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Monday, October 31, 2005

"Why There are 'No' Asians on Television" - Part 4/4

Part 4: Conclusion: APA Entertainment Industry Quiz,
"Top 10 Ways to Never See Asian Americans on TV"
By Erin Quill, IMDiversity.com Special Contributor

What's Your APA Entertainment IQ?

Can you name 3 Asian American theater companies?

Can you name 3 young, U.S.-born Asian American film directors?

Can you name 3 Artistic Directors that are APA?

Can you name 3 independent films starring Asian American actors produced an APA producer?

Can you name 3 Asian American actors NOT listed in this article whose work and talent you admire?

Who are...Judy Soo Hoo, Alice Tuan, Sujata Bhatt, Diana Son, Genny Lim?

Where is your local APA Film Festival this year? Have you looked on its website to see what films you are going to support?


Top Ten Ways to Absolutely, Positively Keep APAs off TV
1. Grab the head of the Screen Actor's Guild Diversity Department by the throat at a 'minority' showcase after you've overturned a table and start choking him. Do it in front of about 200 people so you can't deny it.

2. Protest and and all Asian roles that you yourself have been considered for, but did not land

3. Talk about the Great White Plot really loudly in ABC, NBC or CBS Executive
offices

4. Start attacking all APA network executives with the label banana-assed sellout when they do not agree with you. Or when they go to work for FOX. Or marry white guys.

5. When you join committees that intend to "make a difference," be sure to start as such infighting as possible so that nothing can be accomplished

6. Protest Asian American theater companies who continually push the creative limits because they are portraying "negative APA images"

7. Make sure that you proclaim the opinion "hapas" involved in entertainment projects negates the term "diversity" because we all know "dem bitches is white."

8. Don't study acting, dance, art, music or anything that is vaguely creative -- just jump right in there from engineering or business because "anyone can do it"

9. Absolutely never, ever mentor anyone less experienced than yourself -- and generally avoid other Asians like SARS

10. French kiss Jay Leno after he makes yet another joke about APAs eating dogs

--------------------------------------------------------------------------------
From the Archives

Secret Asian Man in: Ssshh! It's Starting!
At the movies: Treated to something you thought you'd never, ever, ever see...

Information about Writers Programs Cited in this Article
cbsdiversity.com/writers_program.shtml
fox.com/diversity
abctalentdevelopment.com/html/writing_fellowship_mainpage.htm
nbc.com/NBC_Career_Opportunities/Diversity_Initiative_for_Writers.html
Other In-Community Resources
Asian CineVision
asiancinevision.org
National Asian American Telecommunications Association (NAATA)
naatanet.org
Pacific Islanders in Communication (PIC)
piccom.org
Pacific Pioneer Fund Awards Grants to Filmmakers in California, Oregon, and Washington
pacificpioneerfund.com
Asian American Writers Workshop
aaww.org
Coalition of Asian Pacifics in Entertainment
capeusa.org
Media Action Network for Asian Americans (MANAA)
manaa.org
East West Players
eastwestplayers.org

Event of Interest
NAATA Celebrates 25th Anniversary in Special Nov 10, 2005 Event
Tickets available for San Francisco ceremony

Related Readings on this Topic at the Village
Race, Sex and the Charlotte Sometimes Controversy
By Eric Byler, Special to Asian-American Village
Director Eric Byler addresses APA/hapa schism and boycott threat
Why, When, Where, and How to See Better Luck Tomorrow
By S.D. Ikeda, IMDiversity
MTV launches the world's first true mainstream Asian American film
A True 'Revolution': Indian Americans Enter The Matrix...
By Sandip Roy, PNS
...and a spot at the heart of America's most mainstream popular culture
The Power of the Relic Hunter
By Frances Kai-Hwa Wang, AAV Contributing Editor
The pull of real, well-rounded, non-stereotypical, and rare Asian and
Asian-American characters on TV
Where's the Real "Me" in Hollywood?
By Jeff Ho, AAV Opinion
Seeking a real Asian man? Don't look in Hollywood.
Arts, Culture & Media Department and Archives
Secret Asian Man Strips by Tak Toyoshima @ AAV
Secret Asian Man on: Cultural Accuracy in Casting
Sure, it's Zhang Ziyi...but it's still messed up! (Isn't it?)
Secret Asian Man in: Bat-SAM
Let's hear it for color-blind casting. Pow! Wapp!
Secret Asian Man in: Color-Blind Casting
Great Hollywood remakes to come

"Why There are 'No' Asians on Television" - Part 3/4

Part 3: 'Our Stories, Ourselves'
By Erin Quill, IMDiversity.com Special Contributor

DID YOU KNOW: Manu Narayan, the lead in Broadway’s Bombay Dreams, is from Pittsburgh and attended Carnegie Mellon’s Music Department? He has also toured in Shakespeare productions and started RASA Theater Company to address the theatrical needs of South Asian playwrights and actors.

Let’s go on to the writing – because that is where the real power begins in TV. The Writer's Guild of America’s demographic profile for TV writers are Caucasian males between the ages of 23 - 37. That’s the average, but of course it allows for errors on both ends. Most writers choose to "write what they know" – as the oldest adage goes. The trouble is, this mostly leads them to write themselves. Our TV landscape is brimming with kind-of-shlumpy white guys married to women much hotter than them and 2.4 kids, and no matter what happens on the show, Dad knows best. That’s the average American sitcom. Minor variations on the same theme: white female characters who act like gay men (believe me, no one has THAT much sex in any city -- unless they are ‘desperate’).

