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

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Bryan Tang’s images explore frustration, prejudice and internalised racism in Australia.


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

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

How did you have the idea for your photo series?

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

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

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

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

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

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

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


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

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


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

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


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

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

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

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

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

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

Credits
Text Emma Do
Photography Bryan Tang

Connect to i-D’s world! Like us on Facebook follow us on Twitter and Instagram.


Bryan Tang
Official Website: http://www.bryantang.net/
Facebook: https://www.facebook.com/bttqh56
Instagram: https://www.instagram.com/bttango/



Nikko E 「To Be Gay And Asian: A Love Letter To All Of Us」

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This is for a younger me, and every kid coming of age gay and Asian.

It’s upsetting. It’s the year 2017 and Asian men are still denied sexual agency, excluded and erased from representations of beauty and masculinity, and pigeonholed into stereotypes and sexual racism. Demographic change will certainly help change that, but the genuine uplifting of EFNIK* gay men must accompany the deconstruction of conscious and subconscious idealization of white bodies. That is, we cannot fully see ourselves as equal until we bury these internalized notions that white = superior, that white = beauty. The lack of representation for Asian men of all ethnicities and origins in mainstream media creates an order where racist jokes and cruel assumptions are voiced by people who aren’t us, further fuelling the perception of our “undesirability.”

And because of that, I feel a responsibility to project a positive image for all Asian men, to uplift those who aren’t as confident, or who may even be embarrassed to be themselves. I feel a responsibility to present a sexy, confident, clever, outgoing, and joyful self. Because of and in spite of the stereotypes that others have of Asian men, it is necessary that we work to shatter this false, bastardized definition of “Asian” by presenting ourselves as whole, unfiltered human beings.

Whether or not the larger society finds “Gaysians” attractive, ugly, effeminate, sexless, meek, irrelevant, laughable, invisible, strictly bottoms (try again), small dicked (lol, peep Tumblr, or have sex once in awhile), and so forth, we stunt regardless. We walk over whatever the hell society thinks we are. We slay, we are Asian; Slaysians we are.

Almost every day, as Asian men we know we will meet the “no fats, no femmes, no Asians” approach. But again, in the face of this we have to exhibit a sacred acceptance and radiant self love of who we are – confident, sexy, strong, fuck free and free to fuck whomever we please (with consent of course).

I take pride in my unique Asian beauty and culture and the blessing of even being so connected to a culture at all. So think about this: with one glance, a smile, the curve of our stone-dark eyes, shape of our coral lips, the contrast of our jet black hair against our range of cream gold winter skin to deeper shades of summer brown, to be Asian is to be the antithesis of plain.

We have no choice but to be an antidote to the shallow, discriminatory “community” where white figures are glorified and Asian bodies are reviled. Collectively we are a monsoon cloud of expression, sex, charm, and honesty. Our winds carry a warrior song of defiance and healing. They hear our call from Mongolia, Myanmar, and down to Malaysia. Rains of inner peace soak and soothe the roots of hurt boys from Japan to Iran. Collect tea leaves of forests we roam, but cherish, don’t blemish, the hearts of our home. Children of the sun running along the equator, I await your brightest rays to meet mine. Awaken. Divine.

Though we live to be forces of nature, we are occasionally haunted by moments of doubt. “He’s probably not into Asians, so why risk the effort or possibly getting hurt?” When you’re conditioned to believe that white is best, it takes a toll on your self esteem and image, especially when you’re often denied, when you’re mocked as “Asiiiaaaan!” is worked to an insult. As confident as I am, I bare no permanent immunity to streams of dejection. The remedy lies in our own ability to rise up against the places that hold no room for us. That is, to survive and thrive, we must create our own rules and write ourselves as the protagonists.

Underneath my personal brand of Asiatic ferocity, the truth is I’ve unlocked myself and found my confidence because of what I’ve heard all my life. Though I no longer allow words and discrimination to personally affect me, degenerate mindsets will absolutely affect the next generation of gay kids, and I’m here for them. When I entered this world at 19, I was conditioned to embody the notion that I am less than; no one deserves this. If only our bodies reflected our words. Since then, I’ve thankfully come into my own—unapologetically, in your face, 1,000% me. All rice, all spice, yes we iced up. Ain’t you ever seen an Asian be a bad b****?

This is my love letter and open call to every Asian out there to get your blessed life and slay over every single person in earshot and eyesight by cultivating inner confidence and true happiness. Be kind to yourself and generous with your methods of self care. Work on your health, get your money, live your fullest lives and ask out any boy you fancy. For there is a satisfying power to feeling sexy in your own skin, even when no one around you knows what you know. And I believe in my powers now more than ever, so my purpose is this: to bring light and laughter to the lives of everyone I meet, igniting bombs of self love for every Slaysian in the making and on their way.

*EFNIK: an LGBTQ Person of Color

Send questions and comments on this story to feedback@efniks.com.



Celeste Yim 「There Are More Asian Roles in Teen Dramas But They Still Make Us Seem Weird」

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I’m not ready to celebrate until there are as many distinct, complicated, and different personalities for young East Asians as there are for white jocks.

In many ways I am very similar to an East Asian character in a teen drama. I am – brag – barely out of my teens, I am Korean, I have an Anglo-Eurocentric first name, my parents will not leave me alone, and I am highly suspicious of everyone around me. When I turn on the television (my laptop) and I flip the channels (type in “watch [tv show] free online” to Google) to find the glamourous, teen (adult actors with good skin) versions of myself, the ones I find are highly confusing.

Sure, it’s a good thing that there are East Asian characters being seen on white-dominated television shows at all! I have been trying so hard to project myself onto the television that I thought Gilbert Gottfried was full East Asian until, like, last year. But if art holds up a mirror to the world, today's East Asian “teens” like me are pretty much just less obvious versions of long-known stereotypes. The East Asians on everyone’s favourite teen dramas are thinly veiled behind immaterial characteristics but they aren’t fooling me, an intellectual. We still never get to partake in steamy love scenes with teachers, we’re not included in major love triangles, we never get to be the top-dog in the friend group, and often our storylines altogether don’t make any damn sense! The 2017 versions of Long Duk Dong from 「Sixteen Candles」 are certainly more reasonable, but East Asians can still only be understood through a few lazy characteristics. And just because they’re less recognizable than the babbling nerd, the rude girl, or the creepy shy guy doesn’t mean they’re not just as harmful.

Janel Parrish as Mona in 「Pretty Little Liars」

Today’s East Asian teens still descend from a recent heritage of weird background characters. In 「Pretty Little Liars」, Mona is an impressive straight-A student who knows how to speak French and hack computers. Her plot becomes dizzying and inexplicable when she dies, is thrown a Hawaiian-themed funeral, and ultimately comes back to life so that she can be admitted into all of the Ivy League schools. 「Glee」’s female East Asian is named Tina Cohen-Chang (an interracial last name for a South Korean-born actor), she speaks with a stutter and she is initially very shy. Her storyline becomes very confusing very quickly when, oh no: her stutter is fake! Since she is so shy, she had forced herself to stutter so that she can push people away, obviously! A white character moralizes the situation, Tina drops the stutter, and the narrative is never mentioned again. She also, by the way, ends up dating the aforementioned white character and then dumping him for the other East Asian guy in the show with whom she says she bonded at “Asian camp.” I can only assume that “Asian camp” is coded language for “both our parents are immigrants and we met at church.” I have literally never watched 「Teen Wolf」 and I don’t understand the premise but my friend Mac Chapin does and he told me over text message that there is an East Asian girl in it who “literally carries a sword and gets inhabited by a Japanese cat spirit thing.” My personal favourites as a teen were 「90210」, which didn’t even try, and 「Gossip Girl」, which came close to representing me with one (white) character named Celeste. But she disappeared from the show without any explanation. I have learned to make my expectations for representation on teen dramas very low, and they are still not being met.

Arden Cho as Kira in 「Teen Wolf」

Most recently, I have binged full seasons of the Netflix shows 「Thirteen Reasons Why」 and 「Riverdale」. (It’s been a hard month.) In 「Thirteen Reasons Why」, a girl has committed suicide and each episode examines one of the people she blames. The show is so progressive that she blames two whole East Asian characters! The choice to create them within such bizarre iterations of the Smart Asian Stereotype is particularly uncreative since the characters are based on a book (written by a white man). In the novel, the characters are not distinctly racialized so surely the distinctly academic ones did not have to be East Asian – but they are anyways!

