Courtesy Sony Pictures Publicity

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

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

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

Courtesy Sony Pictures Publicity

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

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

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

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

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

Courtesy Sony Pictures Publicity

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

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

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

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

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

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

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

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Courtesy Wilfred Chan

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

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

Courtesy Wilfred Chan

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

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

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

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

Courtesy Wilfred Chan

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

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

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

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

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

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

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

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

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

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

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

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

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

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Courtesy Toni Ko

As the go-to makeup brand for ladies who want to look fabulous and trendy without breaking the bank, NYX Cosmetics has grown to become a major cosmetic powerhouse, with over 10,000 beauty supply stores in the U.S. and a presence in over 40 international markets. We caught up with its founder, CEO and creative director, Toni Ko, who started the brand in her mid-20s in 1999 with the strong belief that looking fabulous means never compromising affordability.

We give you the inside scoop into Ko’s ‘can-do’ attitude, what inspired her to start her own business and her advice on how you can start your career in beauty. Also make sure to look out for our upcoming giveaway contest, where you can win a fabulous NYX prize pack!

Mochi: Tell us about yourself and how you got started in beauty.
Ko: My family has been in the beauty business since I was a teenager, so it was a natural progression to create my own line of color cosmetics.

Mochi: How did you start your own business, and what is your advice for aspiring entrepreneurs?
Ko: I implemented a “just do it” attitude and mustered the courage to follow it through!  My main advice is to have a true passion for your field of business. Don’t let money be your driving force—if you have passion and drive, success will follow. You also must possess an incredible knowledge of your industry and clients. If you’re not already an expert, make yourself one! To be successful, you must know the product or service you are selling 1000 percent better than your competitor.

Mochi: What is the story behind NYX? Can you explain what NYX represents and how it’s different from other beauty companies?
Ko: NYX gives you the tools to look fabulous without breaking the bank. When I started the company, I wanted to develop a makeup line that met the needs of my discriminating girlfriends. We wanted the impossible—makeup that was fun, on-trend, high-quality and affordable. I am not your typical CEO in a suit and tie sitting behind a desk. I find inspiration through varying cultures, food, travel, nature … I live, eat and breathe NYX cosmetics. It’s my essence.

Mochi: What inspired you to get involved with beauty?
Ko: Beauty is my passion. I believe that beauty is not just about looking good, but rather about feeling good. We feel more confident when we look good. Likewise, when we’re confident and self-assured, we smile more. It’s a positive domino effect—and one that I’m proud to be a part of.

Mochi: What are your top five must-have products?
Ko: Bronzer, mascara, eyebrow powder, lip gloss and a big smile.

Mochi: What new and exciting products and ideas can we see from NYX in the near future?
Ko: NYX will be launching a new, revamped website in the next few months. It is designed to be more interactive with our customers, hold forums, have a blog—basically be your go-to beauty site. Our loyal fans are our priority, so I’m thrilled this site will let us have a more personal interaction with them all.

Mochi: Who do you look up to in the world of beauty?
Ko: My beautiful friends. They gave me inspiration and support when I first launched the brand and continue to do so. I often name products after them!

Mochi: Do you have any advice for our readers who want to begin a career in beauty?
Ko: Embrace your passion. Begin your career in beauty (or any industry) because that’s where your heart lies and because you simply love it.

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Paul “PK” Kim is a man with lofty goals and a seemingly insurmountable mission — to unite and empower Asian American communities everywhere, foster young talent and educate the mainstream public about the so-called “model minority.”

Mighty grandiose for just one person, right?

But as the mastermind behind Kollaboration, an Asian American talent competition that now spans five cities nationwide, Kim is well along his way to achieving his vision.

“Growing up, we did not have anybody on TV except for martial artists, dry cleaners and liquor store owners,” Kim said in a video interview via Skype. “We weren’t represented three-dimensionally.The more people see Asian Americans in movies, TV and live shows, the more people will understand our emotions.”

The son of a Korean preacher (The ‘PK’ stands for ‘Preacher’s Kid’), Kim grew up in Burbank, CA, feeling somewhat isolated from the norm. “I always felt left out, definitely felt inferior. I always had that chip on the shoulder, I was Asian American but never felt American, but didn’t fully fit in ‘Asian’ either,” he said.

The lack of a strong Asian American community didn’t help Kim’s identity crisis either. “It was so scattered … The kids didn’t have anything to bring them together.”