Now, I know those writers have APAs in their lives – maybe a doctor, lawyer, postman, deli guy – could be anyone, anywhere, because that’s who and where WE are. However, when they write for APAs, more often than not it’s all about thick accents and misinformation and lots of laugh tracks.

Hence, what a breakthrough was David E. Kelley's role for Lucy Liu’s character on Ally McBeal! Yes, she was kind of a dragon lady, but one unaccented, and with a depth of feeling, who at the end of the day stood toe-to-toe with the hottest cast (at the time) on TV. Simply put, Lucy Liu on that show proved herself to be very, very good – and that is why she’s working.

Kudos also to The Gilmore Girls and Keiko Agena, Rex Lee on HBO’s Entourage, Grace Park on Battlestar Galactica, Alec Mapa on UPN’s Half and Half, Daniel Dae Kim on ABC’s Lost. (I’ll be happier when Daniel’s character gets to learn English; but, am I happy he’s a hot, Asian hunk wearing clingy, wet clothes ninety percent of the time? Damn straight!)

And there you have it – five Asian American regulars on television because non-Asian TV writers/producers took a stand and said that they wanted APAs in those roles. They deserve a shout: JJ Abrams…YAY! Amy Sherman and Jeffrey Klarik…way to take a leap! Doug Ellin, Glen Larson, Ronald D. Moore, did I ever tell you you’re my heroes?

DID YOU KNOW: that the XMEN movies are co-written by Mike Dougherty? Mike is Vietnamese and Irish. He is currently working on the new Superman being shot in Australia.

DID YOU KNOW: Avenue Q, the TONY-winning musical for 2004, has music and lyrics co-written by BOBBY LOPEZ, who is Filipino and Irish?

DID YOU KNOW: EAST WEST PLAYERS in L.A. is the oldest Asian American theater company in the U.S.? It just received a major grant from the S. Mark Taper Foundation after several years of applying.

Big-screen honorable mention must also be given to director Danny Leiner, who helmed the 2004 major motion picture, Harold and Kumar Go to White Castle, starring John Cho and Kal Penn. He mainstreamed a film starring two APAs that would have never seen the light of day if not for his insistence that it could work.

Choose to Know
So okay, Erin, you say. You've convinced me. But what can we do? Glad you asked! Did you know that CBS, NBC, FOX, and ABC all have diversity programs to cultivate writers, directors and executives of minority backgrounds? Yes they do. To be considered for a writer’s program, the applicant must submit 'spec' scripts -- scripts written on ‘speculation’, that is, you do not get paid to write them, but they are the mark of many things: how you get an agent, an interview, a pitch meeting. So, check out these network website pages for specifics and applications, and get moving!

http://www.cbsdiversity.com/writers_program.shtml
http://www.fox.com/diversity
http://abctalentdevelopment.com/html/writing_fellowship_mainpage.htm
http://www.nbc.com/NBC_Career_Opportunities/
Diversity_Initiative_for_Writers.html

DID YOU KNOW: Writer John Ridley, an African American, has written 2 pilots for
APA performers? He has also written a play, 10,000 Years, based on the Japanese kamikaze pilots. Other credits include the original story for Three Kings, the Undercover Brother screenplay and many more.

DID YOU KNOW: The 2005 TONY-nominated revival of David Mamet’s Glengarry Glenross has a producer who went to Yale Drama for Acting named Pun Bandhu?

In Improv, we have a catchphrase: ‘Choose to know’. In this context, the means success can come to those who choose to know about opportunity. My friend Chuck Kim wanted to get into TV writing, and I was in a unique position to know about writing programs available to him. Not only did I participate in diversity acting showcases for both CBS and FOX, but I volunteered to do office work for both FOX and ABC during their showcases where my tasks included calling Agents of writers who had been chosen and set up their pitch meetings with the Executive in charge of that division.

I was not spying, but learning the way things work, and then I told Chuck, who is talented and diligent, and got into the program. When he arrived for his first day, they decided he was too good to be an intern (the interns do get paid) and they put him on as a writer on a show. Did I get Chuck on that show? No. Did I do anything but read his spec and tell him it was good and he should submit? No. However, Chuck did not know about those programs before I told him. It’s about spreading the knowledge. See, those programs do work, not always as quickly as it did for Chuck, but anything is possible if you commit fully to it.

One word of caution: Do not write an "Asian character". Write a great character
who happens to be Asian. Believe me, there is a difference.

If you do not see your stories on television, then it’s up to you to get them on there. Want more success stories? Go to the IMDB and look up Eric Byler, Jessica Yu, Alice Wu and Justin Lin.

When the Suit Fits, Wear It

DID YOU KNOW: Every contract a Producer signs with SAG contains a clause that says that they will ‘reflect the American scene’, meaning the ethnic diversity and visual dynamics of the city in which the show is set.

They are supposed to turn in their numbers at the end of each quarter and SAG is to fine them if they are in violation. Guess what? They always turn in their numbers late, and SAG is too understaffed to input the numbers in a timely fashion and to my knowledge, we have yet to fine anyone for not reflecting the American scene in a TV or Movie project.

Here we go – the Executive Branch. To become a Network Exec, you have to use every tool at your disposal, and again, all the networks have executive development programs for minorities.

But here’s the catch: If your ethnicity helps get you in the door initially, to stay there you have to deliver. Although we are minorities in the ranks of TV and movie Execs, once you actually become an executive, you are first and foremost a suit. You represent the network. End of story.

That said, APAs who make it into executive decision-making roles are not powerless.

