Kim. 20, Cis Female, Canadian-born, Multi-racial (Malaysian Chinese, English and Scottish), Queer, Student.

Cooking, reading, tea and music > everything.

I'm also into politics and feminism. I'm currently trying to find out more about East and Southeast Asian history.

Well that's me in a nutshell, hope you enjoy your stay :)
Jul 2014

the cutest four year old ever TT3TT!

Jul 2014


For the last eight years I have defined myself, in part, as front woman for the band Ohbijou. After some commercial and critical success, extensive touring and hundreds of live shows, our band has decided to go on “hiatus”. Though humbled, warmed and inspired by those who listen to the music we make and create an audience for our craft, we are tired. As our farewell show nears, I have been spending time sorting through an archive of experiences with the band and our audiences. I am sorting through many feelings, mostly feeling sentimental but also interrogative. My relationship to Ohbijou’s reception is also one of ambivalence. I have been met with complicated responses from critics and larger audiences due to my race, gender and sexuality. I can’t help but feel sadness for the ways my body been inscribed as a performer. I can’t help but feel tired by the ways that my brown, performing body comes into contact with the multicultural sensibilities of Canadian audiences. I am frustrated by the ways that my Asian-ness and my sexuality have been at times hidden and at times showcased to support notions of an “inclusive” Canadian multiculturalism.

Despite a passion for writing and performing, it feels impossible to continue to create music in the form of OhbijouDespite adoration for my bandmates and the sweet fans and listeners who support this project, we must stop now. When we formed, we were a group of friends enjoying learning new instruments and sounds together in my basement. It is difficult to locate all of the reasons why I feel resent for a relationship that I have invested so much time, money and emotion in. I am disheartened by the years of unquantifiable work that have resulted in growing anxieties over how to create a sustainable future. Our initial intention, and one we continue to hold dearly to, was to produce social change through music. It has always been important to us to support local initiatives that aim to take care of the city in which we live. In our own ways, we will continue to do so. There is a larger conversation to be had about the labour of producing music and the changing patterns of consumption in the contemporary moment. Outside of the safety of commercial success, as the internet changes our interactions with music and consumptive patterns, it is a difficult existence. It is difficult to support and tour with such a large band.


There have been many moments where our band has been sutured to notions of multiculturalism. The media has often referred to Ohbijou as “multicultural”. In an article written for a college weekly the author describes us as: multicultural in both influence and membership.” We have also been introduced on the radio as the “multi-culti” band. This association is a polite way of saying that not all of us are white, which is the usual configuration of bands in Canada. Attendant to this proclamation is often a conflation between our bodies and the sound of our music: our music becomes a multicultural sound, or is referenced to as “world music”, which is a slippage of reading raced bodies. In a newspaper article our band was also described as “a Toronto pop orchestra of mixed race”.” Why was it important to describe us as a band of “mixed race?” We were “exotic” when compared to the normal configurations of Canadian bands. Our cultural and gendered make-up has become intrinsically important to how some media makes sense of us. This is tiring.


An ambivalence surfaces when moments of pride in our work and its reception collide with well-intentioned but racist consumptions of our music. Ohbijou has been fortunate to tour through out North America, Asia and Europe. We were lucky to book a show in a beautiful botanical garden in Brussels, Belgium. After playing our music set to an attentive audience, I was confronted by two young Belgians:


“You played a really great set tonight.”

“Thank you so much, we really appreciate you being here.”

“We could really hear the Asian influence in your music.”


I was surprised and confused by this response.How did our performance, our ‘sound’, communicate Asianess? We were an orchestral pop band that played pop songs. In the novel What We All Long For Dionne Brand writes:


“People stand and sit with the magnetic film of their life wrapped  around them. They think they’re safe, but they know they’re not.

       Any minute you can crash into someone else’s life…”


Brand captures why it is necessary to think with transnational trajectories, as we seek to understand our encounters with strangers. How have constructions of otherness confined my work as a musician to a single narrative? I played Asian influenced music because my body was read as Asian, not because of the sound, or the melody or the instruments. My Filipino body was collapsed into a particular sound and mode of expression.

As a band we have felt the generosity of strangers and have traveled to many beautiful cities and towns. We remain committed to the political power of art and the messy moments when only art can respond to devastation, to difference. To make music, as a racialized person in multicultural Canada, is a difficult project. I am not giving up on the potential of such a project to alter the ways that people think and feel about queer life and the histories of colonialism out of which Canada was born. But, as a band, we are tired and we are broke. We say a sweet goodbye to each other and to our audiences and I hope that my words and Ohbijou’s music, in some small way, effect change.

Jul 2014


March Issue: Actor Christopher Larkin Co-Stars in New CW Series ‘The 100′

Korean American actor Christopher Larkin makes no secret of his distaste for roles that perpetuate Asian American stereotypes. But he’s also the first to admit that, when you’re hungry for work, it isn’t always so easy to avoid those jobs.