In 2000, Kim began Kollaboration to fill that void. Starting out as a mostly Korean American talent show, Kollaboration has mushroomed over the past decade into an all-inclusive affair featuring some of the biggest up-and-coming Asian American names.

“It became more of a movement just to get as many Asian Americans onstage — empowerment through entertainment,” Kim said of his brainchild. “If we don’t do this, nobody is going to do this.”

Even though Kim has recruited a dedicated team, the movement didn’t happen overnight.Adequate funding has always been an issue that plagues each event. “It’s hard to even get three Asians together to eat at an Asian restaurant,” Kim joked, “and the biggest haters can come from your own community.”

Among the worst naysayers have been some of the parents, who sometimes don’t understand their kids’ hobbies and passions, at least until they witness a show.

“Parents come to our show and say to us, ‘We’ve learned more about our kids tonight than whole year long.’”

Eventually Kim hopes Kollaboration can become the “Showtime at the Apollo” for Asian Americans, a powerful launching pad for young artists. Kollaboration has already helped highlight groups who have made the national spotlight such as hip-hop dance group Kaba Modern and pop quartet Jazmin, recently a finalist on NBC’s America’s Got Talent.

“This is our identity on stage, we’re an entire group caught between identities,” Kim said. “There was a newspaper in Seattle that read, ‘American beats Michelle Kwan,’ Well, Michelle is American too. There is a perception that Asians aren’t American. Entertainment is the best way to let Americans know that we are American as well.”

Kollaboration NY will take place on June 27th at 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 the contestants, read our rundown here. See our interview and photo shoot with Kollaboration guest judge and Gossip Girl star Yin Chang here. Tickets can be purchased here.

Q: You were born and raised in New York, like all the girls on Gossip Girl. Tell us about your experience growing up in New York.

A: There were lots of cliques in my high school. I had my own clique — I’m the type of person who’s okay with a close group of friends. I don’t need 20 million friends; I’m good with five or six close friends. A lot of Asians, when they grow up in a predominantly white neighborhood, feel the pressure of wanting to look Caucasian. I think I had that a little bit early on in high school or late middle school. But now that I’m older, I embrace my culture. I definitely felt at times that all the kids that were popular also happened to be white. Every kid just wants to fit in.

Q: After high school, you decided to pursue a career as an actress. What was the audition process for the role of Nelly Yuki?

A: Actually, her name was originally Sally Yuki. The audition was for all Asian girls, and even some mixed Asian and Caucasian girls. Since there are hardly any Asian roles out there, all the Asians try out for whatever roles they can get. I was really nervous because my mom was like, “If you don’t get this, you’re going to have to start thinking about a real job.” I wanted to prove to my mom that I could last a little bit longer in the industry. I got a callback, and on the second day, I met with the producer, the director, and the casting director. I didn’t show I was nervous at all – I went in and did my thing. It took a week and a half to find out that I got it, and during that week and a half, I could not sleep or breathe. I wasn’t even too aware of the show. I just went in thinking, a job is a job. Sally’s description was that she was going to be Blair Waldorf’s academic rival. That’s all the information I knew.

Q: How did you find out that the character had changed from a popular girl to a nerd?

A: I had already gotten the role, before knowing it was going to be a nerd. I went in to get my clothes fitted, and the costume designer said, “These glasses would be SO cute with this outfit.” And I said, “Glasses? What do you mean glasses?” Apparently, the producers decided to change it up and made her a nerdy Asian. I’ve never played a nerd before, so I thought it’d be fun to stretch my acting range. Of course there are stereotypes, like the whole glasses thing, but I think it just has to be one step at a time, especially in America. Asians having roles and chances in the industry is hard to come by already. I’m not going to complain about the character. I was able to get the job, so I’m really grateful.

Q: Do you think Nelly Yuki is a good role model?

A: In the beginning, I thought she was a great role model, because she was really into her books and she minded her own business. But then throughout the show, they wanted to create more drama and developed my character a bit more, making her surprisingly manipulative and conniving. As an actor, I thought that was really fun to play. It just adds more levels and range to the character. But I have two younger sisters, and of course I wouldn’t want either of them to be conniving or manipulative. But as an actor, I was glad that she was getting some color.

Q: What’s the fashion like on Gossip Girl?

A: We showcase a wide variety of up-and-coming fashion designers and well-known designers. In the beginning, Eric Daman wanted Nelly Yuki to look subtle with neutral brown colors, and then as she started conforming to the group, he added colors like orange and pink. It’s very intelligent of him. It’s a subtle way of showing that she’s becoming a part of Blair’s group.

