learned from friends. He can’t understand much, but he knows some Cantonese, which is always funny. Jenna [who plays Tina] and I cheer each other on, like ‘Go, Asian!’ Best of all, being part of the Glee crew means working with stellar guest stars, like Kristin Chenoweth. “She is an incredible person. Aside from being a little bundle of joy, you can learn so much from her,” said Shum. “I think the whole cast has a professional crush on her.”

When “Glee” returns from its mid-season hiatus, fans can expect a Madonna-centric episode, cameos from Neil Patrick Harris, Molly Shannon and Jonathan Groff, and much more singing. “[Creator] Ryan Murphy took the fans’ requests for stories developing in song, and you’ll see a lot more of that,” said Shum. And in the future, he hopes his character will get a love interest like Kurt and Mercedes allegedly do in upcoming episodes. “Mike Chang needs some loving!” he joked.

Catch Harry Shum, Jr. on the small screen when “Glee” returns April 13 and online at www.thelxd.com.

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Courtesy Rodney Ray

For Nikki SooHoo, acting isn’t just a job; it’s part of a framework through which she can use her voice to change the world.

“My mom always tells me, ‘I just want you to be happy and to make the world a better place,’” said the 21-year-old Orange County native. “And that’s exactly what I’m going to do through acting. I’m going to use my voice to make a difference, to reach out to charities, to spread the message to people so that they reach out as well.”

SooHoo’s acting career began seven years ago when she was 14, but her preparation for the profession began long before she reached high school. The third-generation Chinese American grew up in a culture of support and high standards of achievement. The actress recalled that her childhood also exposed her to a lot of new experiences. “My parents pushed me into everything that I could possibly do: dance, play basketball, play soccer, play tennis, play golf … I pretty much tried every single sport,” she said with a laugh.

Her family has also directly inspired her to enter the realm of performing arts. “My whole family is very artistic,” she said—her father owns a graphic design firm and her brother is a salsa dancer. The family’s enthusiasm for fine arts is clearly reflected in SooHoo, who in February organized a charity event bringing Los Angeles-based dancers, spoken-word poets and other artists to the Orange County Children’s Therapeutic Arts Center (an organization providing opportunities for special-needs and at-risk youth) to perform and talk about their work.

SooHoo’s latest role was in Peter Jackson’s “The Lovely Bones,” where she played Vietnamese teenager Holly in protagonist Susie Salmon’s afterlife. She elaborated, “[Holly] is not only [Susie’s] best friend, but also the spiritual guide who helps Susie get from the in-between to heaven.”

Courtesy Rodney Ray

Her first major role was gymnastics movie “Stick It” (2006), where she trained for three months to play gymnast Wei-Wei Yong. She then played Christina in “Bring it On: Fight to the Finish” (2009).

“All my characters that I’ve ever played have kind of been like me,” she said, reflecting on the course of her career. “They accentuate a part of me that is quirky or fun or happy-go-lucky, and also fun and lovable.”

One of SooHoo’s goals is to become an agent of social change. In particular, she strives to represent the Asian minority in Hollywood and eventually hopes to introduce more diversity to the film business. “I want to set a good example as an Asian American in the [acting] industry,” she said. Her manager, Addison Witt, believes that SooHoo is well on her way to achieving that goal. “As an actress of Chinese decent, Nikki has already had an influence on Hollywood’s claim for diversity in ways that can only be fully told as time progresses,” he said.

On her days off, SooHoo is a college student studying world arts and culture at UCLA. “Education has always been a really important part of my life,” she said. (Her mother, a professor at Chapman University, often emphasizes the importance of going to school). In addition, she is involved in a wide variety of extracurricular projects, ranging from participating in a UCLA dance team to organizing charity events in her community.

However, SooHoo is undaunted by the high investment of time and effort needed to excel in all her activities. “I’ve always thought that I could do multiple things at a time,” she said.