“It’s a catch-22 of sorts. Sometimes those are the only roles available,” says the 26-year-old. “It takes strength. You know, I was waiting tables and working as a doorman in Times Square, and you would do anything to get out of those jobs. It takes a lot of willpower and not forgetting the power to say no, which is the only power you have, especially with your representatives trying to look out for you and progress your career. And at the same time, while you’re trying to progress your personal career, you’re progressing the image of Asian Americans. So, it’s a battle between that.”

This article can be found on this month’s issue of KoreAm Journal! Subscribe to for constant updates on the latest stories and events happening! 

Jul 2014

"We need to switch the way that we talk about women. That’s what I think needs to change. I think sometimes they don’t even know that they’re doing it and that’s the problem. You say the word "feminist" and already, like, you can feel the eye rolls in the room. Like, fuck off, man. Fuck off. It has this crazy negative connotation that I never understood."

Jul 2014


チキンラーメンCM 「かまたまの歌 篇」 30秒 / 新垣結衣 (by 日清食品グループ公式チャンネル)
Jul 2014



What do french people call a really bad thursday?

a trajeudi

Jul 2014

Mulan Teaches Us to “Be a Man” … Until You Have to be a Woman





And the more I think about it, the more real it becomes. Mulan spends virtually the whole movie concealing her sex, but projecting her physical and mental prowess all while having to listen to locker-room talk that depicts women as subservient and passive (most prevalent in all the musical numbers) – and for the audience, this is a great source of humor and dramatic irony. What resolves this irony in the end is that Mulan leads the effort that defeats the Huns and saves the emperor and China; therefore, she overcomes gender stereotypes and proves the worth of women in a society that demeans their existence to nothing more than child-bearing and domestic servitude.

Or rather, this might resolve the irony if she accepted the importance and validity of her actions. But instead, Mulan declines the emperor’s offer for her to live in the palace and consult with him in making significant military decisions; she opts to return to her domestic lifestyle because she’s “been away from home long enough.” She’s had her fill of adventure and showing her capabilities, now it’s time to go home where she can return to normalcy and forget her vocational hiatus. When Mulan sees her father at home, he lovingly welcomes her back into the family; she gives him the only tokens she has of her deeds as if to say, “Here, daddy, take my sword and medal – I don’t need them anymore considering the fact that I’m done playing dress-up and am ready to take my rightful place in society. And, after all, you’re the patriarch; it’s only right that I hand over my symbols of dominance to you!”

Read more on Feminspire!

“When Mulan sees her father at home, he lovingly welcomes her back into the family; she gives him the only tokens she has of her deeds as if to say, “
Here, daddy, take my sword and medal – I don’t need them anymore considering the fact that I’m done playing dress-up and am ready to take my rightful place in society. And, after all, you’re the patriarch; it’s only right that I hand over my symbols of dominance to you!””

Aaaand this is what you get when you view asian myths and characters from a western perspective. Filial piety and respect becomes submission and deference. Throwing us under the bus and saying we’re weak because they don’t understand our culture. Smh.

Don’t make our stories about something they’re not. Mulan was never meant to be your girl power, stickin’ it to the world, white feminist hero and I don’t appreciate such liberties being taken with her.

#hah remember when white feminists were all over mako mori because they didn’t get the concept of filial piety?#yeah

Jul 2014



Zheng Chunhui, a famous Chinese wood carver spent 4 years engineering this master piece from a single tree. Based on a famous Chinese painting “Along the River During the Quingming Festival” the carving echoes the daily life of the 12th century Chinese local. The level of detail is stunning!


Jul 2014

Choice feminism is motivated by a fear of politics. It arises in response to three common criticisms of feminism: that feminism is too radical, too exclusionary, and too judgmental. In response, choice feminism offers a worldview that does not challenge the status quo, that promises to include all women regardless of their choices, and that abstains from judgment altogether. Moreover, it enables feminists to sidestep the difficulties of making the personal political: making judgments and demanding change of friends, family, and lovers. Yet, judgment, exclusion, and calls for change are unavoidable parts of politics. If feminists are not to withdraw from political life altogether, we have to acknowledge the difficulty of engaging in politics. Political claims are partial; we will inevitably exclude, offend, or alienate some of those whom we should wish to have as allies.-Taming the Shrew? Choice Feminism and the Fear of Politics, written by Michaele L. Ferguson (via ausform)

Jul 2014
Don't Save Me (Cyril Hahn Remix)
3,343 plays


Don’t Save Me (Cyril Hahn Remix) | HAIM

Jul 2014
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Apr 2014


Gerrard, who is 33, is a throwback to older, simpler times, too: a one-club, home-club player who belongs to a diminishing breed of footballer disinclined to communicate his injuries, world views and the merit of his commercial sponsors through Twitter. He is a national leader now – captain of the England team which competes in Brazil in six weeks’ time – yet remains an introspective, sometimes tortured soul who wears a deeply furrowed brow and could never bring himself to leave his club and his home city. - Ian Herbert (x)