Q: How often do you hang out with the cast and crew off-set?

A: Outside the set, we go to parties together. Leighton is really sweet and gracious – she always tells the girls to get ready at her place. I’ve gone to her place several times just to chill before the whole party thing. The cast members are all great. We all get along quite well. You work there so much, it becomes a second home. It’s always really great to get along with your castmates; it just makes everything so much easier and enjoyable.

Q: What about the Leighton and Blake rumors?

A: So false. They get along very well. They always joke around… I don’t see where those rumors come from.

Q: What do you do in your free time when you’re not filming?

A: I’m taking classes part-time right now at Hunter College. I got in during the regular high school process, and in the beginning, I was juggling full-time classes with auditions and filming. It was hectic because teachers weren’t happy I was absent, but I wanted to further my career. I was filming a lot for season two, and I had to skip class a lot. And I learned not to overload myself with so many classes. I don’t have to technically be in school, but I would love a degree or two. Also, my parents would be happy. [laughs] Now, I take classes on the weekend. I’m double majoring in creative writing and media.

Q: What was your parents’ role in making sure you get a degree?

A: The whole deal was that if I wanted to do acting, I had to be in school. I had to have something under my belt in case nothing came out of the acting thing.

Q: Do you see yourself staying on the acting path?

A: My dream is to be a working actress. I just want to do the best that I can do, and I’d be really happy with that. Thrilled.

Q: What’s next for you, now that Gossip Girl is between seasons?

A: I’ve been busy going to events. I was asked to be a guest judge for an Asian organization called Kollaboration. It has a great mission: bringing more Asian American entertainers into the American industry. I would love to support them. I really hope that if I do become successful that I can make a difference–-not only by participating in charities and events, but by helping open more doors for Asians.

Interview has been edited for clarity.

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Tania Gunadi is one lucky lady. So far, the rising Hollywood starlet’s life has been defined by several fortunate events that have led her to where she is now.

The Indonesian actress, who has a lead role in Disney Channel series “Aaron Stone,” got her first stroke of luck a decade ago when she was selected in the Green Card Lottery.

“I was the happiest person on earth,” the 25-year-old actress said about moving to America. “It is much cleaner in the U.S. than in Indonesia. I could actually breathe. And there were lots of different kinds of food.”

Prior to her immigration, the Gunadi family was geographically split, with Tania’s older brother and sister residing in the U.S. and her parents living with her in Indonesia. After her brother and sister immigrated, her family could not afford to send another family member abroad, so Tania stayed behind in Indonesia.

Every year after that, Tania’s siblings submitted the names of their sister and parents to the Green Card Lottery. The lottery is held once a year and winners must move within a year if they accept the prize.

After she was finally selected, Tania finished high school in Indonesia, moved to California and attended English classes. Before moving to the U.S., Tania desperately needed help with her English speaking and reading skills. Her brother, who was the assistant manager at a Pizza Hut, suggested she work with him to improve her English. His reasoning was that direct communication with people would accelerate her English skills, so he got Tania a job at taking phone orders.

“He told me the job was really easy,” Tania said. “All you had to do was read the script next to the phone when people called. I thought, ‘Oh my God, I can totally do that!’” It didn’t turn out to be that simple. In fact, Tania had no clue what anyone was saying.

Tania currently plays girl-next-door Emma Lau in Disney’s “Aaron Stone” series, about a video game that becomes reality. Since the show is filmed in Toronto, Tania was able to experience her first true winter. Having only lived in tropical Indonesia and sunny California, she was not prepared for the Canadian winter. Tania was so cold during the last two weeks of filming that she forced herself to learn how to cook just so she could stay indoors.

“I’m very happy to find this career,” Tania said. “It’s almost like an accident because I didn’t know about it before getting here. I feel so blessed to find acting as my career. It’s something that I love to do and am able to make a living off of.”

And as long as Tania’s lucky streak lasts, we’ll be seeing her for years to come.

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With nine film and television projects underway, James Kyson Lee is coasting on a wave of “Heroes”-induced fame. From the upcoming romantic comedy “White on Rice” to horror flick “Necrosis,” Lee enjoys running the genre gamut. “Each project is different,” says the 33-year-old actor who recently learned to play guitar for his musician role in “White on Rice,” “especially when you’re doing films. I have to perform with a quick learning curve. Any time you get to pick up new roles, you learn new skills.” A burgeoning global jet-setter, Lee has traveled to international shooting locales as varied as Bulgaria, England, and Japan.