Courtesy Rodney Ray

After graduating from college, SooHoo hopes to move on to graduate school while continuing her career as an actress. In addition, she is “really interested in learning and delving into the psychology of nutrition.” She specified, “I want to help fight the American obesity problem by studying the psychology behind [eating], because it is mainly a psychological problem.”

No matter what, the actress appreciates the feedback she receives from her fans. “I like to connect with [my fans] on a personal level,” she said. “A lot of them truly inspire me a lot—they write to me on Facebook, on Twitter, on MySpace, and it just moves me [to read] how much they loved a certain movie, or how they respect me or how they want to get into acting because of me.”

She added, “If it weren’t for them, I wouldn’t have a voice—and I wouldn’t be able to reach out if no one was listening.”

Follow Nikki SooHoo on Facebook, MySpace and Twitter.

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Truth be told, Tim Ouyang has no idea what kind of long-term situation he’s in. But public opinion seems to indicate big plans for this the lead singer/songwriter of Virginia-based pop-rock quintet, Tim Be Told.

“To be perfectly honest, I didn’t know how long this was going to last,” said the ex-architecture major of his burgeoning music career. “I was going to go as far as I could. I can’t believe how many people have related to the music and how much we really love what we do.”

Burning up the college music scene with a power pop sound like that of Jason Mraz meets The Fray, Tim Be Told has become a grassroots sensation since its inception in 2007. Back then, Ouyang was just another University of Virginia student with a longtime penchant for penning heartfelt songs. It was not until he met a friend of a friend, Andrew Chae, then a guitarist from California looking to start a band, that Ouyang considered partaking in the music business full-time. The band was later rounded out with Luan Nguyen (rhythm guitarist), Parker Stanley (bass) and Jim Barredo (drums).

“I knew when I left school, I wanted music to be part of my life,” Ouyang said. “I figured that I’m young; I have my degree. I wasn’t giving up too much. I’m only going to be in my twenties and enjoy life.”

One of the biggest initial hurdles, however, was getting his parents to understand his new calling.

“Growing up in an Asian American household and pursuing music, my parents weren’t very happy. They thought I wasn’t going to survive,” said Ouyang, who is of Chinese descent. “If you’re an immigrant from an another country, what you know is that you came here with nothing and [you’re] doing whatever you can to make a living. Our generation is completely different. We know how to operate within the culture. It was our parents who laid the groundwork for us to do our own thing.”

Despite the generational gap and cultural differences, the singer managed to convince his parents by bringing up a striking point, “I said to them, ‘I don’t think that you guys have worked this hard and this long for me to do be doing something I hate.’”

After receiving a begrudging blessing from his parents, Ouyang’s next step was convincing the general public. Composed of predominantly Asian band members, he and his band mates have experienced some glass ceilings from time to time.

“There were so many people who were skeptical,” he said. “They would look at me funny, like, how is this skinny Asian kid is supposed to be able to sing?”

Ouyang merely views these preconceptions as advantages, however, as it provides the element of surprise when he belts out one of Tim Be Told’s power pop ballads.

Boasting a surprisingly polished sound for mostly self-trained musicians, the band is building up on wave after wave of increasing successes, from winning UVA’s Battle of the Bands to snagging a top ten ranking on MySpace’s unsigned chart. Ultimately, Ouyang says he has not regretted trading in his graph paper for sheet music.

“Even if we don’t top the charts, hopefully we’ll pave the way for someone else to do it,” he said. “We can show other Asian American artists that we can do this. You just have to push and not give up.”

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A new generation of rap rock music has hit the airwaves in the form of afterschoolspecial. Hailing from San Diego State University, Dan aka Dan (emcee), Jaimie (vocals), Brian (keyboard), Keane (guitar) and Todd (bass) first got together while at school, but soon took their talent and creativity to a professional studio. After several years of touring and recording up and down the West Coast, the group was nominated for Best Hip Hop at the San Diego Music Awards. Dan, also a coordinator for the San Diego Asian American Film Festival, shares some insight on how the band is embracing their newfound rockstar-dom while also managing to stay true to their roots.