I’ll give you one example where a creative decision to include Asian Americans was overturned. There is a military show, not the original, the second wave -where the original quirky girl who was kind of punk-like, was supposed to be Asian American. The cast description was of an Asian American or Eurasian (this includes Southeast Asians, I’m going to assume you know that). That was the original description of this character – Asian American. The show is currently on a prime time slot. The part is being played by a Caucasian who affects a kind of Japanese fashionista clothing style and oh yeah, the BEST part – her hair is dyed black and it’s usually worn in two pigtails.

How about a medical show set in San Francisco with only one APA character, who happened to play more the bumbling intern than the competent doctor in training? Thankfully cancelled. How about a different show set in San Fran that when they hit the air, realized that they had no APAs and quickly added one, hoping no one would notice – also cancelled.

Anyone miss that show set in Hawaii with no APA regulars? Why would the network pick up a show in Hawaii with no Asians? They must have watched Pearl Harbor too many times.

Well, you get the point: Sh-t happens...especially on television.

But conscientious APAs who make it behind a network desk can have ample opportunities to promote results that are good for both APA representation and, ultimately, for the network.

Where We Go Next
Now you have a fully comprehensive view of the way APAs can advance in the entertainment industry. First, we need to allow our young people to continue to study their crafts without prejudice – whether it is acting, writing, directing, study is essential.

Second, we need our young people to continue to invest in careers in entertainment behind the cameras – creative, production, and executive.

Third, and most importantly, we need our writers to step up and create APA images that we want to see. I want characters that audiences want to deal with and most importantly, when the writers are asked if those characters ‘have’ to be Asian,
I want them to stand up and yell "yes!"

Does a character who is a heart surgeon in a hospital in San Francisco have to be Asian? YES! Not because the writer is Asian and said so, but because the U.S. Census says that doing so will accurately reflect the American scene. The producer signed the contract; it’s up to us to make sure he/she follows through.

Finally, we need APAs on all levels to continue to contribute to the arts. SHOW US THE MONEY! Realize that if you support an APA film or play or theater company, you are supporting one another. We are Americans. Now we must get together and act like it.

"Why There are 'No' Asians on Television" - Part 2/4

Part 2: 'Choose creativity over conformity.'
By Erin Quill, IMDiversity.com Special Contributor

BEING ASIAN AMERICAN
A growing audience of consumers, Asian Americans can make a difference. The question is: what change will it be? Will we embrace those actors taking the 'leap-of-faith' roles that challenge them as artists, and that we may personally find a bit sticky? Or we will continue to demand only 'good' roles for APAs and relegate ourselves to the stereotypical flat roles on the back of the cultural bus?

As a community, we really need to lighten up on our actors and the roles that they do manage to land. We never want the APAs to play the bad guy.

Does anyone remember the furor over Better Luck Tomorrow? I do. I attended one of its many screenings at the Sundance Film Festival, where it was one of the most popular films. The BLT actors were the Beatles of the Festival, which I thought was fantastic.

All the screenings were sold out. And yet, post-screening, audience members attacked the director, the writers, and the actors because the film portrayed APA teens 'gone bad'. Here we had overachievers turn to the dark side, and the audience did not like it. Some members of the viewing public got so distraught at a previous screening that they actually threw a chair at the cast members. The viewing public were both Asian and Caucasian, equally demanding the reasons why we would want such a 'negative' portrayal of APAs.

What most horrified our rather traditional community was that these teens acted like Asian American teens, not 'Asian' teenagers. They were overachievers who turned to crime and they did it better than anyone else. Exploring what would motivate kids who 'had it all' to suddenly turn violent was an examination of desensitization in modern American society. It just happened to have Asian American actors playing the leads. No flack would have been raised if Topher Grace, Giovanni Ribisi and Lindsey Lohan played those parts. Ethnic hyper-sensitivity is a kind of censorship. Director Justin Lin had been offered a chance to make this movie with Caucasians and he turned it down, in the process maxing out his credit cards in classic 'indie' fashion to get the film he wanted.

BLT was a standout for featuring great characters who were complex, and diverse. Not one of the characters had to 'explain' what it was to be an APA in a rather painful, Joy-Luck-"but you don't even eat ice cream, why should you pay for ice cream' manner. No one was picking up or putting down chess as an act of defiance. These were characters based on a melding of incidents that occurred in Orange County, where the director grew up. It was a movie based on things that occurred in life.

The difference in portraying a negative character and a dark character is this : a negative character has no redeeming features and tends to embrace the stereotype without explanation. It's a character with no motivation. A dark character would be one who is complex, whose motivation is visible to the audience, and one who you understand, even if you do not like that character. A dark character would be a tapestry of wants and needs that give the actor an entire world to embrace. We cannot penalize our APA actors for taking on 'darker' roles.

Samuel L. Jackson may be one of the finest character actors working today, and yet I have never heard of a protest from the African-American community over the roles he takes. However, if Roger Fan had the opportunity to make similar choices, do we really think the sh-t would not have hit that Fan?

Our community needs to embrace one another, not divide. We need to let our filmmakers do their jobs and challenge not just Asian Americans, but the world in general with their work.

I want to use one example now, where the APA community divided itself over a film. That film was Charlotte Sometimes, which was written and directed by Eric Byler. I am of mixed heritage, as is Eric. We were emailing back and forth on another issue when he sent me a copy of a lecture he was giving about racial perceptions in the U.S. among the Asian community. I could not believe the hatred in some of the emails he received from the APA community, simply because they could not tell that one of the actors was hapa.