“I was supposed to spend a night at a hostel. But when I got there, I ended up driving around the ocean. I got completely lost, ended up at some mall parking lot, and fell asleep. I fell asleep in my rent-a-car.”

Not bad for someone who spent his first night in Hollywood sleeping in a rental car.

Flashback to eight years ago, when Lee’s prospects looked completely different compared to the nation-hopping lifestyle he leads now. Then a communications major at Boston University, Korean-born Lee was stuck in a quintessential quarter-life crisis: “I was twenty-four, twenty-five and I still hadn’t forged an idea of what my life was about,” Lee says. Finding himself not particularly interested in his major or the prospective of corporate life, the New York City native broke through the slump when a friend invited him to participate in an improv comedy troupe. “I went to see what it was like and I just had the time of my life,” Lee says. “I felt like I was seven again.” Though the small group only performed short-form improv games (think “Whose Line Is It Anyway?”) for family-and-friends types of audiences, the acting bug had permanently latched its jaws onto Lee.

By the summer of 2001, Lee says he had sold 90 percent of his possessions for a one-way plane ticket to Los Angeles. “I didn’t know how Hollywood worked at the time, but I felt like I hadn’t found my path, my identity yet … I felt like I needed to go to a new environment,” he says of his impromptu decision. Of course, not everyone took Lee’s newfound initiative as good news, least of all his parents. “They thought I was crazy; They didn’t know what I was doing. But I needed to go and find my life,” he says. Selling his used car for $1,800, Lee resisted any qualms and naysayers and flew to Los Angeles, landing late in the evening with only a rental to call his own.

“I was supposed to spend a night at a hostel. But when I got there, I ended up driving around the ocean,” says the star, chuckling at the memory. “I got completely lost, ended up at some mall parking lot, and fell asleep. I fell asleep in my rent-a-car.”

After gaining some bearings, Lee immediately hit the L.A. scene, looking to break into show business. He enrolled in community college acting classes and began to train in various performance arts. “I took acting classes, jazz dancing, musical theater, anything I’ve ever been curious about but never went for,” he says. “Twenty years of repressed creativity exploded. I felt like I kept discovering these new worlds.” To pay the bills, Lee tutored SAT classes and worked in educational theater troupes that toured public schools. Eventually all the “safe sex” and “family communications” skits made way for bigger things. Lee landed his first television gig, a small guest part on CBS’ JAG, within three years of living in Hollywood.

However, it wasn’t until Lee was cast as a certain Japanese-speaking, Western culture-loving sidekick on runaway hit “Heroes” that he began to reap national stardom. “He wanted to escape the Japanese corporate life,” says Lee of his righteous-mannered character, Ando. “A lot of times, he’s the comic relief [and] the voice of reason; I feel like my story line is more light-hearted. That’s why it’s fun to play Ando.”

The Korean American says he has no trouble slipping into his Japanese alter-ego. Relying on his Japanese classes from college and an on-set vocal coach, Lee takes care to avoid turning his character into a stereotype. “You make sure to bring the integrity and the strength of the character you play through,” he says.

After all, Asian representation in the media doesn’t need to take any punches. “Statistically, we are the smallest represented,” says Lee on the state of Asians in American media.

Though the recent breakout successes of actors such as Lee are pushing up against the glass ceiling, for this “Heroes” star, progress begins from the creative level. “It starts from the written page, when you have more successful [Asian American] writers and filmmakers. The more people in this field, the more these projects will become a reality,” he says. “We, as a group, are very young in this business… We still have a long way to go.”

Lee views his own career in a similar light: satisfied with what has been accomplished, but believing there is a much longer road ahead.

“Ultimately, [my goal is to] be part of projects that tell a powerful story or make a strong impact,” he says. “I’m just getting started on this journey. The last couple of years has been great; I feel like I’m in the early stages of my career.”

Wardrobe provided by Barbour.

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3. Lights, Camera, Medicine: Why Gossip Girl’s Nan Zhang Left the Hit Show If there is one thing Nan Zhang – that’s Kati...

If there is one thing Nan Zhang – that’s Kati Farkas to “Gossip Girl” fans – would like the public to know, it would be this: She was never in a fight with Leighton Meester, and she did not leave the show because of a supposed rift with the Queen Bee.