Michele Selene Ang as Courtney in 「Thirteen Reasons Why」

The first, Courtney Crimson played by Michele Selene Ang, is a straight-A student who is overly nice to everyone. Don’t worry, that’s not her only characteristic, she is also slightly complicated because she’s gay! And she really doesn’t want anyone to find out that she made out with the girl who died. Her shame is oddly heightened by the fact that she has two adopted fathers who are, shockingly, also gay. Queerness is certainly complex and everyone’s experiences with shame are different, but the hasty description of her character’s logic, in which she attributes her embarrassment to the fact that her parents will be angry, is never really elaborated upon. It seems as though she might be scared that her parents will be prone to further homophobic assumptions? I don’t know, but after her episode the show moves on without clarifying and her parents never get mad at her.

Ross Butler as Zach in 「Thirteen Reasons Why」

The other East Asian at the school in 「Thirteen Reasons Why」 is Zach Dempsey played by Singaporean-born Ross Butler, who seems to shirk singularity by being a hot, jock, star basketball player. But psych! He is actually secretly a brilliant student who is willing to give up his basketball scholarships to be a marine biologist. His mother, who is also Asian, is thrilled at the latter prospect. I’m not sure why this aspect of his identity is included. Other than preventing him from shirking a stereotype altogether (so close!!!), it also has no bearing on his personality or character arc whatsoever. If anything, it provides a slightly higher incentive to not want to be culpable for a girl’s death (convicts make bad marine biologists?) but there are otherwise no apparent effects. The only time Zach even mentions this sidestory himself is when he turns down his bros’ requests to skip class with them saying, “I can’t miss bio.” Maybe the writers worried that the jock stereotype alone would be simply implausible on a face as Asian as Zach’s. In any case, I’m as confused about his passionate affinity for biology as I am about homosexual parents being Courtney’s entire personality.

Ross Butler as Reggie in 「Riverdale」

Luckily we get another shot at complexity for Ross Butler, the literal same actor from 「Thirteen Reasons Why」, when he plays Reggie in 「Riverdale」, the other Netflix teen show people are talking about. In the Archie-comic-turned-teen-murder-mystery, Butler plays an equally useless hot jock star-football player. Maybe the Netflix shows are like the Marvel universe but instead of having super powers and origin stories, they are just East Asians with intangible personalities. Football is different than basketball, OK, but I truly cannot confirm whether or not Butler wears a different letter jacket in the two shows. His main storyline on 「Riverdale」 exists to threaten Archie, the beautiful white-passing protagonist, who is rivalling him for captain of the football team. As soon as Reggie’s story begins, it becomes extraneous when other, boring, music-related things happen in Archie’s life which cause him to reject the captain position. With no agency of his own, his story wraps up in one episode. Zach, the 「Riverdale」 version of Zach, and Courtney are puzzling, which carelessly dissipates their chances at being anything but inconsequential fodder for the stage behind the action. When they are refused logical narratives, they become less human. When East Asian characters are unnatural and singular, we seem less human. We’re easy to make assumptions about, call names, and beat up in Zara and on United Airplanes.

It’s great that East Asians faces are on young peoples’ television (computer) screens, but the ones I have had as role models are unsatisfying and riddled with inconsistency. At time of publication, I feel pretty sure that as a teen I was supposed to threaten my white peers’ academic and/or athletic ventures, receive a million scholarships, reveal an unlikely aspect of my life, and then disappear forever. I’m not ready to celebrate my representation until there are as many distinct, complicated, and different personalities for young East Asians as there are for young white jocks. I guessGilbert Gottfried will have to do for now.

Follow Celeste Yimon Twitter.




WINNER 위너 「REALLY REALLY」

Jessica Xiao 「6 Things You’re Telling Me When You Say I’m A ‘Bad Asian’」

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By the way, I’m Chinese by default, whether you consider me to be doing a good or bad job of it.

Originally published on Everyday Feminism

I’m currently jobless.

A couple of weeks ago, my boyfriend at the time – also a social justice activist – asked me, “Have you thought about being a translator?”

“For what? French to English? I’ve studied it, but I’d definitely need to become more familiar with the particularities of the language.”

“No, for Mandarin to English,” he said.

I scoffed – that didn’t even cross my mind because I definitely don’t have the level of fluency in Chinese required for translation. At most, I can speak “Chinglish,” a mélange of Mandarin sprinkled with English for all the words I don’t know.

“You’re such a bad Asian,” he teased, because that’s soooo clever.

“Yeah, I know,” I replied instead of going in on him. We often teased each other about race because it’s exhausting to bear our visible racial identities as burdens since they’re such a core part of us, affecting how people treat us (he’s Black).

Besides, once upon a time – not so long ago – I would’ve agreed with him and been ashamed of “not being Asian enough.”

In my twenty-some years, I’ve heard many variations of: “You’re not Asian enough. You’re a bad Asian. You act so white. You’re not a real Chinese, are you?” And these messages taught me to be ashamed of myself.

These messages aren’t harmful because they offend me. They don’t. I’m used to them – and for your comfort and my energy retention, I’ll probably smile and let it go if you express such sentiments.

These messages are harmful because they’re seemingly innocuous, repeated frequently and believed.

They hold so much subtext about dominant attitudes and understandings of race in US society (just like the mere fact that we can still freely joke about Asians without it being socially distasteful does).

These expectations and messages about me have tried to crowd out my very existence.

Over time, I was taught to mind my social position, a position that has been predetermined within a racial hierarchy.

I learned that I’m not allowed to take up space and be whoever I want to be.

I’m reminded that nothing I do will ever satisfy anyone’s picture of who I should be because I’m not an amalgamation of stereotypes about “the Orient.”

These messages also disappoint me, when they’re bandied about – by Asians and non-Asians alike – without awareness of how based they are in white supremacy.

I’ve long stopped the exhausting endeavor of trying to live in line with expectations of how I’m supposed to behave based on the way I look, but what if I didn’t grow out of it?

Here’s six ways calling me a “bad Asian” or “not Asian enough” reminds me that the white gaze is in power and that the colonial mindset cultivated via white supremacy retains its dominance in shaping societal attitudes, even if you’re a person of color – and why that hurts.

1. You Invalidate My Lived Experiences
My inherent “Asianness” has nothing to do with the extent to which my behavior and appearance conform to your expectations of what an Asian person would do.

Yet my lived experiences are muted instead of amplified because they don’t fit your narrative of how I (and other people of color) play the sidekick to the white, cishet, American hero.

By calling me a “bad” Asian because I don’t conform to your expectations of me says you think I’m supposed to behave a certain way – and in fact, that I need to behave that way in order to be treated with respect.

It says that you’ve imbued my embodiment of stereotypes with a moral value of good or bad.

By the way, I’m Chinese by default, whether you consider me to be doing a good or bad job of it.

2. You’re Most Likely Erasing Anyone Not of East Asian Descent
One of the advantages of privilege is that one can be completely oblivious to certain issues taken personally by marginalized identities.

I call it an advantage only because the burden of empathy causes people to become activists or to realize that leading comfortable lives within a faulty system brewed in white supremacy is valueless.

Such awareness is not easy to bear – although people of color have been doing it for centuries. One such privilege is not realizing whose identities are erased.

According to the US Census Bureau:

“Asian” refers to a person having origins in any of the original peoples of the Far East, Southeast Asia, or the Indian subcontinent, including, for example, Cambodia, China, India, Japan, Korea, Malaysia, Pakistan, the Philippine Islands, Thailand, and Vietnam. It includes people who indicated their race(s) as “Asian” or reported entries, such as “Asian Indian, Chinese, Filipino, Korean, Japanese, Vietnamese, and Other Asian,” or provided other detailed Asian responses.

There are many issues with such a definition (who counts as an “original” peoples?) but also with how we generally see Asian American as referring to East Asians, when in fact, Asian is such a broad and non-descriptive term that it’s similar to the false belief that Africa is one monolithic culture.

So when you call me a bad Asian, you’re probably only thinking about who you think I’m supposed to be based on played-out stereotypes of East Asians.

And when you support Asian American issues, you might not be truly supporting the issues of all Asian Americans.

3. You Don’t See Me As American
When I was young, I didn’t see my yellowness, but it was always apparent to my white peers as a marker that I’m somehow fundamentally different.

This is known as the perpetual foreigner effect, and it’s deeply felt by people of color who don’t pass as white and whose appearance is often associated with cultures that don’t originate in the United States.

Embedded in the way the US treats people of multiple cultures or cultures that don’t reflect the values of the dominant religious ideology is the message that one must shed all other cultures that aren’t related to whiteness (or Christianity) to be a true American – despite the myth of the “melting pot.”

When I was young, I didn’t see my yellowness, but it was always apparent to my white peers as a marker that I’m somehow fundamentally different.

This is clear in the way the US has always equated citizenship with whiteness, broadening the definition of whiteness over time to include more cultural groups (Germans and the Irish, for example), and then iteratively broadening the definition of citizenship to include people of color through changing the language of immigration laws.