They attacked Eric -- because they could not tell from his name that he was of Asian descent. They attacked the actor, same reason, even though it is mentioned in the film that he is mixed. One went so far as to write that Eric was lying because 'everyone knew that if the mother was Asian, the kid would not look Asian, but if the dad was Asian, the kid would look somewhat Asian'. They said that people of mixed race 'didn't count'. They said that Eric should be ashamed for letting a 'white guy' kiss 'one of theirs'.

The truth is that many of the Asian Americans on film and television today are of mixed heritage. There are many writers of mixed heritage. We cannot, as a community, disallow someone's background or demand racial purity in the melting pot that is America. Mixed-race people are not only the face, in many cases, of Asian America -- they are also much of the future that is Asian America.

We want to see ourselves represented in media, but we only want to see it if it fits within rigid confines of community approval. We want to see ourselves in the lead, but only if we play roles representing the 'good guy' in the white suit that comes to save the day. We want to see our stories told within mainstream American culture, but only if they are 'traditionally' grounded and supportive.

That doesn't wash. It takes, will take and has taken, an Asian American village to get this far. We have to keep going.

VALUES TRADITIONAL AND NON
As a group, we have been and largely remain immature producers and consumers of the arts. Sure, we all study piano or violin, or drawing. Maybe we dance at the obon festival or New Year's pageant. But what are the reactions when our parents learn that we wish to pursue a career in the performing arts? Horror. Protests. Wailing! And that’s just the Aunties. Wait 'til your Dad gets home!

Many APAs who venture into the acting arena have a degree in something else because their parents "made" them study it.

“Whenever I take acting classes, I'm talking about more serious, advanced scene study classes, I find myself, that I'm the only APIA male in the class." – NY Actor, Nick N. Sakai

I was talking to a writer about his upcoming film, which features one character that he wanted to be a specific kind of Asian. He had an actor in mind who was Asian, but of a different ethnic group, and asked my opinion on casting. I told him go with the kid who could act. Why not? You would not ask an untrained layman to walk in and perform a kidney transplant – and the same applies to a scene from Ibsen, or Moliere, or Shakespeare. These too require delicacy and nuance and hours of study that most assume come with preparation for medical careers, but few associate with acting.

(Ethnically correct casting at this point in APA cinema is not something we can worry about – good acting, quality filmmaking is the bigger concern with longer-term ramifications for us all.)

I repeat: Being TEN TIMES BETTER does not come with "raw talent"; it demands training, disciplined practice, experience and confidence. Can we study Meisner or Stanislavksi independently while we're busily working at being doctors or engineers or Indian chiefs? Of course, we can – but do we? All training is good. Go to class. Craft is paramount. Those who study make everyone’s job easier, thank you.

Now, parents are never entirely happy with their children’s choices -- and this may be true of Asian parents more than most. But, rather than stifle your children's creativity, why not admit you may not know or understand what the heck they are doing, but you wish them well anyway, and expect them to be the best?

When I was in China, I went to the Children’s Palace. Ah, what is that, you well may ask? The Children’s Palace is an artistic training center – they have them all over China. Children are enrolled and continually tested as to ability before they are allowed to continue. It is State-sponsored. The children study a variety of things, but what impressed me the most, is that they did not ignore Western arts when they were educating their students. They played traditional instruments and contemporary – same with dance, art and acting. So, why would we be less opened-minded about studying the arts than Communist China? Asian countries are known for their artistry, yet, when we come to the U.S.A., somehow all that commitment to balancing life and art is abandoned. Why?

Sure, there's always a Catch 22. Are almost all Asian actors obliged to study martial arts? Uh, yeah. And if one says, "No, I don’t,” everyone looks at you funny. However, we do not ONLY study martial arts – we then towel off and go read Mamet. Yes, they want us to speak an Asian language, be adept at one form of martial arts, have long hair, tiny asses, and no accent when we speak English (unless they need one) – but hey, that’s Hollywood.

So, when you hear that someone’s child wants to be an actor, do not shake your head and bemoan the Ancestors – rather, encourage that growing artist to excel in this study! Send your kids to class, go to their recitals, cheer their victories, celebrate artistry. While you send them to obon dancing, send them also to hip-hop, ballet, jazz and tap to gain experience in and embrace the widest range of performance opportunities.

Tradition is fantastic, but you have to find a balance between where we come from, and where we are. If you study ice skating, you also take ballet. Why? The muscles need to be stretched in all different ways to achieve the best possible result – same in Acting.

The APA Actors who attended a program of study in the creative arts are working on Broadway, in concert work, in television, and film. Par example: Kim Miyori, Manu Narayan, Daniel Dae Kim, Chil Kong, Telly Leung, Margaret Ann Gates, Esther K. Chae, the Bhatnagar sisters, Ryun Yu, Elaine Kao, Jeff Liu, Ming Na, Michelle Krusiec, Lynn Chen to name a few – go ahead, Google them.

CREATIVITY OVER CONFORMITY

DID YOU KNOW that Asian Americans have the highest median household income of any group in the United States INCLUDING Caucasians?

In real terms, our actors also need the patronage – the concrete financial support – of our community.

You want too see more Asian actors in our mainstream American culture? Then create a demand. Buy tickets, don’t ask for comps, and go to the fundraisers! This is true not only when actors manage to make it onto Broadway or TV, but even more importantly when they do that dead-end play where they deliver five lines and stay to clean up the theater afterwards. Get on the board of the local theater company and spread around that disposable income we all have to create opportunity.

Actors with more opportunities to perform get better, more confident. We hear a live audience and learn nuance of a kind that mere classes can never impart. We start to understand timing, to comprehend drama, to develop comic timing.