“I couldn’t believe what I was reading,” says Zhang of the tabloid gossip. “I mean, Leighton is such a sweetheart and just so incredibly nice.” However, gossip happens in real life just as much as on “Gossip Girl”. When her character, Kati, left the Upper East Side (and the show) under the explanation that her family moved to Israel, rumors abounded that Zhang had left to attend Brown University—a school that she has no connection with whatsoever.

“I think for one episode I was talking to a Brown representative. It’s really funny,” says the Chinese American actress. “Once, the Brown school newspaper called me and asked me for an interview, and I was like, ‘You know, I go to Hopkins.’”

At Johns Hopkins University, Zhang studies neuroscience in hopes of graduating next year, then entering a medical school and becoming an optometrist. She started pursuing neuroscience research with professors when she was only 16 years old, realizing that she could save lives and help people with her abilities. Modeling and acting, both passionate pursuits of hers, still lie second to her love of medical research.

While Zhang seems to have the qualities many girls dream of, from her glamorous good looks to her sparkling intellect, she, too, has struggled with coming to terms with her cultural identity—and with her parents. Born in China to strict parents, Zhang and her family moved to New Orleans when she was still a child. Her parents, both doctors, never encouraged her to pursue a life in the entertainment industry.

“I’ll just be honest: my parents are severely traditional. I actually didn’t tell them that I was modeling at first, but when they found out, they weren’t very happy about it. But I realized that I was trying to impose an American way of life on them, and that as parents they just wanted the best for me,” she recalls. “When they saw the ‘Gossip Girl’ trailers, they realized that it was real and now they understand. They were like, ‘If you can do this, you can get into Harvard med school.’”

As an only child, she was often told by her parents to go back to college. Zhang had temporarily left school in order to pursue a modeling career, because driving back and forth from modeling assignments to school had begun to take a toll on her health and spirit. However, during the writers’ strike of 2007-2008, she realized that she had to make a definitive decision about her future—especially because the future of Gossip Girl was shaky. Ultimately, she chose to return to school in order to attain a degree.

“Honestly, you can’t go back to school once you’re 30; don’t believe anyone who tells you that you can,” she says.

Her agency, William Morris, and the “Gossip Girl” production office were very supportive of her decision to become a full-time student again. There were also no catfights or dramatic last words – contrary to what the gossip blogs and tabloids claimed. In fact, Leighton Meester, Nicole Fiscella (who plays Isabel Coates), and Zhang frequently hung out on set. Consequently, Zhang left the show feeling very good about her choice despite between being entwined in the dilemma that many young Asian Americans face—choosing whether to follow a traditional route supported by their parents or to take a completely different path.

“When you’re in that business, with my upbringing, you have certain values that are priority,” she said.

Additionally, as “Gossip Girl” became increasingly popular and as the season progressed, that Zhang became concerned that she might only be playing the token Asian girl. “It was a fun character; I enjoyed every part of it. But I wish they would have portrayed the characters with more dimension.” In being one of the few minorities on the show, Zhang had a lot of pressure to be an example to Asian American teens who watch the show—which was tough to achieve, considering she barely had any lines to be a fully-developed character.

While she is no longer in the limelight—at least for the time being, as she is still signed with William Morris Agency—Zhang has become a greater inspiration to girls with diverse interests. For those who know the real reason why she left, it’s clear that one can be a Gossip Girl and change the world too.

Photos courtesy of Nan Zhang.

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“She came in confident,” says Sung. “She was very focused, and it was very obvious that she loved what she was doing.” Unafraid, Brenda took the stage and impressed Sung with her “spontaneity, sense of ease, and playfulness.” Sung remembers an innate quality in Brenda that helped her stand out as a “smart, intelligent girl that talks to you like she’s a little adult.” She became the first director to cast Brenda in a film, giving the then seven-year-old a role in her short film “Requiem.”

From there, Brenda was on her path to fame. She signed a contract with Disney in 2002, and has been a familiar face on the small screen ever since. Judy Taylor, the vice president of casting and talent relations at Disney, remembers her initial meeting with Brenda and the way the actress lit up any room she walked into. “She’s completely engaging, and you want to spend time with her,” Taylor says. On top of that, Taylor recognized that even at age 14, Brenda was a talented actress who was great with comedy.