Yet, whiteness is still the primary characteristic of being American, as Michelle Kwan, who was born and grew up in California to parents from Hong Kong, found out in 1998.

When Tara Lipinski, an American of Polish descent, beat her to win an Olympic skating gold, MSNBC published the headline, “American Beats Out Kwan.”

This definition of American based in whiteness has always been terrifying for those of us who aren’t in that select group because we’ve seen that it’s possible to intern American citizens of Japanese descent when their appearance somehow dictates something about their patriotism.

We’ve seen that Latinx Americans are racially profiled, especially near the Mexican border. We’ve seen that Muslim Americans are inundated with suspicion about their Americanness especially post-9/11.

Yet, the truth is that being American ought to be based in complexity, not in our proximity to whiteness.

When you say I’m being a “bad Asian” or “not being Asian” enough, you’re saying I must relinquish all other cultural and ethnic identities to be American – and, even then, I can’t shed my yellow skin.

And while you can easily dismiss my American identity and deny me full access to opportunity through systematically advantaging white people, I can’t discard the way I grew up or accept being treated like I’m a stranger in a country where I grew up.

4. You’re Quite Possibly Sex-Shaming or Fetishizing
Okay, this point doesn’t seem directly related to white supremacy and a colonial mindset upfront, but Western imperialism is inseparable from the patriarchal roots of their misogynistic rationale.

Gender normative attitudes have been passed down alongside attitudes about racial superiority.

East Asian women and folks misgendered as women are often fetishized as obedient, domestic, and virginal (whatever that means).

East Asian men are often emasculated. East Asian men are also often portrayed in media as being less sexually attractive because society enforces the idea that male sexuality has to do with conformity to masculinity.

If you call me a “bad Asian” because I’m sex-positive and you don’t like it, you’re sex-shaming.

If you call me a “bad Asian” because I’m sex-positive and you do like it, you’re fetishizing me based on my disconformity to the stereotype. Both are gross.

Worse, both leave me with no room for my own sexual expression by rendering me an object of your desire, only existing as a sexual being on this typecasting dichotomy.

5. You Most Likely Have Stereotypical Expectations of Other Ethnicities
If you call me a bad Asian, I’m going to think that you probably give weight to stereotypes about other races as well and that you expect them to behave in certain ways because of their race, especially if you “can tell” what race they are via their appearance.

This ownership of certain characteristics also applies in reverse – there are behaviors considered “white” that are also often correlated with proper assimilation in America that can’t be applied as one of my traits unless I’m “acting white.”

6. You’re Perpetuating the Model Minority Stereotype, Pitting Us Against Other People of Color
I grew up in a neighborhood where I could afford to believe that the US was honestly a country of equal opportunity for East Asians. When we called each other “bad Asians,” we meant we got low test scores.

But many also don’t get to believe that for so long. Asian American describes a diverse group of people with connections to 48 different countries.

Although some statistics may show academic and financial achievement, they often bundle all of these different groups together, instead of disaggregating the statistics for a more nuanced representation.

This model minority stereotype invalidates the struggles of Asian Americans who don’t embody this stereotype.

Yet, white people will use us as an example of how people of color can succeed in the US, equating the experience of upper middle-class Chinese, Taiwanese, Korean, and Japanese people of color with that of all Asians and of all other people of color.

This suggests all of our struggles are rooted in the same historical contexts of oppression – they’re not.

The fact that many Asian folks buy into this “model minority” stereotype and believe in the American myth of meritocracy ultimately accounts for our small presence and lack of allyship with other people of color in social justice movements.

For this, I truly carry resentment.

Our “achievement” is often used as a basis for respectability politics, but no matter how “successful” we become, we’ll never be seen as white, and we’ll never transcend a government founded on the genocide of indigenous people and the chattel slavery of Black people.

We’ll continue being complicit in letting our country avoid confronting how deeply embedded imperialism is in its very roots until we stop taking pride in being associated with the model minority myth.

White supremacy has pitted us against other minorities – as if any of us belonged on a two-dimensional axis of who is closer to being acceptable in society when the truth is none of us will ever belong.

***

I love Yellowstone National Park. And Montreal. And the city of Ganzhou in Jiangxi Province.

And New York pizza. And dim sum. And ghormeh sabzi.

And NSync will always have a place in my heart over Backstreet Boys.

I grew up in a family with a culture rich in its own five-thousand year history and ideologies.

I wasn’t raised with the same cultural norms as those raised by white, middle-class guardians who could trace their bloodline’s time in the US over many generations. I’ll never find my ancestors’ names at Ellis Island.

Calling me a bad Asian or not Asian enough reminds me of the differences and tells me these differences are not okay because “white is right.”

Calling me Asian at all reminds me that my differences are actually a big deal and then makes them a big deal by playing out my differences through policy design because we live under white supremacy.

No matter how many times you tell me I’m causing the divide because I’m pointing out these constructed differences, I’m not the one who built legitimate institutions around them.

I’m Asian.

I’m Asian enough.

I’m American enough.

I’m so much more.

Jessica Xiao is a Contributing Writer for Everyday Feminism. She is a self-proclaimed nerd and book hoarder who is guilty of tsundoku. Often inaccurately described as Canadian, she thinks of herself more as a Montrealer with US citizenship living in Washington, DC, after having obtained her BA & Sc. in Psychology and the dark art of Economics at McGill University. She is a grant writer for the Montreal-based international women’s economic development nonprofit Artistri Sud and the former assistant editor and writer at The Humanist. She believes in empathic action and bringing our whole selves to every aspect of our lives for transformational social change. She frequently quotes Dorothy Parker and writes bad poetry at stillsolvingforx.tumblr.com. You can also find her on Twitter @jexxicuh or follow her on Facebook.



Michael Han 「A Letter To Queer Asian-Americans」

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This letter is here to serve as hope.

Being a minority is tough.

Just like many other minorities in the United States, Asian-Americans have their own set of challenges with racial identity. Having been born into two completely different cultures, we Asian-Americans are forced to juggle between values of both Eastern and Western cultures while, at the same time, develop our own sense of identity. With collectivist principles fostered at home, we are taught to maintain order, peace and harmony, placing the family’s needs over the individual’s. Then, we enter the outside world where we are introduced to individualistic values, empowering us to value individuality and pursue our own happiness. With so many expectations to uphold, many of us feel they have no say in who or what WE want to become. Our parents tell us how to study, what schools to go to, what careers to pursue, to work harder, to strive higher, to do better... while society tells us something completely different. Although, our parents’ expectations are out of good intentions, many of their choices for us strip us of our individual goals and aspirations. Eventually, all these opposing ideologies will clash. Add being gay into the mix and you have a conundrum of issues...

With so many expectations to uphold, many of us feel they have no say in who or what WE want to become.

Identity is such a key part of what it means to be human. Whether it be race, gender, ethnicity, sexuality, religion etc., there are so many identities that play a role in shaping an individual’s sense of identity. However, when two or more of those identities come head-to-head, it gives birth to internal conflicts, years of unanswered questions, and one painful journey of self-discovery. Being gay and Asian-American is definitely a complicated scenario, but, at the same time, being true to yourself is such an important part of life – so why not just pursue both identities? Well, remember, Asian-Americans (whether it be explicitly or implicitly) are still expected to preserve their family’s honor, norms, and values, while simultaneously develop a persona that adheres to both Asian and Western ideologies. Maybe it’s best to throw sexuality under the bed.

Well, that may not be the case.

Suppressing any part of your identity isn’t the best course of action, either. If you are currently closeted or have had hidden in one, you know first-hand how painful it is. People have no idea how dark, isolating, and mentally damaging “the closet” can be. There are all types of closets, but concealing one’s sexuality, in my opinion, is the most lethal. Innocent lives every year fall victim to suicide simply because of the never-ending torment that lies behind those menacing doors. Since society places so much emphasis on heterosexuality, anything that “deviates” from that path of righteousness is immediately deemed evil and sickening. So what happens to us queer folk? We’re implicitly thrown into a closet in order to maintain that social harmony and order – at the expense of our physical and mental health. While mentally incarcerated, shame and self-hate fester in our minds like psychological wounds, manifesting into a multitude of mental disorders and potentially life threatening decisions. Many of us have been there; I can definitely attest to this.

There are all types of closets, but concealing one’s sexuality, in my opinion, is the most lethal.

Okay, being in the closet sucks. Why not just walk out of it then?

Oh, trust me. I’ve considered it more times than you can imagine, but this is a lot easier said then done. To clarify, I don’t believe the closet’s doors are ever truly locked – everyone can make the active decisions to freely exit. On an individual basis, some people’s situations may be more difficult than others to come out. For Asian-Americans, the pressure of maintaining cultural norms, family values, and fear of disappointment are strong enough reasons to stay hidden. And honestly, I don’t blame any one of them. You need to do what is best for you, and if staying in the closet is best, I fully support that decision. But don’t forget, everyone has the ability to shed their closet. However, at the same time, that’s painfully difficult and almost counterintuitive when that outside world hates you just as much you hate yourself while closeted. It sounds like there’s nothing else to do to save yourself... Suicide doesn’t sound like such a bad exit plan anymore, right?