By continuing to build and improve our pool of talented APA performers, we take away the first excuse used by the networks: "There aren’t any."

Asian America has the economic power to make stars of our own. If you want to see your stories and faces on the screen or onstage, though, you have to pay for it – just like everything else in life.

"Why There are 'No' Asians on Television" - Part 1/4

Four Part Series
By Erin Quill, IMDiversity.com Special Contributor

“He also spend thousand of thousand dollar of your hard earned money to go to college and grad school, but not to be doctor or lawyer or engineer or doctor or lawyer, instead, he spend all your American money to be…to be….Hey, what you do anyway?”
-- From Tim Huang’s musical “AND THE EARTH MOVED”

People always ask, “Why are there no Asians on television?”

Well, there is no single, easy answer. I will start off by saying, at least, that THERE IS NO GREAT WHITE AGENDA!

But, I’m hapa, so you may choose not believe me.

Yet, having worked with the Screen Actors Guild on their EEOC and the now-defunct APA sub-committee, as well as contributed to the revised Asian Language Contract, I've observed the problem of APA media under-representation from a rare, privileged vantage-point and I think I can break it down for you.

Be warned, though: You may not like it.

From an insider's perspective, the fact is that Asian Americans play significantly into our own lack of representation. Certainly, we face many challenges in the industry, including hiring discrimination and stereotyped casting. But in many ways, we may also be our own worst enemy. I know that this is uncomfortable to read, and I have even been advised to not put my name on this piece. Yet, I am hoping that if we acknowledge that the Emperor is naked, then we might be able to change the problem of our media under-representation in the next few years. For those of us working on representation from within the industry, finding remedies requires tackling the problem from both sides.

ABSENT ASIANS
The first challenge, sadly, is to show that we are here.

When casting executives try to broaden the scope of their casting choices (they rarely do so, but occasionally they do -- Damona Resnick at NBC is particularly committed), they often report to the network exec who ordered it that they "can’t find anyone."

Here, for example, is an actual conversation I had with a top network exec I know, who said, “So, how you do feel that there are no Asians on my network?”

I replied, “What do you think? I think it sucks.”

"Do you want to know why there are no Asians on my network?" Exec asked me. “They said that there aren’t any.” The Exec stared me down.

“Then your CD [Casting Director] is lying to you,” I said.

“Funny, because the thing is, my CD is Asian," Exec replied.

“They’ve never called me in,” I responded.

“Yep, and I told them to,” Exec answered.

Then we both had nothing to say, because that CD, for whatever reason, had seen “enough” Asian actors to determine that there were no qualified, talented Asian actors. The fact that some of the top CDs working for networks ARE Asian American is just another nail in the coffin – because, to a white guy/gal – if your Asian CD comes back and says “There aren’t any,” you are going to believe them.

“That's our job. To be so good in that 3-5 minutes in the room that they NEED us, that they ASK for us. And NO, it isn't fair. But we have to take all our Asian neurotic perfectionism and channel it into our work. Prepare for that audition like it was your f--ing SAT” - Alec Mapa

Total B-S, of course, but they had the call sheets to prove how many actors they saw.

This CD and that casting department went on to cast a pilot (a show that has been selected by the network for production with the hope of an eventual TV show coming out of it) set in Silicon Valley. When it came back, the Exec saw it and threw it out - even though they had filmed all 13 episodes. Why? No Asian Americans. No Asian Americans on a pilot set in Silicon Valley. No Asian Americans on a pilot set in Silicon Valley that took place within the computer industry. No Asians, No Southeast Asians. No women. One African American and he played the assistant.

THE MODEL MINORITY. AGAIN.
Although it may not be visible, the networks are trying to diversify. They fund Diversity Departments and showcases to expose 'minority' talent to their writers, executives, and the independent CDs that work for them. These efforts may only help a handful of people for one season -- but it's a start.

To succeed on television, an APA actor needs to be ten times at good as anyone else -- allegedly. I checked with one of the APA actors on a major show, who concurred. This actor also pointed out that Asian Americans should not be auditioning solely for APA roles, but for parts across the board, across the color barrier.

This means it is not only an individual actor's responsibility, but one shared by their agent, manager, and, to a small degree, the larger APA community. Remember, we have to be TEN TIMES BETTER than anyone else to get a job, because you never give someone an excuse NOT to hire you.

We do not see Asian Americans on television because only a small, dedicated group is asking for that -- and it largely comprises lawyers and actors. We need numbers. It takes a village, right? Yes, it will take an Asian American village.

Drug maker Roche discussing joint production of Tamiflu in China: reports

SHANGHAI, China (AP) - Swiss drug company Roche is in talks with China about jointly producing its antiviral medication Tamiflu, a move that could boost its global production amid fears supplies will fall short of what is needed in case of a flu pandemic, reports said Monday. "We are talking with a number of Chinese authorities to see what is the best way to address the issue at this point," the Hong Kong newspaper South China Morning Post quoted Roche's chairman and chief executive officer Franz Humer as saying at a weekend conference of business and city leaders in Shanghai.

"We are certainly in discussions," Humer said.

Roche Holding AG has been inundated with requests from other pharmaceutical companies for licences to produce Tamiflu, the drug experts believe to be the best defence against a possible flu pandemic.

The company's Shanghai office confirmed that like its branches elsewhere, "in view of the increasing urgency of the situation," it was open to discussing production with any potential partner with a capacity to make substantial amounts of the drug that would meet quality, safety and regulatory specifications.

"Roche is doing everything to increase its supply," the company said in a statement, adding that it expects to have increased production as much as ten-fold by mid-2006, on its own.