But eliciting laughs wasn’t Brenda’s only skill. As a young girl, Brenda’s mother wanted her and her brother to participate in extracurriculars. Brenda begged to take ballet, while her younger brother Timmy was set on taekwondo. However, “my mom only wanted to take us to one place,” she says. And since it was unlikely that Timmy would join ballet class, Brenda had to tag along to taekwondo. “I cried all the way through my first class,” she says. But eventually, she fell in love with it—while Timmy quit halfway through, Brenda went on to get a black belt. Her unique athletic ability made her a prime candidate for her first starring role in a movie as Wendy Wu, a girl who revisits her Chinese heritage and uses martial arts to save the world. According to Lydia Look, one of the script’s cowriters, the directors of Wendy Wu: Homecoming Warrior were having trouble finding a suitable actor with both the comedic presence and taekwondo ability to play the main character, originally named Kenny Lu. “Brenda was originally brought in to play the [supporting] monk’s role,” says Look. “We started training with her in martial arts, and that’s when we realized that she should be Kenny Lu.” They quickly switched things around and offered Brenda the lead in the movie. “She had the perfect combination of wit and martial arts,” said Look. The movie was such a hit that a sequel—in which Wendy Wu returns to China—is currently in the works.

Brenda’s agenda doesn’t stop there, though. After a successful run on The Suite Life as hotel heiress London Tipton, she has a starring role in its spinoff, The Suite Life on Deck. As one of the more seasoned actresses on set, Brenda has taken on a sisterly role, serving as a mentor for some of the younger actresses such as Debby Ryan, who is five years younger than her. At their first meeting, Debby remembers being starstruck and nervous about sharing a stage with someone she had watched on TV growing up. “She teaches me new things every day,” says Debby. She adds that Brenda’s calm presence keeps the younger actors grounded on the set. “She watches out for us, and I can’t think of a better female coworker to have.”

While acting is Brenda’s first love, she loves to read, cook, and bake in what little spare time she has. She separates her professional and personal life by making a conscious effort to draw a definitive line between the two. “I’m 20 years old,” says Brenda. “I want to go have fun, to be able to go to the movies with my brothers.” Most of her free time is spent with her family, especially younger brothers Timmy, 18, and sous-chef Nathan, 12, whom she affectionately calls Nay-nay. Though the two drive her insane—like all little brothers do—all three are extremely good friends. When Timmy turned 18 and graduated from high school in the same week, Brenda remembers tearing up at the idea of her younger brother growing up so quickly. Luckily for her, he’ll be attending college in California, close to the family.

As for Brenda, she manages to squeeze in courses at UC Berkeley while the cameras aren’t rolling. Her best friend Danielle Panabaker, who she met on the set of Stuck in the Suburbs, had taken courses in psychology and suggested the same for Brenda. Brenda fell in love with the subject after taking an elective in high school and now plans to get her bachelor’s degree in psychology. “It works hand-in-hand with my acting,” says Brenda. “It teaches you why people do certain things, and it helps me get into character.” Brenda’s dad is a secondary school teacher, so the importance of education has been drilled into Brenda since she was young. “It’s a personal endeavor for me,” she says. “Education is the one thing that no one can take away from you. It’s what you learn, and what you take from it.”

Understanding the importance of education isn’t the only thing Brenda’s learned from her parents. Brenda is half Hmong and half Thai, and while she loves being American, she’s also very attached to her parents’ native cultures. Her dad only speaks Hmong at home, so Brenda has picked up the language. “I speak it with a little bit of my valley girl accent,” she jokes. “It’s such a close-knit culture, and very family-oriented. As with many Asian cultures, no matter where you branch off, you’re family.” Brenda also laughingly admits that her favorite part about the Hmong culture is the food. “There’s a chicken drumstick dish where they stuff it with noodles,” she says. “It’s my favorite dish.”

Like many others, growing up as an Asian American was both a challenge and a blessing for Brenda. “Being an actress is difficult,” says Brenda. “Sometimes they won’t look at you because you don’t have blue eyes and blond hair, and it’s 10 times as hard to get through the door.”

But Brenda is realistic about the industry. “Sometimes they’re just not looking for an Asian actress,” she says. “That was difficult when I was younger, but it’s all part of the job.” And in true Brenda style, she takes everything in stride. “At the end of the day, it makes you a better person. You can’t think of yourself as an Asian American actress. It’s not about what you look like, it’s about what you do … and who you are as a person.” Though Brenda doesn’t believe that she’s faced much discrimination as an actress, director Elizabeth Sung thinks that isn’t the case for most Asian American actors. “Brenda is a special case,” she says about the young girl she discovered in 1995. “Her talent cuts through all doors—it just knocks them down. It’s credit to Brenda’s unique talent.” Even at six years old, Brenda told Sung on the set of “Requiem” that she wanted to be a director one day. “I wouldn’t be surprised if she’s a show-runner one day,” says Sung. “She will be the role model that inspires a lot more young Brendas to come.”