Wrong.

Just as every heterosexual person has the right to life, so does every gay, lesbian, bisexual, trans and queer individual. We’re all human, and I believe we all deserve the life we were given whether it be from my God or yours. Life is beautiful. You are beautiful. No person or society has the power to strip you of that which you inherently deserve. Fear, anger, sadness, and pain are all emotions just as happiness, acceptance and love are too. We all have the right to feel every single one of these emotions. So what did I do? I walked out of my closet. I fearfully but hopefully stepped into the world that hated me so much because I didn’t want to hate myself any longer. And you know what I discovered? That love is truly attainable. That acceptance and happiness actually exist. That my racial identity does not completely collide with my sexuality. That I am just as beautiful as every other person, gay or straight. Now it hasn’t been easy and it will continue to be difficult. But I rather live this life where I feel all these emotions, both positive and negative, than only endure the painful ones. Life is worth it.

This letter isn’t here to force anyone to make a decision or refrain you from making one. This letter is here to serve as hope. Yes, life does get better. Yes, you are strong. Yes, you are capable of change. Yes, you are loved. Though it may not seem like it now, racial identity and your sexuality can coexist as parts of your whole identity.

You are gay. You are Asian-American. Be proud of who are you. Love yourself no matter what AND always know – you have a friend here at Borderline Free.

Yours Gayly,

Michael

P.S. If you found this post helpful or interesting, please visit my blog www.borderlinefree.com! Though I have not posted in a while, it’s summer now and I have more time to dedicate to my writing! Look out for more posts soon! Thanks for reading!

If you or someone you know needs help, call 1-800-273-8255 for the National Suicide Prevention Lifeline. You can also text HELLO to 741-741 for free, 24-hour support from the Crisis Text Line. Outside of the U.S., please visit the International Association for Suicide Prevention for a database of resources.




BLACKPINK 블랙핑크 「AS IF IT'S YOUR LAST」

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

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This cutie loves corgis.

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

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

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







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

Author: Christopher Rudolph/Date: July 31, 2017/Source: http://www.newnownext.com/immense-ray-instagram/07/2017/

Immense Ray 言武
Instagram: https://www.instagram.com/immense_ray/



WINNER 위너 「ISLAND」

WINNER 위너 「LOVE ME LOVE ME」

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Ryan General 「Filipino Man Crowned as the Most Beautiful Gay Man of 2017」

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A Filipino hunk was recently crowned this year’s Mr. Gay World 2017, winning the Philippines’ first-ever Mr. Gay World title.

John Raspado also brought home several awards from the pageant, which took place from May 5–10 in Madrid and Maspalomas, Spain, reports Rappler.

Over 40 contestants from all around the world competed for the title in a bid to become an ambassador for the LGBT community.

“Big Congratulations to John Fernandez Raspado for giving honor to our country and for winning Best in Swimwear, Best in Formal Wear, Mr. Gay World Closed Door Interview, Mr. Online Vote, Mr. Social Media special awards in Maspalomas, Spain,” wrote Mr. Gay World Philippines organizer Wilbert Tolentino on a Facebook post.

Raspado also confirmed the win with a message on the Mr. Gay World Philippines Facebook page just minutes after his victory.

“Thank you to the people behind MGWPO (Mr. Gay World Philippines), especially to Wilbert Tolentino, for always guiding me on my journey to success and to those who helped me backstage and my fellow candidates. Especially the delegates of Belgium and Venezuela, who were my roommates,” wrote in Filipino, translated into English by Rappler.

“This is is not only for my family but also for the gay men like me who have principles and a purpose to fight for,” he added. “Thank you, Lord God!”

Upon winning his local pageant last year, the 36-year-old entrepreneur said HIV awareness would be among his greatest advocacies if he wins the world title. He said that he has, in fact, counseled some people in the past, and would like to focus on health issues.

Here’s the pageant’s official list of winners:
  • Mr. Gay World 2017 – John Raspado, Philippines
  • 1st runner-up – Candido Arteaga, Spain
  • 2nd runner-up – Raf Van Puymbroeck, Belgium
  • 3rd runner-up – Marco Tornese, Switzerland
  • 4th runner-up – Alexander Steyn, South Africa


Mr Gay World 「Mr. Gay World 2017 - The grand finale」 - posted on May 11, 2017.

Author: Ryan General/Date: July 31, 2017/Source: https://nextshark.com/filipino-man-mr-gay-world-2017-spain/



Teriyaki Temple 「Out Gay Actor Conrad Ricamora On His Hits ‘Here Lies Love’ & ABC’s ‘How To Get Away With Murder’」

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Photo: Ricardo Birnbaum

Last week, SGS had the opportunity to catch up with Conrad Ricamora from ABC’s hit show, 「How To Get Away With Murder」. He dishes with Teriyaki Temple (aka David Luc Nguyen) about working opposite Viola Davis, the hazards of Grindr, breaking down stereotypes for Asian actors, creepy stalker moments and so much more... including his current project that brings him to the Emerald City, his starring role in the hit musical at Seattle Repertory Theatre, 「Here Lies Love」 written by David Byrne and Fatboy Slim.

Teriyaki Temple/David Luc Nguyen: Welcome to Seattle,Conrad! What brings you to our neck of the woods and are you enjoying your visit so far?

Conrad Ricamora: I’m loving Seattle and everything it has to offer. I am currently doing 「Here Lies Love」 at Seattle Repertory Theatre. (The musical) started at the beginning of March and (was recently) extended to June 18th. We are doing 8 shows a week. There are still some tickets available. I know that it was selling out, especially for the Thursday, Friday, Saturday night shows. But there are still some tickets available.

TT: With such a busy schedule have had much opportunity to check out some of Seattle’s attractions?

CR: I’ve been down to the (Pike Place) Market a couple times... got the grilled cheese at Beecher’s, which is my favorite. Ate at this place called “Sushi Kashiba,” I guess, which is one of Shiro’s restaurants.

TT: Can you tell me more about about 「Here Lies Love」? I read somewhere that you sing as well.

CR:「Here Lies Love」 is musical written by David Byrne who is the lead singer of Talking Heads. Fatboy Slim also did some of the music, too. The show is about the the rise and fall of Imelda Marcos where I play Ninoy Aquino, who’s the Filipino revolutionary leader that helps to try to overthrow the Marcos’ dictatorship. It really focuses on the politics and the human rights abuses that happened in the Philippines.

TT: Do you think themes in this show echoes what’s going on in our current political climate here in United States?

CR: Yeah. I think it – David had the idea to write a show about powerful people that live in a bubble and are out of touch with what regular, normal people are going through.

I mean, if that doesn’t echo what’s going on right now, I don’t know what does. And also shows what happens when powerful people try to be above the law and especially this week, which is really just blowing my mind about how relative this show is right now.

TT: Do you call LA home usually, or where do you call home?

CR: Yeah. Both LA and New York. Right now, like I’ll go straight from here to LA once we start shooting in July. But New York... I’m still doing a lot of work there as well so I’m kind of back and forth between those two.

TT: Nice! Let’s talk, 「How To Get Away With Murder」. Your character, seems like he is the moral compass of the show. You’re surrounded by some pretty dark characters. Do you see Oliver being influenced by his peers? Or do you think that he might help them, raise them out of moral ambiguity or – ?

CR: Well, I definitely think he’s being drawn to the dark rise. yeah, I think that he’s making the choice to go over to the dark side a little bit more just by asking for a full-time job with Annalise.

And he’s stepping out of his own boundaries that he sets for himself as a person. Because of his relationship with Connor, I think that whether that turns into something as dark as being complicit in a murder [laughter] which he’s not quite there yet, although wiping the cell phone clean and kind of helping in that way is – he didn’t really know what will be.

He was just helping Annalise. He didn’t really know what he was doing at the time, but yeah. We’ll see how much more proactive he gets in that area, of covering up and being a little – just walking that fine line of being ethical and being a criminal [laughter].

TT: Looking forward to seeing how your character and the show develops. I read that you are of, I believe, Filipino and German descent?

CR: Yeah. Well, my mom is white. She’s from New Hampshire and my dad was born in the Philippines so I’m, yeah, half and half.

TT: Do you think it’s harder to be an Asian-American or mixed Asian-American in Hollywood?

