Starting your own business

Maybe you want to start your own graphic design business or you’ve got a knack for making handcrafted jewelry that you want to sell. First, you should speak to as many people as possible in the field and learn as much as you can. Ask about their experiences and challenges, tips on cost-related factors and how they price and market their product.

Make sure you’re 100 percent committed to your idea and that you have seed money to start out with, then don’t be afraid to dive in. (Bake sales are a relatively easy moneymaking option, and garage sales also clean out your closet!) If you’re still in high school, consider taking an introductory business course at your local community college. There are also great resources available on the Internet, such as bplans.com and free online money-tracking platforms like Indinero.

Recording your own CD

Who says you can’t be the next Taylor Swift? You don’t need to spend a fortune on booking a recording studio or buying fancy equipment to produce a quality CD. GarageBand, which comes with all Apple computers, is a fun and user-friendly program that includes both arrangement and recording capabilities. You can plug in a microphone, bass or guitar on top of a range of built-in instruments for back-up. If you need more direction, check out some of the hundreds of free tutorials on YouTube or stop by an Apple retail store.

For PC alternatives, try Cakewalk Music Creator ($50), which comes with over 1,000 music loops, built-in instruments, project templates and instructional videos. All you’ll need are a microphone and blank CD.

Getting a law passed

If you have great ideas on an issue you’re extremely passionate about, don’t be afraid to make your voice heard by contacting the local congressional member in your district. Simply look up their name online to find their congressional website, with details on their stances on different issues as well as their contact information.

Make sure to thoroughly research the issue you are concerned about and carefully craft the message that you will be sending. Not sure where to start? Professional templates can help guide you in structuring your letter.

You can also create a group to support your cause and encourage others to write to the area’s political representative. Be sure to consult house.gov regularly to check that there isn’t an existing or upcoming bill that is similar to what you might be advocating for.

Making a movie

The centerpiece of a good movie is a well-written script. Screenwriting is very different from creative or academic writing because it focuses heavily on dialogue, character actions and scene structure. Have others read your script to give you feedback or even act out the scenes to provide you with better direction.

For filming you’ll need a director (probably yourself!), actors, a video camera, a tripod, microphones, lighting equipment and a few volunteers to help set up between scenes. Depending on how professional you want your movie to look, try filming each scene from multiple angles and shots.

Once you’re done filming, the fun begins. Final Cut Pro is an easy and user-intuitive video-editing program. Make sure to remove any sequences that aren’t entirely captivating, experiment with cutting scenes, add music where appropriate and add a title and credits.

Starting a charity

If you want to give back in your own way, get involved in related organizations at your school and in the community to best identify where your interests might meet a specific need. If you’re interested in education, volunteer as a teacher’s assistant. If you’re an advocate of health issues, see where you can help out at your local hospital or community health center.

Also research similar organizations to figure out what your charity will potentially bring that is different and get ideas for how to possibly structure your organization. If you‘re serious about obtaining non-profit or 501(c)(3) status for your organization—meaning your organization will be exempt from IRS taxes—you’ll want to get a parent or adult mentor involved to help guide you through the appropriate paperwork. The IRS website is a good starting point, and keep in mind that requirements vary by state.

Have you done something incredible? Email us at info@mochimag.com if you’ve got a project you’d like to see featured on Mochi.

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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 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 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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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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Even though singer-songwriter Vienna Teng has been making music since she was five, it was only a couple of years ago that the sultry songstress was a software engineer working a nine-to-five in a cubicle by day and uploading her acoustic mp3s to the web by night.

Classically trained in piano and composing original pieces since she was six, Vienna (born Cynthia Yih Shih) put her musical aspirations on hold while she attended college. At Stanford University, Vienna was originally on the pre-med track, but later switched to pursue computer science because she considered a career in music impractical.

Three albums and several tours later, Vienna, presently 29 and a veteran of the indie music scene, can now safely acknowledge that her talent and creativity trumped practicality. But like many other Asian American artists, she initially wavered between the seemingly tethered life of socially acceptable career paths and the growing tendrils of her own creativity.

“My dad was the one who encouraged me [to pursue computer science in college],” said Vienna, “but my parents were surprised that I chose it. They thought I’d go into history or English or something.” She chose computer science precisely because it was a field that she could pursue, but also leave at any time.

“I knew all along it wasn’t what I wanted to do,” said Vienna. “I thought maybe I had a real shot at doing music.” Vienna describes her sound as “chamber folk,” which is “anchored in the pop world and the ‘70s music” that she listened to as a child.

She joined an A-Cappella group at Stanford, composing original music during her free moments away from classes and exams. Continuing to straddle her creative and professional ambitions after graduation, Vienna took on a job as a software engineer at Cisco Systems, creating and playing music whenever she could in her downtime.

“I was working during the day in a cubicle, doing open mics at night, and putting my mp3s on the web,” she says. “Like a lot of people, I worked my day job until I got a break.” That break came along in 2002 when Virt Records, an independent record label based in Seattle, approached the sultry-voiced musician to join the label and go on tour. Having spent two years as a software engineer, she decided it was finally time to pursue her dream full-time.

Since then, Vienna has never looked back, and her family has been more than supportive.

Although her parents worry about her well-being as an independent musician living in New York City, Vienna said, “My parents were just sort of resigned to the fact, like, ‘We kind of saw that one coming, and we know that you’re happy, so that’s the important thing,’” As a female artiste and a minority, being a musician can sometimes come with added obstacles. However, in Vienna’s case, she says that has never been a problem.

Describing the mainstream response to her music as “overwhelmingly positive,” she said being Asian American “has never ever been a liability.”

“I was surprised because there’s nothing particularly Asian American about my music,” she said. “I don’t talk about Asian American issues or cultural heritage, but mainstream readiness to see minorities is here. And within the Asian American community there are enough pioneers for it to be legitimate to go into the arts. It’s something that has got enough visibility where you can tell your parents about it.”

Having completed her eco-friendly Green Caravan Tour last April, Vienna is currently working on her fourth album with co-producer and percussionist Alex Wong.

Tracks on this new album will push the envelope and vary more than her jazzy 2006 album, Dreaming Through The Noise, though it will include the usual classical and chamber influences. It is set to be released in early 2009 by Zoë/Rounder Records, after which, who knows? Vienna might consider going back to academic grind after all, especially after her efforts on her 2007 tour.

“[The tour] wasn’t just about music and playing shows, but getting involved in the community,” she said of the Green Caravan Tour, during which she and her bandmates volunteered with Habitat for Humanity and sold organic products such as organic cotton totes and t-shirts, and other products made of recycled material.

“I’m hoping to go back to school and study sustainable development and environmentally friendly solutions,” said Vienna. After the promotional cycle for the upcoming album, she is interested in possibly returning to her alma mater in California for business school and focusing on social entrepreneurship.

This is likely relieving news for her grandmother. “[She] worries about me a lot, since I work in an uncertain field,” said Vienna. “It’s not something her generation considers a real career.”

Vienna is currently working on a track called “Grandmother Song.”

“My grandmother tells me to go to grad school and find a man. At first I sort of rolled my eyes, but then I realized where she was coming from,” she said. “So I turned it into a song. I hope she doesn’t kill me.”

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