How does Brenda feel about being a role model to young girls everywhere, from budding Disney stars to young Asian American girls with dreams of acting? “Oh goodness,” she says. “I hope I can set a good example. If I can do it, anyone can. I’m living my dream every single day.”

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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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Just two years ago, Justin Nozuka was recording an album, performing in Europe, and…being a teenager? Born in New York City and raised in Toronto, the 20- year-old singer/songwriter has already accomplished what many simply dream. His debut album, “Holly,” was released in the U.S. this past April, and his first single, “After Tonight” has quickly sold over 125,000 downloads. What’s more, his music video for the single was the most played video for nine weeks straight on VH1, where he has also been named a You Oughta Know: Artist On The Rise. He has been nominated for a Best New Artist JUNO award (similar to a Grammy, but Canadian) and won the Emerging Artist Award this past summer from the Canadian Organization of Campus Activities: Campus Entertainment Awards. Justin has even shared the stage with John Cale, Crowded House, and Ziggy Marley. Without a doubt, he is one busy and buzzworthy guy. VH1 got it right when they said he was an artist you oughta know.

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So far, Romi Dames has guest-starred in nine “Hannah Montana” episodes and plans to continue working for the show in the future.

Dames officially got into acting at age nine in Japan after begging her parents to let her audition for the musical Annie, and landing the role of Molly. When she moved to Seattle, the first thing she did was flip through the yellow pages and call every theater asking about auditions.

“Some of the theaters said, ‘No, we’re a movie theater,’” Dames said. Despite these mishaps, Dames began getting cast in plays, thus launching her acting career.

Traci is Dames’ favorite character to play. “I can be as big as I want to be,” said Dames who was born on an army base in Yokosuka, Japan. She was born on November 5, but the year remains a mystery to everyone except close friends and family.

“The more of a blank palate you are, the more roles you are free to play,” she said. “And I want to play everything.” Dames refuses to reveal her real age and enjoys seeing herself as anywhere between 15 and 30 on different websites. While most websites say she’s in her mid-20s, IMDB says she’s 29.

The Disney audition called for a rude and bratty girl, which Dames claims was interesting for her to play because she is the polar opposite in real life. Dames also artificially adds the nasally voice to her character. In fact, according to Dames, the only similarity between Traci and Dames is that they both like clothes and cats.

The actress enjoys playing Traci because the character behaves in a manner Dames does not. In reality, Dames cannot go around making unbelievably snobby comments to people as Traci does. “It’s fun to be the bad guy because people try so hard to make everyone happy,” Dames said.

In the world outside of “Hannah Montana,” Dames is a normal girl with a humorous streak. She passes her time by hiking, watching movies and feasting on salmon sushi. Like many girls, Dames adores shopping for clothes, particularly clothes by English Clientele. She was thrilled when she was allowed to choose which English Clientele outfits to wear for a magazine shoot earlier this year. English Clientele, catering to the more professional woman, launched in 2006 and is inspired by the 1940s fashion styles. The line has been featured in magazines such as Vogue and Genlux and ranges from $89 to $3,000 per article of clothing.

About two to three years prior to “Hannah Montana,” Dames’ agent formed Waiters and Extras in Burbank, California with Dames’ friends. Waiters and Extras is a sketch comedy group in which members write and perform their own sketches. Through this, Dames performed in several theaters and was delegated the responsibility of finding venues to rent. Since landing a role on “Hannah Montana,” however, Dames no longer has much time for Waiters and Extras.

The actress has always had a penchant for acting. When she and her family moved to Seattle, Washington when she was almost 13 years old, Dames liked to fool her neighbor into believing she had a twin by appearing in different clothes. Her neighbor eventually found out Dames was an only child when Dames had friends over. “[My friends] totally blew my cover,” she said. “I could have kept it going for years.”

Although she is living her dream, Dames claims that there is not much to do in between roles. “There’s a lot of patience involved,” she said. “And I’m not a super patient person. I want everything to happen quickly. There’s a lot of downtime in between roles and I can’t do much about it. I try to fill that time by taking classes. As an actor, I don’t feel like I have much control over my career.”