How would you define your style of music?
Rap/rock or hip-hop/alternative. Everyone in the group has different backgrounds in music, and I think that really plays into the sounds we create. Everyone draws on their own experience from punk to blues to classical. It’s been a blessing and a crutch in that we can all bring something new to the table, but it also makes it more difficult to decide on our sounds.

Do you each draw from your respective cultures and ethnicities?
Our cultures and ethnicities definitely help shape the music we create and the type of band that we’ve become. However, it doesn’t define us in anyway. What I mean by that, and I think a lot of other Asian American musicians (or even those in other fields) would agree, is that there are obvious influences in what we do and the songs we create. We will never sell our selves on just being an Asian-fronted group. We want to produce great music first and let that speak for the band. This way, the music can be more accessible to as wide an audience as possible.

None of the songs are about being Asian. However, we agree that the reception from the community has been very positive and we’ve been able to meet some amazing contacts and play a lot of great shows that are culturally based, which has allowed us to reach new audiences we wouldn’t otherwise been able to meet.

Where do you draw inspiration from?
We draw inspiration from other like bands, such as Linkin Park, Gym Class Heroes, and Flobots. I usually listen to groups like this before we play a show or before we write new music. It works out for me, because I listened to music like this before the band, so I was already prepared with the type of sounds we wanted to create.

What makes you all good role models?
Are we good role models? [laughs] I’m not sure if we’re the best role models, but I do think that we work very hard at what we do and there may be a lesson somewhere in that. On the Asian American level, I know that there are very few Asian Americans in the limelight (whether it be actors, politicians, or musicians). We could go on and on about socially and culturally why this doesn’t happen, but simply, it’s good to have people out there with similar cultural backgrounds representing.

What are your thoughts about the Asian representation in the music industry here in the US?
We’ve talked about this before with some other artists and the biggest issue of what’s holding us back is our own community. Because our community is so segmented — Korean, Filipino, Chinese, Cambodian — we find that oftentimes it’s difficult to bring everyone together to support everyone else as a whole. We’re too involved in what our own segmented community is doing that we can’t see the greater good in coming together to support as a whole. I think that this is changing, though, with everyone mixing and mingling in younger generations, and that by the time our children are teenagers, race won’t be as much of an issue.

Stay tuned for afterschoolspecial’s next big project — they’ve promised to keep us in the loop about their upcoming album!

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Bollywood Axion:
Bollywood Axion (BAX) is a professional bollywood and bhangra dance school based in New York City. The first and leading professional dance school for these genres of dance, the school has its own dance company and hosts classes for students of all backgrounds. A troupe representing BAX will be competing in Kollaboration. For those unfamiliar with the terms, bollywood (or Indian film dance) is a mixture of traditional and classical Indian dance infused with jazz, hip-hop and modern styles. Bhangra is a high-energy dance that can be witnessed at parties and has its roots in the Punjab province of India.

COBU:
Based in New York City, COBU is a performing arts group that specializes in traditional Japanese drumming (Taiko) and rhythmic tap dancing. The troupe was formed in 2000 by Yako Miyamoto, a current member of the off-Broadway hit STOMP. A fusion of New York and Japanese sounds, COBU’s performances have received rave reviews from The New York Times and The Chicago Sun Times.
— by Julie Leung

Dylan Schroth:
Born and raised in Jersey City, NJ, Dylan Jazztin Schroth currently attends High Tech High School. The high school junior dreams of making it big in the music industry. According to his MySpace page, this Filipino American aspires to be “stadium-status famous.” Despite being only sixteen years old, Schroth writes and records all of his music. He is currently working on a CD and on MySpace describes his sound as “the kind of music you fall asleep to in your bedroom at night after some of the best and worst days of your life.”