CR: Well, I don’t really know. It hasn’t been for me so far [laughter]. I know that there’s definitely a lack of representation of well-rounded Asian characters... historically that’s been... we’ve been seen as comedic relief and kind of like the clowns and not been seen as fully realized human beings with sex drives, and complicated emotions, and complicated thoughts.

We’ve been kind of portrayed as cartoons, for the most part, in history. And I think that’s changing a lot now. I mean, I think there’s still a long way to go especially when you hear of projects that are casting white people as Asian characters.

That’s especially frustrating. I mean, you would never hear of – and there’s not as much outrage about that happening as it is when a white person would try to play a black person. And so it’s kind of like we still have a long way to go for that kind of equality to catch up. But I think we’re moving in the right direction. We’re just not there yet.

TT: Are you referencing Tilda Swinton from 「Doctor Strange」 where she plays the Master?

CR: I heard about it. I haven’t watched it or don’t know it well enough, don’t know the project well enough to comment on it.

I heard Emma Stone was getting cast in 「Aloha」 as a half-Vietnamese person [laughter].

TT: Oh yeah, I totally see Emma Stone with her red hair and freckles being half Vietnamese [laughter].

CR: So yeah. It’s just like those kinds of things. It’s kind of like, well, can’t you just cast an Asian person? The role is written for an Asian person.

There’s plenty of Asian actors that are looking for work. And if we don’t get seen, some producers and people and Hollywood executives say, “We don’t have an Asian star to carry the film.” And it’s like, well, if you don’t let us be seen, then we can’t be a star.”

TT: I agree! I totally hear ya!

CR: It’s this frustrating cycle of oppression. They’re saying that we’re not stars, but we’re never given a chance to be main characters in – we’re not even allowed to play our own ethnicity sometimes, so – unless it’s a horrendously cartoony version of it. So, I mean, I do think it’s getting better. Like I said, I still think we still have a long way to go.

TT : Let’s talk Stereotypes. So your character, Oliver, is of mixed Asian decent and he’s very tech-savvy and he’s a gay male who’s HIV-positive.

Some critics would say that Oliver reinforces some of the stereotypes that Hollywood portrays about gay men all having HIV and Asians being very smart, techy and nerdy and that all gay Asian men are submissive. What would you say to those critics and how do you think that your character challenges those stereotypes?


CR: I will say that when I went in to audition for the role, I was the only Asian guy in the waiting room. The guy that went in before me to audition for Oliver was black. The guy that went in after me was white, and so in the breakdown for the character, it wasn’t like they were looking for an Asian guy.

They just hired me to do it. And it hasn’t been – I really do feel like I’ve been able to play a really well-rounded character on the show. And a lot of the stereotypes of Asian men being submissive are not at all perpetuated in the portrayal of Oliver or in the way that he’s written. So I don’t agree with some of the stereotypes. If people say that Oliver is perpetuating any stereotypes, I just don’t see it.

TT: Agreed. I also believe that not all stereotypes are bad. I also think that you are a correct. Oliver doesn’t take much off of Connor when he is just looking for a late night booty call. I love how assertive he is (Oliver) in their relationship. I loved it when you slammed the door in his face in one of the episodes and when you let Connor know who was in charge in the bedroom.

Soooooo, moving to the next topic. My friends asked me to ask you if you were seeing anyone [laughing].


CR: Well, I guess it’s complicated [laughter].

TT: To satisfy my own curiosity. How does a celebrity like you date? Do you guys go on Grindr or Tinder or what [laughter]?

CR: No, you can’t really do apps once you have any kind of notoriety because then people are just – you don’t know if people just want to get in touch with you just to – if you’re all of a sudden just some novelty. So your privacy becomes a lot more – you become a lot more guarded in that regard and rely mostly on just face-to-face meetings, and meeting people through friends, and stuff like that. So yeah, I will say that any type of fame or notoriety has made it much more difficult to date [laughter].

TT: If you were to date one of the handsome many candy from the show, who would you probably most like see yourself pairing up with?

Would it be Jack, Charlie, Alfred, Billy, or Matt?


CR: I’m going to jump away from that and say I want to date Viola (Davis)! [laughter]

TT: Hahahah good pivot. I can’t say I don’t blame you though. Viola is beautiful and so talented.

CR: She is such a badass to me, and she is sexy and yeah [laughter]. I would skip everyone and jump there [laughter].

TT: How is it working with her? I mean, did you know her work coming into the project?

CR: Yeah, I respected her immensely as an actor, watching her in 「Doubt and The Help」. I was so excited to be able to act opposite her. And she’s just the nicest, realest person, and puts everyone at ease on set. Yeah, still, it’s such a joy to work opposite of her.

TT: Have you had any weird fan experiences so far?

CR: Yeah, when I was doing 「The King and I」, at the stage door a woman that was visiting from another country asked if she could kiss me. And I was like, “Uh, no [laughter].” Yeah, that was probably the strangest thing, just somebody – I was kind of shocked and like, “Wow, that’s bold.”

TT: Who are some of the artists in your current music playlist right now?

CR: Before the show to warm up I listen to Beyoncé’s『Lemonade』album. I listen to the song called – the song 「Freedom」 and that old George Michael song 「Freedom」. I just think a lot of our show has to deal with freedom... freedom for the people. I just feel like that kind of music pumps me up and gets me excited.

TT: So I’m curious. How does a psychology major end up in Hollywood?

CR: I took an acting class in college and then I just kept doing it, and just started doing community theater and found that it was something that I really wanted to do and then it slowly started paying. Then I went back to get my MFA in acting and just kept going. Realized that this was what I wanted to do with my life and just kept doing it.

Yeah, I didn’t know – when I was 18 deciding a major it’s like I didn’t really know who I was or what I wanted to do. It wasn’t until my junior year that I started discovering, “Oh. Wait, this is what I want to do.”

TT: That’s awesome. So I think I read you were from – is it Niceville, Florida? I imagine it’s kind of like growing up in southern Washington, where I grew up. I can’t imagine there is much diversity there?

CR: No, it wasn’t diverse at all. I was one of maybe – I think there were 3 other Asian people in my high school and the high school had close to 2,000 people [laughter] and there were only 4 of us. So it was very not diverse. Very conservative. And we didn’t even have a theater or an arts program. So I wasn’t even exposed to theater or acting or didn’t even know it was possible until I went away to college.

TT : Did you come out when you were still in your hometown? Or how was that process for you?

CR: When I was in undergrad I came out to my best friend, and then slowly just started coming out to my parents and other people.

TT: And how did your parents take it?

CR: Yeah, they took it well. I mean, they were really supportive, and just kind of said that it was okay, and that they wanted me to be who I was, and not try to be what I thought anybody else wanted me to be, or needed me to be. So, I mean, they were just there for me.

TT: So I guess, do you have any other projects coming up? You mentioned in July you’ll be heading back to the set for 「How To Get Away with Murder」. Do you have any other plans in the works?

CR: Yeah, I just shot this indie film that got picked up by Amazon that – I think it’s going to be on Amazon in 2018. It’s called 「The Light of the Moon」 and it deals with sexual assault in it, so that just got picked up, but it won’t be available until 2018, so it’ll be a while.

TT: Thanks for time out of your busy schedule to chat with me today and looking forward to seeing more of you and your work in the future.

Readers: Don’t miss this opportunity to see Conrad in 「Here Lies Love」 at Seattle Rep while its still in Seattle through June 18th!

For ticket info check out: https://www.seattlerep.org/Buy/HereLiesLove/Production/5713

About the Author: Teriyaki Temple
The former Seattle-Socialite joins the eclectic cast of Seattle Gay Scene contributors from time to time as a “special guest star.” When her busy schedule permits (between saving baby dolphins, compulsive shopping and juggling her duties as a Deputy Communications Director and Restaurant Heiress) she enjoys sharing her run-ins with the gay glitterati, celebutantes and the inevitable hot mess train-wrecks. She gives you the opportunity to view the world through unique lenses that only a cross-dressing, first generation Gaysian-American raised in rural Washington (who’s trying to make it in the big city) can. Miss Temple says, “the secret to an interesting story/piece is the ability to share your unconventional perspective to a wide-range of readers while still appealing to resonate to everyone on a personal level. Growing up as triple-minority in the predominantly Caucasian, blue-collar and very religious (Catholic and Mormon) town of Camas, Washington” while working for the family in what she refers to as “genetically mandated slave labor” taught her how to handle and communicate with “aggressive country carnie folk.” After leaving the small town she grew up in and finished University (in Seattle) she worked as minion for one of the world’s largest media conglomerates in Manhattan, worked in Government Affairs and later stumbled upon an opportunity to be a columnist for one of the leading LGBTQ publications in the country.




DJ Friz feat. MRSHLL 「Resist」

David Yi 「Meet the first openly gay Kpop star」

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UPDATED: We added links to Marshall’s music and more about what to expect when Marshall debuts later this year.