In 2007, the Writers’ Guild of America launched a strike against the Alliance of Motion Picture and Television Producers, an organization that represents the interest of 397 American film and television producers. During this time, many actors were out of jobs, but Dames found a job as a host and VJ for Ford auto shows from December 2007 through March 2008.

She considers herself fortunate to have found a job so quickly during the strike, but is happy to get back to acting. In the future, the actress would like to try her hand at movies. In the theater world, Dames’ dream role is Juliet from “Romeo and Juliet.”

“I love that she goes through everything and feels this wide range of emotions from the silly girl who has a big crush to being devastated,” Dames said. “She grows up during the course of the play and I think that’s a fun thing to do. You get to play everything.”

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A successful and world-renown choreographer, dancer and performance coach, Cindera Che has made her footprint upon numerous entertainment scenes, working with Hollywood stars such as Cameron Diaz, Elizabeth Berkley and Keri Russell. She has also made notable appearances on several big networks, including NBC’s Dancing with the Stars in assisting Kristi Yamaguchi with her winning dance routine, as well as on an episode of The Janice Dickinson Modeling Agency on Oxygen.

With a strong dance background of experience in multiple styles, including ballet, jazz, modern, and traditional Chinese culture dance, Che brings a unique perspective using her own training system, titled “The Che Way,” which includes a creative mixture of pilates and yoga. Strong and independent, Che inspires with her story of her path to success and shows us just how rewarding a little hard work can be.

M: When did you first begin to dance?

C: I was six years old when my friend asked me to take ballet with her. She quit in a couple months. I never stopped dancing.

M: What was your childhood like? Were you always confident?

C: I went to a very strict private school. I learned to be obedient and become a hard-working perfectionist. I’ve always done well in school. I knew I had the ability to do well to win good grades and awards. However, such knowledge did not convey self-confidence. I was good at what I did because it was expected of me. I didn’t OWN any of my achievements.

M: What made to decide to pursue dancing?

C: For the first 30 years of my life, I never pursued dance (as a career). It was just always something that I did. Like a good student, I followed the path or “instructions,” and did what I was supposed to do: train, perform, audition and work. My dance teacher in Taiwan, Tso Ging Ling, was very connected with the entertainment industry. There were so many opportunities for me to perform in stage, television and movies. I danced in my first television show at the age of 10.

M: How has your culture played a role in your career?

C: When I was young, I did a lot of Chinese folk dance in which we used a lot of props: fans, drums, sticks, ribbons and plates. It taught me articulation of the hands and fingers and trained me to move with a higher level of consciousness. The focus had to be there to make sure that the props didn’t fall and get tangled! The prop became my dance partner that I needed to respond to and communicate with. It is the communication that I try to put in every piece of my choreography. My culture also broadened my sensibility in rhythm, sounds, smell and taste from which I drew inspiration.

M: How did you earn your first big break?

C: I like that you asked how I “EARNED” my big break. I do believe that saying: when opportunity knocks, one better be ready. I continued to study dance after moving to the U.S. By the time I was 16, I took the bus for 1 and ½ hours from Torrance to Hollywood to take dance classes. I continued the four classes a week schedule for a long time. By then, I also belonged to two dance companies performing around southern California in a variety of venues from county fairs to performing arts concert halls. A teacher/choreographer, Billy Goodson, first noticed me in a dance concert. He spotted me again in a dance class and invited me to attend an audition. It was for ABC’s television show, “Fantasy Island.” That was my first professional onscreen job in the US.

M: What does “The Che Way” aim to achieve?

C: The Che Way is a training system that combines the philosophy of yoga, techniques of Pilates, and dance with the spirit of movement to develop sexy, confident and articulate bodies.

M: What is most attractive about your classes?

C: I strive to create a safe and fun playground for grown ups. The class helps people to calm their minds and be non-judgmental. The choreography is simple but innovative and it offers both challenge and a sense of accomplishment. It is a place where creativity outweighs perfection. It is a place where the winning habit is cultivated.

M: What is the biggest lesson that you’ve learned?

C: The only thing I can truly rely on is myself.

M: What advice would you like to offer to the young Asian-American women of today?

C: I encourage them to embrace their Asian beauty traits, integrate both the Asian and American cultures in their lives and absolutely acquire a strong physical presence. Claim that front and center space on the stage of life. Be seen! Be heard!

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