Roche's office in Shanghai refused to comment by telephone and did not immediately respond to a written inquiry on Monday.

Reports in state-run newspapers said Roche had not yet received any formal applications from mainland Chinese pharmaceutical companies.

The reports also questioned the ability of companies inside China to make the drug, given its complex production process.

Nearby Taiwan has announced plans to make large quantities of Tamiflu and is seeking authorization from Roche, although its state-funded National Health Research Institute says it is able to make the drug independently.

Health authorities are hoping to boost stockpiles of Tamiflu in case the deadly H5N1 strain of bird flu spreading from Asia to Europe mutates into a form that can pass easily to and between people, setting off a human flu pandemic before a vaccine can be developed.

China has reported three bird flu outbreaks in poultry over the past month. No human cases have been reported.

Roche, based in Basel, Switzerland, opened a research and development centre in Shanghai a year ago and is building a factory that is expected to produce its transplant medication CellCept and chemotherapy drug Xeloda for China by next year.

© The Canadian Press, 2005

Japan to kill 82,000 more chickens; APEC experts to discuss possible pandemic

TOKYO (AP) - Japanese officials planned Monday to slaughter 82,000 more chickens after signs of bird flu were detected at a farm northeast of Tokyo and Hong Kong said it would shut farms and kill all poultry in the territory if the virus is found on more than one farm. Meanwhile, Pacific rim disaster experts met in Australia to discuss how to respond to a possible human flu pandemic. The latest Japanese outbreak occurred at a farm in Ibaraki, just northeast of Tokyo, officials said.

The farm was inside a quarantined area where authorities had already found signs of the disease and culled around 1.5 million birds, prefectural livestock farming chief Taro Imai said.

Antibody tests showed the chickens had been exposed to a bird flu virus from the H5 family but survived, Ibaraki officials said in a statement. No active bird flu viruses were found, Imai said.

Bird flu hit Japan last year for the first time in decades. Officials say the strain that hit the country, H5N2, is less virulent than the H5N1 variety that has ravaged Southeast Asia since 2003 and killed at least 62 people there.

There are 144 known strains of avian flu, most of them harmless to people.

Most human cases have been traced to direct contact with sick birds, but health officials fear the H5N1 virus could mutate into a form that is easily passed to and between humans, possibly sparking a deadly flu pandemic.

Eddy Chan, Hong Kong's deputy secretary for health, welfare and food, said the government would kill all poultry in the territory if the H5N1 bird flu strain is found in chickens at two separate farms.

"If infections happen at a second farm, it shows that the virus is already spreading. So we can't wait for it to happen in a third farm before taking action," Chan told lawmakers at a legislative meeting.

Chan added that all of Hong Kong's 2,260 poultry farms would likely be closed for good under the plan.

The first recorded outbreak of H5N1 in humans was in Hong Kong in 1997, when the virus infected 18 people and killed six, according to the World Health Organization.

Vietnamese officials said Monday they had killed 400 poultry in backyard farms after about 800 birds from 20 backyard farms died en masse.

Hoang Dang Nguyen, director of the animal health department in Bac Giang province - about 60 kilometres northeast of Hanoi - said the poultry were culled even though the dead birds tested negative for the H5N1 strain.

Meanwhile, Swiss drug company Roche Holding AG was reportedly in talks with Chinese officials about jointly producing its anti-viral medication Tamiflu, considered one of the few drugs likely to be effective in a human flu pandemic.

Health experts have warned that such a pandemic is all but inevitable - and its root would be bird flu.

Countries around the world have rushed to stockpile the drug.

"We are talking with a number of Chinese authorities to see what is the best way to address the issue at this point," the Hong Kong newspaper South China Morning Post quoted Roche's chairman and chief executive officer, Franz Humer, as saying at a weekend conference of business and city leaders in Shanghai.

Roche Holding AG has been inundated with requests from other pharmaceutical companies for licenses to produce Tamiflu and is doing "everything to increase its supply," the company said in a statement.

Roche's office in Shanghai refused to comment by telephone and did not immediately respond to a written inquiry on Monday.

China has reported three bird flu outbreaks in poultry over the past month. No human cases have been reported, but authorities warned Friday that one is inevitable if the country isn't able to prevent outbreaks in chickens and ducks.

In Australia, disaster and pandemic co-ordinators from the 21-member Asia-Pacific Economic Cooperation forum, along with health, animal and quarantine officials, were meeting behind closed doors to determine the best ways to deal with various threat levels posed by diseases such as bird flu.

Speaking on the sidelines of the meeting, Vietnamese Vice-Minister of Agriculture Bui Ba Bong said the country needs $50 million US and help building up its stockpile of bird flu drugs as it struggles to keep a lid on the virus.

Vietnam has been hardest hit by bird flu, which has killed more than 40 people in the country and prompted authorities to destroy tens of millions of poultry.

© The Canadian Press, 2005

Japanese panel rules U.S. beef safe enough, paves way for easing of ban

TOKYO (AP) - Japan took a step toward resuming imports of U.S. beef Monday when a government panel ruled the risk of mad cow infection in U.S. beef is extremely low if proper precautions are taken. The panel on mad cow disease forwarded its report to the full Food Safety Commission, which is expected to consider it on Wednesday.

Japan banned U.S. beef in December 2003 after the discovery of the first U.S. case of the bovine illness. At the time, Japan was the most lucrative overseas market for U.S. beef, and an increasingly impatient Washington has pushed hard for a resumption of the trade.

Last week, 21 U.S. senators introduced legislation that would force President George W. Bush to impose tariffs on Japan if it does not lift the ban.