Jen Kwok:
Jen Kwok is a ukulele-slinging writer and performer based in Brooklyn, NY. The California native was a national finalist in 2007’s NBC Stand-Up for Diversity, and has quickly established herself as one of the quirkiest young comedians working across genres. Jen’s unexpected mix of music, stand-up and improvisation has earned her a reputation as a multi-talented entertainer, performing at venues such as Gotham Comedy Club, Highline Ballroom and the Bowery Poetry Club. Kwok has also been featured on CNN, PBS and in The New York Times for her comedic exploits.
— courtesy of Kollaboration NY

Kevin So:
Kevin So has performed all over the United States for over a decade, gathering admiration, recognition and respect from fans, the media and fellow musicians. Brought up in Boston, MA, So began his musical career with an appearance on the television show “Big Break,” hosted by Natalie Cole, and moved on to rack up an extensive list of achievements. He toured the country in 1994 with a cover band. In 1995, So left the band and began booking his own solo gigs throughout the U.S. After being discovered by The Agency Group, he released several more albums. Finally, in 2007, So received the “Overall Excellence Award” (Outstanding Music & Lyrics) for his work in “Victor Woo: The Average Asian American,” a musical loosely based on his life.

Project D:
Project D is a hip-hop dance company from Bergenfield, New Jersey. Initially organized by then-college student Bernie Armendi and composed of close friends, the group has since become a burgeoning community of Tri-State college students interested in hip-hop dance. The name Project D comes from a Japanese anime, but according to the group’s MySpace page, the letter “D” represents dedication and devotion to dance.
— by Julie Leung

Taiyo Na:
Born and raised in New York City, Taiyo’s musical roots sprouted at age 13 when his friends encouraged him to write rhymes. With a passion for spoken word poetry, he performed nationally with the New York-based feedback poets collective from 2000 to 2003. By the time he was 19, he was selected as one of the “25 Best Emerging Artists Under the Age of 25” by New World Theater’s Intersection Conference. Within the next few years, Na created a name and niche for himself in New York City’s independent music scene. He has since had two featured concerts at the Lincoln Center, among other accomplishments. He is currently the artistic director of the Sulu Series at the Bowery Poetry Club and the Entertainment Series host for “Asian America,” a weekly TV show syndicated by PBS.

Magnetic North:
Magnetic North is a hip-hop duo consisting of band members Derek “Direct” Kan and Theresa “T-“ Vu. According to MySpace, Magnetic North’s sound is about “moving your body as well as synapses.” Known for their lyrics and melodies, they have caught the attention of superstar rapper Nelly and civil rights activist Yuri Kochiyama. In March 2006, they released their first album and often collaborate with Taiyo Na, who will be competing alongside them at Kollaboration.

Marie Choi:
Marie Choi was singing before she could talk. She began her classical soprano vocal training in high school, eventually entering college as a voice major. She has performed at venues nationwide, as well as international. In the tri-state area, her performance experience includes Carnegie Hall, Korean radio stations, the Bowery Poetry Club, The Delancey, NYU, Columbia, Rutgers, Gama and more. She is currently pursuing a career in music, working on her demo and writing original music.
— courtesy of Kollaboration NY

Tim Be Told:
The band Tim Be Told (Tim Ouyang, Luan Nguyen, Andrew Chae, Jim Barredo, and Parker Stanley) was born in Charlottesville, VA and maintains a devoted fan base in its home state. Tim Be Told is a mixture of soul, pop, rock, gospel and blues. They recorded their debut album “Getting By” in 2007. After playing their first show only a few months later, they have continued to perform at East Coast venues such as Jammin’ Java, the Knitting Factory and Satellite Ballroom. They were also recently the winners of University of Virginia’s Battle of the Bands in 2008.

Compiled by Angela Lee, unless otherwise specified.

Kollaboration NY will take place on June 27th, 8 p.m. at NYU’s Skirball Center at 566 Laguardia Place (Doors at 7:30 p.m.). Mochi is an official Kollaboration NY sponsor. For information on how Kollaboration started, read our profile of founder Paul Kim here. See our interview and photo shoot with Kollaboration guest judge and Gossip Girl star Yin Chang here. Tickets can be purchased here.