(Photo by: Yenata Jung)

Marshall Bang, a music artist from Orange County, is about to make his big debut in South Korea’s vast Kpop market.

His voice is none but a power box, a mixture of a rich, smoky rasp, that’s reminiscent of a 90’s R&B singer, one whose sound is both familiar but altogether different. His personality is effervescent, rambunctious, naughty, all traits you’d want in a friend who’s both the angel and devil on your shoulders.

Officially set to debut as a solo artist sometime this year, Marshall has released a few collaboration tracks earlier this year under the moniker MRSHLL, with such artists as producer DJ Friz (「Resist」, 「Release」), and producer Dathan (「Hello Goodbye」).

It’s almost as if he has everything that it takes to become a Korean pop star, except his record label is at a standstill when it comes to marketing him. That’s because Marshall happens to be openly gay. In a country that’s largely homophobic, with the government openly opposed to LGBTQ rights and Pride marches, where being gay in the military can lead to a maximum one-year sentence in prison, not to mention the cultural stigmas attached, coming out is far from easy to do.

“My record label, which has been so very, very supportive is like, should we market you as the approachable, friendly Sam Smith type or the moody Frank Ocean?” Marshall says. “My friends are all like, just be yourself!”

Which has been his mantra in the past few years. Living authentically and being true to yourself, no matter the circumstance, no matter how it could affect your career, has become paramount to him.

“I’m Korean American and different in so many ways,” he tells Very Good Light. “My gay friends in Korea will say it’s better to stay closeted because it’ll save heartache and they don’t want to make their parents sad. But being American, we’re kind of taught in our culture to be individualistic. I felt I needed to come out in order to become my authentic self.”

Indeed, it wasn’t easy for Marshall. There were times when he regretted the decision. Others, when he was in a deep depression. But through it all, it was the pursuit of living life in a true manner that Marshall decided he’d needed to come out.

This is his story, in his own word...

I was born and raised in the suburbs of Orange County, oddly enough I always lived within five minutes of a theme park whether it was Disneyland, Knott’s Berry Farm or my parents’ home now, a five-minute drive from Six Flags Magic Mountain.

As a toddler, I was a ball of energy. I was quite large for my age and pretty much laid out on my parents by the end of the day. I was what you would call in Korean a, “청개구리” or “Tree Frog.” It’s a traditional Korean fable about a frog who did the exact opposite of what his mother wanted. As the firstborn, I was obsessed with ballet, fireworks, and the Little Mermaid. Apparently, I was a hyperactive child in the traditional class setting and would entertain myself by dancing on the side of the classroom, which usually ended with me getting some sort of disciplinary card or warning for distracting the class. Was it my fault that other students were more interested in me than the teacher?

At a certain point in my childhood, I got super shy about singing but came out of my shell through my parents putting me in different choir programs throughout my life. It wasn’t until my high school show choir that really helped open me up.

“Fag” and “gay” were both used in a negative context from the get-go beginning around 6th grade.

I’d wish I was confident in my “otherness” in my teens to say that I was “special,” but I think more than anything, it was a negative thing.

Being ethnically Asian already set me apart from the other white kids but on top of that I had a sixth sense in that these feelings that I had for guys, I had to keep to myself. Maybe it was this innate sense of survival, a defense mechanism if you will, of realizing that I was different. More than anything, I would say the actual term “gay” wasn’t really in my realm until junior high. “Fag” and “gay” were both used in a negative context from the get-go beginning around 6th grade. And immediately, though it was never exclusively talked about at home or even mentioned at church, simply because the kids used it to make me feel less than, I knew it was a negative. It was a “bad” thing.

At home, I had two younger brothers and very religious parents. My mom actually is a pastor. She became a children’s pastor when I was 12, put herself through seminary and got her Master’s in Divinity degree from Azusa Pacific University, then was ordained when I was in college. I am so very proud of her for sticking through it especially in a misogynistic, male dominated community.

I would say for the most part, my Christian upbringing had a fairly positive impact on my life. It gave me something to do and instilled in me a certain moral code – however legalistic – that kept me in line. I wouldn’t say all of it was a good thing.

But hope and wish as I might, “praying the gay away” did absolutely nothing for me.

I loved that it was where I first honed my skills as a singer, as part of the worship band, choirs, etc., but it’s also where I had to suppress important parts of myself to fit in. As I’ve lived more of life and experienced the world outside of the church, I’ve realized there’s a hell of a lot more gray than black and white. We all have preconceived notions of certain people that was instilled in us in one way or another. For example, an aversion to tattoos or thinking that people with tons of piercings and tattoos were scary or people with them were bad people. I do feel like these days I’m trying to undo a lot of s*** that was drilled into me since childhood.

Growing up in church, I think I was hoping that the feelings would eventually go away, that I would grow out of it, that it was a phase. But hope and wish as I might, “praying the gay away” did absolutely nothing for me.

I don’t believe one little bit that being gay is a sin anymore.

I literally prayed every night before I went to bed, “Lord, I don’t want to be gay. Why did you give me these feelings and why can’t I get rid of them? Lord, help me to not think these thoughts of other guys. I know it’s wrong and I know it’s Satan testing me. Help me to overcome them.”

I cringe now when I read this prayer because I’m sure so many other young gay or queer boys and girls in the Christian community have prayed a similar prayer numerous times during adolescence. I don’t believe one little bit that being gay is a sin anymore.

It was 19, when I first said the phrase “struggling with same sex attraction” when I pseudo-came out to a group of my closest friends when attending Biola University, a theological school.

My hands were clammy, I was visibly sweating (but trying to keep cool and calm), and what triggered the coming out was a mandatory conference that students had to attend. The speaker that day was a formerly gay man by the name of Mike Haley. He was a representative of the now defunct ex-gay ministry Exodus International, a sub-group under the James Dobson/Focus on the Family umbrella. You could hear a pin drop during his one-hour testimony (a coming to Jesus story) about his former life as a gay man and his conversion to Jesus, etc.

Did I really want to go through life and become the 30-year old virgin? Like, I wanna have sex, too!

I think at one point i had had enough. I was in my late 20s and had never dated nor touched or been touched in any intimate way. What was I afraid of? Sure, in the beginning it was making sure I wasn’t having sex before marriage but as the years went by, being a legalistic Christian seemed less and less like the Jesus I knew.

Coming from Korean culture of a community based versus individual based culture, i had to somehow reconcile those two halves of me to where I wanted to preserve my parents’ longstanding reputation in the Korean church community, yet I had to move forward with my own life especially in the romance and love department. Did I really want to go through life and become the 30-year old virgin? Like, I wanna have sex, too! So that was one of the biggest issues. But i also knew that coming out publicly would of course change our relationship. And it did.

When I decided to come out, I did so because I wanted to live my truth. I wanted my family to hear it from the horse’s mouth before anyone else. If I was spotted holding hands with a man, or something was written on Facebook, I wanted my family to know from me first instead of others.

I started with my brothers in 2012. Both are very much typical boys. I told my middle brother in passing and he was really chill about it. My youngest was also going to Biola University and in that entire Christian world. I told him over Facebook Messenger one day. I don’t think he was able to really grasp the concept of me being gay and it took a few questions going back and forth. But because of me and my gayness, we were able to move forward and have conversations about it and he came to his own conclusion and asked own questions. He’s not in the Christian bubble anymore.

Then, it was my mom. My Korean was very rudimentary and I could hardly put sentences together. My mom speaks Korean and a little English. One day, I sat her down and told her directly.

“Mom, I like boys I don’t like girls,” I said in a very elementary vocabulary. She was confused, like, what do you mean? I don’t think she fully understood what that was about. Then, I later moved to New York and eventually to Korea and we’d have these awkward Skype conversations with my dad with them asking when I’m going to bring home a girlfriend. I would be like, “you know I don’t like women, guys.” For me, it was almost like having to come out again and again for them because they just didn’t understand. They were in heavy denial and they’d shut down the topic and not talk about it.

Then, a『Time Out』Seoul article came out on me. Well, literally. It was going to be about me coming out to the world. When that happened, my mom had no choice but to come to terms with it. When that article came out she freaked out. She was sending messages to me like, ‘do you want to kill your own mother?’

That doesn’t make you feel good as the oldest son. It made me feel pretty worthless. It had me drinking Whiskey for an entire week. We didn’t talk for two months after that. What’s almost worse is what other Koreans would treat me and my family and what they’d say about us. As Koreans, we have this community mentality that affects the entire race. But where and when do you draw the line? When do you take responsibility for being a part of the greater community? I’m going to be turning 30 soon, I thought, and never dated anyone in my entire life. Sure, if I come out, maybe she’ll be disgraced. But I have to live my life. What point does this become her life, or my family’s? The Christian community’s? In the end, this is my life!