"Based on the assumption that all precautions are taken as requested, we consider the difference in risk between U.S. and Japanese beef to be extremely small," panel chairman Yasuhiro Yoshikawa said, reading the report to his colleagues.

Media reports say the decision will lead to a resumption of imports of beef products from U.S. cows younger than 21 months old as early as the end of this year. No case of mad cow has ever been discovered in animals of that age.

Yoshikawa, however, urged Japanese officials to keep a close eye on U.S. safety measures to make sure they are sufficient, and warned that any lapses should trigger a resumption of the import ban.

"Imports must be stopped if there is a concern of a risk to humans," he said.

Approval by the Food Safety Commission will not automatically lift the ban, however. First, the health and agriculture ministries will hold a month of public hearings on beef safety before the government will make a decision.

Agriculture Minister Shoichi Nakagawa, appointed Monday in a Cabinet reshuffle, signaled a decision was still down the road.

"We will move ahead step by step by taking the necessary procedures, considering the safety of food and seeking the understanding of the people before making a final cabinet decision," Nakagawa said after assuming his post.

Before resuming imports, the ministries are expected to send inspection teams to the United States to check whether U.S. beef meets Japanese standards such as having risk materials like brains and spinal cords removed, Kyodo News agency reported.

Japan has tested every domestic cow for the disease since its first case in 2002, and initially demanded that the United States do the same. Japan has found 20 domestic cases of the disease so far.

U.S. authorities, however, balked at the cost of testing the huge American herd and argued that it was not scientifically necessary.

After lengthy negotiations, the U.S. and Japan this year agreed that Tokyo would allow the import of U.S. beef from younger cows. The Japanese side, however, said approval was needed by the Food Safety Commission.

Low-cost beef-rice restaurants in Japan have pushed for a lifting of the ban, but finicky Japanese consumers remain deeply wary of American beef, with recent polls showing that nearly 70 per cent opposed lifting the ban.

Further delays in overturning the ban could risk more tensions with the United States ahead of a Nov. 15-16 visit by Bush.

Foreign Minister Nobutaka Machimura said Saturday in Washington that he hoped to see an early end to domestic deliberations on lifting the ban, while Japanese Ambassador to the U.S. Ryozo Kato said he expects the panel to declare American beef safe for Japanese consumption soon.

Scientists agree that beef from cattle infected with mad cow disease, or bovine spongiform encephalopathy, causes a fatal brain disorder in humans.

© The Canadian Press, 2005

Twelve Girls Band makes it to Vancouver

Completing the last leg of their whirlwind tour of North America, Chinese hit fusion group ‘Twelve girls band‘ is now poised to set their instruments afire with their latest release ‘Romantic energy‘ in Vancouver on November 4th. at the Vancouver Centre for the Performing Arts.

The unique all-girl instrumentalist ‘Twelve girl‘s band‘ have struck a winning chord in their fusion of traditional Chinese music with folk and rich contemporary sounds.

Their compositions feature strains of jazz and pop tunes as well, crossing barriers of culture, space and time while resurrecting ancient Chinese instruments in their musical interpretations.

All in their 20s the Girls were recently discovered in North America when they debuted their ‘Eastern Energy‘ 2004, after collecting a vast fan following in Asia.

Each member of the Twelve Girls Band ensemble is classically trained, performing on traditional Chinese instruments like the gu zheng, the yang qin and the erhu.

‘Romantic energy‘ released by Domo records/maple nationwide is a energy charged reaffirmation of their commitment to the traditional robed in contemporary styles while featuring modern works such as Simon and Garfunkel‘s ‘El Condor Casa‘.

More info: MapleNationwide,
Ph: 416.961.1040
Em: theresa.micallef@maplenationwide.com

Ten Things You Can Do To Embrace Local Culture

Anne DeGrace has been thinking about local culture and she’s come up with a list. Want to know what you can do to embrace local culture? Here are Anne’s 10 suggestions.

1. Buy one piece of local art a year, every year, no matter what. It could be a painting to grace your mantle, one your children will argue over after you're gone. Or it could be a hand-thrown coffee cup that just makes every cup taste better, somehow. Size doesn't matter; it's the principle.

2. Learn one new thing each year. Take a tap class. Spend a weekend at a journal-writing workshop. Attend a demonstration on stained glass, and step up and ask every question you can think of. Then, sign up for the introductory course.

3. Expose yourself. That is, expose yourself to some form of artistic expression that you think you won't like. Catch the community opera presentation of Figaro. Or, if opera's your thing, take in an earful of the local grunge group, Spiked and Nasty. Think poetry's for the birds? Open your ears, and your mind.

4. Give the gift of your community's artists. This year, make every gift you buy something original: a CD hot-pressed by a local choir; a new book by a local writer; a hand blown glass bauble for the tree, and from the forge next door, a hook to hang a hat on - which, serendipitously, was hand felted down the street.

5. Pass it around. Buy someone else a ticket to something you enjoy. Take a friend along, or just treat someone you appreciate - anonymously. Have you ever bought a ticket to something and then been unable to attend? Don't ask for a refund: ask the venue to find a deserving recipient, preferably one who's broke. Or send two tickets to a youth centre or seniors' facility. At the event, try to guess who might be there thanks to you.

6. Challenge yourself: pick a good day and try to find as many art-related things to do as you can. Do them all: read the book, write the poem, play the tune, hear the band, watch the dance, applaud the play, go to the gallery. Challenge six other people to do the same.