At the end of the day I’m an adult, I will have sex, I have to date and live my life live like grown people do.

Being gay is not something I’d choose for myself. Why would I choose to be gay? Why would I want to be an outsider, an other?

We eventually started talking again after two months. She’s coming around. My mom’s been inside the Christian bubble for so long she actually can’t grasp homosexuality, so it’s about taking baby steps. I remember she would bring up different verses from the bible. But there are six bibles references to homosexuality altogether, but tons more about divorce. People focus on the six verses only.

I also would tell her that this isn’t a choice. Being gay is not something I’d choose for myself. Why would I choose to be gay? Why would I want to be an outsider, an other?

Today, I think I’m constantly trying to figure out how being gay plays a role in my life. I feel like sexuality is more fluid than people give it credit and that if we weren’t living in a world where society constantly dictates who we should love, it wouldn’t be an issue. If we were given the space for us to process our own sexuality without any part of it being “good” or “bad” we wouldn’t have so many problems. I feel like everyone is a little bit gay, we just end up repressing it.

Even now, as I am getting ready to debut in South Korea as an artist I don’t know to what role or image I should put out there. Since image is everything in entertainment, my record label is strategizing. Do I play the nice, the everyday friendly, relatable gay man a la Sam Smith? Or do I play the moody, keep-to-myself, uber artistic gay, like Frank Ocean? Or something in between?

But more so, I ask myself questions about how it can impact a community. How much of it do I utilize as a platform to where it becomes exploitative? Will the LGBTQ community in Korea accept me? Does it matter? If they don’t, will I be shunned because I wasn’t fully born and raised in Korea?

Today, I can proudly say that yes, darling, I’ve been able to live. Like, really explore my body, my sexuality, figure out what I like and don’t. I went wild at the age of 29 and realized that I’m not 21 anymore. But I had catching up to do! I’m finally really happy where I’m at. I’m constantly changing and growing and learning more. Even though I am 100% gay I don’t rule out that sexuality is a fluid thing. I could fall in love with a trans woman or cisgender female, who knows? If I fall in love with them I’m still going to be gay.

If I had to give advice to others, I’d say that everyone’s life journey is unique. Even though this is how my journey ended up it’s not for everyone. Sometimes it’s very difficult to come out. I’m not going to knock someone for not coming out. I have a couple of friends who are very out to their friends and work but not to parents. Identity and sexuality is so much more complex and everyone is unique. Find what that means to you and run with it. Don’t be afraid to take risks, but do so within reason. But it does get better! It got better for me and I’m so relieved it was the right decision for me.

Author: David Yi/Date: April 07, 2017/Source: http://www.verygoodlight.com/2017/04/07/marshall-bang/





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

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Credit: belle ancell/Daily Xtra

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

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

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

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

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

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

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

“Canadian, for sure.”

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

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

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

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

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

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

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

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

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

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

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

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

“So where are you from?”

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

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

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

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

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

“Where in China are you from?”

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

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

Sweden, he told me.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Oh, and I’m gay too.

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

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

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

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

“Yours is you’re gay.”

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

***

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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





Peng Zhang 「Being Asian And Queer In The West」

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Film offers a challenging but accessible catalyst for discussion on the internalised otherness of gay Asian men in Western countries, argues Peng Zhang.

For gay Asian men, whoever you choose to date, there is a phrase relating to you. Rice queen, potato queen, sticky rice – terms which define identity in relation to white and Western society. Putting race and attraction together is inherently political. Alongside think pieces and academic studies on queer Asian experience in western societies, film provides an important avenue for exploring attitudes and expressions, through fun and thought-provoking discussion of identity and desire.


In 「Yellow Fever」 (Raymond Yeung, 1998), Monty is a second-generation immigrant from Hong Kong who lives in London and enjoys a close circle of friends in the gay scene, where he expresses exclusive attraction to white men. When Taiwanese student Jai Ming moves into Monty’s building and shows romantic interests towards him, it causes Monty more discomfort than excitement, particularly when he realises that the feelings may be mutual. His subsequent confusion quickly becomes the only thing he talks about with friends.

Monty: Why do you find oriental men attractive?

Andrew: Oh, I don’t know. Why do you find Caucasian men attractive?

Monty: Cause they are more... sophisticated.

Andrew: Ah, do you? Dear, you are suffering from the typical post-colonial mentality, aren’t you? You’ve been brought up to look up to anything western, Vivian Westwood, Charlie’s Angels, Brotherhood of Men...

Monty: (clapping) Yes, Mr. Freud. Can you just answer the bloody question?

Andrew, who is white, touches on the idea that dating Caucasian guys is a way for minority ethnicity gay men to seek legitimacy in mainstream culture. Could Monty’s exclusion of Asian guys as object of desire be due to his urge to avoid being identified with the stereotypes that Western society has put upon Asian men? Andrew argues that, ‘all attractions [are] based on stereotypes,’ such as ‘the French supposedly being romantic and Italians being passionate’. For queer Asian men, stereotypes arguably do a disservice, being ‘either desexualised or fetishised’ in Western societies. Some people don’t mind the stereotype and try to own their label of GAM (Gay Asian Male), whereas others who strive for individuality and fight vigilantly against any mental shorthand stereotyping them.

Monty lives in a time and place where his ethnic cultural heritage is undervalued to the point that disassociating his own race from romantic pursuits has become second nature. Jia Ming’s appearance catches him off-guard, as someone who is not only attractive, but also confident of his ethnicity. Monty’s growing attraction to Jia Ming essentially destabilises the way he views his culture, and forces him to search for a new equilibrium in his identity.


Whilst 「Yellow Fever」 is about discovering internal conflict, Wayne Yung’s 「My German Boyfriend」 (2002) is about personal reconciliation. This fascinating 25-minute experimental film is divided into two parts with different tones. Part one sees Chinese-Canadian filmmaker Wayne Yung embark on a journey to Berlin in search of ‘the perfect German boyfriend’. After three unsatisfying (and humorously played out) dates, he realises that his fantasy ideal is really a work of fiction. Part one ends with him finding love with a second generation Kurdish-German man, and rejoicing in each other’s own blend of multicultural identity.

At first a light-hearted rom-com tonally, closing with conventional bliss, the film abruptly shifts into a documentary-esque tone, following Wayne’s ‘real life’ behind the camera. He has, in reality, fallen in love with a Caucasian German guy while filming in Berlin. In a way, the supposed ending of him falling in love with ‘someone of colour’ was the political ideal – multicultural, post-modern, everything being freely constructed. But in actuality, he still struggles with finding legitimacy in his new German home.

“Sometimes I feel special, like a guest from far away.
Other times I feel strange, like I invaded somebody’s house.”

Having a decade long history of film making about the GAM experience before then, Yung is clearly aware of the politics behind attraction. But what happens when you move beyond political ideals? Wayne is confronted by the difficulty in disentangling the rationale behind his choices. There might always be conflicts in how one sees oneself and what one wants in this world. Under the guise of a experimental dramedy, 「My German Boyfriend」 is really a film about someone trying to understand what culturally and romantically he is ultimately looking for in his life.

As short films exploring the potentially contentious subject of race and attraction, these two films are candid and thoughtful in their approaches. If there is one lesson to take away from them, it is to recognize the social forces that might be meddling with your desire, know what you truly want, and decide for yourself.

CINEMQ是一个短片展映和深夜派对的合成体,由一群异想天开的酷儿们筹划。我们将在每周发表与酷儿电影及荧幕文化相关的资讯和文章。想要投稿?请在关注我们的公众号后留言。

CINEMQ is a queer short film screening + party series. It is run by a group of queers with too much on their mind to sit still for long. We’re publishing articles on queer cinema and screen culture every week. Want to contribute? Message our account.

Author: Peng Zhang/Translator: Will Dai/Date: May 05, 2017/Source: https://www.cinemq.com/single-post/2017/05/05/Being-Asian-And-Queer-In-The-West



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

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(Art by Cat Baldwin/Very Good Light)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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





Jonathan Patrick 「‘Eat With Me’ Director David Au Discusses LGBT Films, George Takei, And His Start In Filmmaking」

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Photo Courtesy of David Au

Director David Au has led a life inspired by creativity; from Hong Kong to Hollywood, and from theater to film. Au, who is also a writer and producer, is most recognized for his indie film, #EatWithMe, starring Sharon Omi, Teddy Chen Culver, and George Takei. David and I recently discussed his experiences bringing 「Eat With Me」 to life, how he got started in film, and his upcoming projects.

How did you get into filmmaking? What makes a great film, in your opinion? How did you bring that to 「Eat With Me」?

“I didn’t have a direct path into [filmmaking]. I started doing theater in college. That was my major and I did a lot of directing in theater. I was interested in the storytelling part of it. It’s really fun to work with actors and develop something together and collaborate. I thought I was going to pursue a theater career. Then I took a film class in Chicago, just for the heck of it, and I had a fun time doing it.”

“[There is] something about film that you can compose every shot and every frame to tell the story; I think that’s very interesting. As a control freak, that’s a cool way to sort of get your story out. I think once I found film, I got attached to it. Then I came out to LA and got into film school and that’s history.”

“As far as what’s a good film, I mean there’s so many ways to look at it, but I guess, for me, it’s something that emotes the audience. I love watching movies that make me feel and think, and have the movie linger on in my head after I finished watching it. So, as a filmmaker, that’s what I try to do as well. I like a film that can make people cry, make them laugh. I think that's something that I tried to do in 「Eat With Me」.”

What is your favorite memory from making 「Eat With Me」?

“Just talking about shooting it, getting to make it was the most amazing thing. It did go pretty quickly because we only shot it for fourteen days. Once we got the money, we’re like, “Let'’s shoot it.” And then, two weeks later, we’re done. So everything went by really quickly.”

The day George Takei was there was definitely one of the highlights for everyone on the crew, including me. It was also the longest day of our shoot. We shot eighteen hours from morning to midnight. I was surprised the crew was still there at the end. It was the hardest and also the most fun, the most exciting day. George brought a fun, warm and exciting vibe to the set. He talked to every single person on set, and he was telling different stories to everyone. It was fun to have him there.”

“When we were screening [the film], my favorite screening was in San Francisco during Frameline Film Festival, at the Castro Theatre. It was a full house with 1,200 people. Just seeing it with that many people – people laughing and people crying – it was really something to be in that audience. It was rewarding also because the ride had been on for ten years, and there are a lot of different people along the way who helped us get there. It was nice to actually show it to all these people and let them know that their help was not lost, it’s in the film.”

「Eat With Me」 was, as you mentioned, years in the making, from the film school thesis project, 「Fresh Like Strawberries」, to the feature film. What was it like to see the project conclude after so many years?

“Every stage is a little bit different in terms of how I feel about the film. At this time it is nice because [the film is] out there now, so it’s out of my control. [People] watch it, and they comment on it, and they give us feedback. This has been an interesting stage, because we get to hear people’s thoughts about the film. [It’s] positive stuff mostly; a lot of people relate to the characters and relate to coming out to your family, to parents.”

Your film incorporates both the Asian American and LGBTQ communities. What feedback have you gotten from members of those groups?

“We definitely have a lot of people who are very appreciative in terms of seeing themselves on screen and I think that’s something. I mean even for me too, I watch movies and I don’t see a lot of Asian American people on screen or Asians in general, especially in American cinema. So it’s something that me and my producers and our team really strived to get into the film and I think that’s something people appreciate.”

“Just seeing a young healthy Asian American guy being the lead, and who is also gay and able to be the lead and actually have a storyline, and actually have relationship, have failure in relationship, have a career – all that stuff is relatable to a lot of people, and I think that’s something. It was rewarding to see people relate to him, as well as to Emma, who is a middle aged Asian American woman. The last time I remember there [being] a film that focused on that group was 「The Joy Luck Club」, and I think that was maybe 20 years ago.”

“We also have families, parents with LGBT kids, talking to us about their experience with their kids. That was really rewarding, to get a sense that they see something they feel is relatable. We see there are a lot of LGBTQ films out there now, and not a lot [are] through the parents’ perspective, seeing through their eyes what they have to go through and what their process is like. I think that was interesting to hear their feedback about it.”

What do you think 「Eat With Me」 brings to the table that makes it unique and fresh compared to other films?

“This is something that I’m interested in and that’s why I personally made this film the way I did instead of exploring people dealing with relationships in a very smooth way. With romcoms, every other film that I see is very smooth and generic and obviously they’ll be together at the end. There’s no insecurities.”

“I wanted this film to be less smooth, especially with Elliot’s character and how he deals with life and relationships and ends as a person who is so introverted and unable to speak his mind all the time. So, this was a good opportunity to show him, how he struggles, and how he falls a lot and then how he deals with things, how he escapes from life in general and how to deal with life in general.”

“I also believe that every story has two sides of it, right? So I think for this story particularly, you have your mom’s side and then you have the son’s side. So we kind of see a little bit of both and to have them come together and confront each other. That’s something that was very exciting to me, to show that.”

You’ve shared that the scene where Emma’s husband cuts off his wedding ring is inspired by a true incident where your father did the same thing. What other moments or experiences in your own life did you draw on to write this story?

“That part did happen to my parents. They’re still together but they weren’t very happy with me making this whole story into a movie, but it was a very interesting story when I heard it. I immediately thought in my mind, ‘What if she took it a little bit further and just took off, and then have a whole new life?’”

“So that’s where 「Eat With Me」 came from, and I think that’s actually sort of the only real story from the film. Everything else, different elements of it are true but the actual plot lines are fictional. Definitely there are parts of me and my mom that show up in Emma and Elliot in terms of how they deal with each other, how they communicate. I think they’re very similar and that’s why I wrote those characters.”

“Other aspects of the film are based on a lot of true moments in my relationships with people, friends and partners. That’s all part of it for sure. Like there was that moment with Elliott and his one night stand; the first time he had sex with somebody, and hoping that it might become something, but knowing that it probably won’t. Those are true moments that have definitely happened either to me or other people as well. If was just based on my life, that would be a little bit more boring.”

Which character do you identify with most? What is it about them that you relate to?

“It’s a little bit of a cliche thing to say for me, but I find myself a little bit in every single character. Like, I think with Emma, I have – or at least I want to have – her courage and adventurous personality. That she would just pack up her bags and go and have no regrets; to be at that stage of her life and still wanted to make a change. I think that’s something that is very courageous to me. I can also see part of myself also in Elliot. l, myself, am also kind of an introvert. I don’t know how to vocalize a lot of feelings in the moment. I can definitely see the struggles that he’s dealing with and how he relates to people and finding relationships. I also like to be the fun Maureen as well. I want her humor, her sparks, her way of looking at life.”

How did you decide that the film would focus on Emma and her journey as much as, if not more, than on Elliot and his?

“To me that was a little bit more of an interesting and unique story to tell. I think there is so much struggle within the mother’s character that we don’t see otherwise. I haven’t seen that many stories about an Asian American parent dealing with a gay son. What does that feel like? I think that’s something that was interesting, especially for a woman who was also dealing with issues with her own husband and her own relationship.”

“I was interested in the parallels of the child-parent relationship, and how the parents’ relationships are sometimes moved and transferred to the children’s way of looking at relationships. I think that’s the reason why we focused on it. At one point [Emma and Elliot were] actually pretty 50/50 in the script, but then we decided to go more with Emma.”

If you had to imagine where the characters of 「Eat With Me」 are in their lives now, where would they be?

“I think Emma definitely moved in with Maureen somehow. I think they became roommates. That’s a good sort of dynamic for them to have with each other. I see Emma start dating again. Maybe start dating her ex-husband again. Just having to experience new things – I think she’s in that stage right now that she will try everything. And Elliott, I think I would say he probably opened up the restaurant and I think he’s still stumbling upon relationships. I’m not sure if he’s still with Ian or not, but I think that part is going to take him more time.”

What other projects have you been involved in since 「Eat With Me」? Can we expect more films from you in the future?

“I produced a film with my friend Michelle Ehlen, who was also a producer on 「Eat With Me」. She did a lesbian comedy feature called 「S&M Sally」. It actually just came out online.”

“I’m working on a couple of projects but the one that’s actually in development right now is another dramedy type of film called 「Better Company」. It’s about two best friends: one gay, one straight. It’s actually a gay Caucasian guy and a straight Asian guy. They’re best friends [from] college and the gay friend just got engaged to his partner and the straight guy just found out that his one-night stand got pregnant. They decided to go on a road trip to go see the birth of the baby.”

“It’s a different sort of coming of age story – how life gives you responsibilities that you have to take on, and where you go from there. So there’s a little bit different kind of feel to it, and I think, as a film, it might be a little bit darker than 「Eat With Me」. The film is co-written with Mark Neal and will be produced by both he and Joyce Liu-Countryman. We’re actually hoping to shoot in Eugene, Oregon. I visited there a few years ago, and that was sort of the start of this.”

Check out 「Eat With Me」, available now on iTunes and Netflix, and keep an eye out for David’s upcoming films!

Author: Jonathan Patrick/Date: June 03, 2017/Source: https://moviepilot.com/p/eat-with-me-director-david-au-interview/4275084



Natalia Moscou feat. Philippe Katerine 「Je suis un garçon sensible」

SEVENTEEN 세븐틴 「Don't Wanna Cry」

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