7. Sing. Learn a song composed by a local musician and sing it: in the shower, in the car, walking down the street. Drive your co-workers crazy. It doesn't matter that you sound like a wombat in heat. When you go to sleep, dream about it. Now, teach it to someone else.

8. Volunteer: for your local cultural event, for the theatre production, for your arts organization. Sit at the information table, paint the backdrop, take the tickets, do the sound check, carry the chairs, place the podium. Afterwards, help with the cleanup. Then go for a beer with the gang.

9. Join up: there's an arts organization out there for you. These are the groups that make things happen, so you can buy things, learn about things, expose yourself, give gifts, pass the wealth, challenge yourself, sing like a wombat in heat, and volunteer your time for the fun and friends that it brings. Find it. Make it yours.

10. Pass this list along to as many people as you can.

Anne DeGrace is the author of the just-released Treading Water (McArthur and Company). Embrace Canadian culture and check out her novel!

Toronto Japanese Short Film Festival

This year, Japanese animation, comedy, horror and artistic experimental
short films are coming to the 3rd Annual Toronto Japanese Short Film
Festival!

There are four incredible programs, each containing six or more short films,
that will be screened twice over 3 nights.

The Toronto Japanese Short Film Festival is your only chance to see these
innovative Japanese short films that have impressed Japanese film lovers all
over the world. Don't miss it!!

November 4-6, Innis Town Hall
http://www.tjsff.ca/

Nanaimo History Fair

Saturday November 5, 2005 from 10:30 am to 4:00 pm

The fair will be held on the campus of the Malaspina University-College in Building 356. The displays will be in Room 111 with participants from Vancouver Island, the Cariboo and the Lower Mainland.

In the lecture theatre, Room 109, at 11 am Janice Wong will launch her new book Chow with a PowerPoint presentation followed by a panel discussion with Janice, Imogene Lim and Ron or Gerry Wong, all associated with Chinese restaurants. Janice will be available for signing her book.

A number of films will be shown during the day, with the Vancouver Island premiere of Comrade Dad, a Karin Lee film about her father, Wally who ran a Chinese arts and crafts shop in the days before China was recognized by the Canadian government.

CCHSBC
www.cchsbc.ca

WFAC Announces Programme for 2005 Animation Festival

WATERLOO, ON – The Waterloo Festival for Animated Cinema (WFAC) is pleased to announce the programme for the fifth edition of the film festival, being held November 17th-20th, 2005 at the Princess Twin Cinemas in Waterloo, Ontario, Canada.

A film festival dedicated to animated feature films from around the world, WFAC showcases the power of animation in filmmaking, and celebrates the art and the artists who work in this wonderful visual narrative form. The WFAC showcase has become one of the most comprehensive public exhibitions for animated feature films in the world.

The selections to the WFAC 2005 programme are notable for highly personal and powerful work that challenge popular notions of what theatrical feature animation can be. Many of the films have received accolades and awards from other world-famous animation festivals such as Annecy, Ottawa and Tokyo.

Alosha Popovich i Tugarin Zmey (“Alosha Popovich and Tugarin the Serpent” - Konstantin Bronzit, Russia, 2005). The film follows the adventures of Alosha as he sets off on a comical epic journey to retrieve the gold stolen by the warlord Tugarin from the city of Rostov. Rated G.

Fragile Machine (Ben Steele, United States, 2005). The film explores the birth of the first conscious machine, as a scientist who was lost with grief at her daughter’s death volunteers to be the subject in a series of experiments designed to meld man and machine. Rated 14A.

Frank and Wendy (Kaspar Jancis, Estonia, 2005). The film follows the mission of two top American secret agents who are sent to the world’s hotbed of danger – Estonia – to save the world. Rated R.

Kumou no Mukou, Yakusoku no Bashou (“A Place Promised in Our Early Days” – Makoto Shinkai, Japan, 2005). Set in an alternate 20th-century Earth teetering on the edge of war, the film tells the story of three children who make a vow that one day threatens to tear them apart. Rated PG.

Mind Game (Yuasa Massaki, Japan, 2004). Based on the popular cult classic manga (Japanese comic) of the same name by Robin Nishi, this film describes the adventures and misadventures of a young aspiring manga artist who is given a second chance to live his life – which he does, in the oddest way. Rated R.

Nyócker! (“The District” – Aron Gauder, Hungary, 2005). This satirical retelling of Romeo and Juliet with a twist follows the machinations of Richie as he tries to help his impoverished neighbourhood – by travelling back in time and establishing an oil reserve right under his district, with unexpected consequences from a certain foreign superpower. Rated R.

Strings (Anders Rønnow-Klarlund, Denmark / U.K., 2004). A mythological film about the son of a king who was treacherously murdered, who sets out to reclaim his birthright, and discovers the truth about his people. Rated PG.

Terkel i Knibe (“Terkel in Trouble” – Stefan Fjeldmark, Torbjørn Christoffersen, Kresten Vestbjerg Andersen, Denmark, 2004). The film tells the story of a normal young boy named Terkel, who has parents who don’t listen to him, a little sister who loves hanging around him too much, a best friend who swears like a sailor, and somebody who is out to kill him. Rated 14A.

WFAC 2005 will also feature a retrospective on Japan’s greatest stop-motion puppet animator Kihachiro Kawamoto, including some of his most acclaimed short films and the anthology Fuyu no Hi (“Winter Days”), directed by Kawamoto with contributions from thirty-five of the world’s greatest animators, including Yuri Norstein, Bretislav Pojar, and Koji Yamamura, who was featured at WFAC 2003. Expressing a sense of season through their vastly differing styles, each animator portrays one of the haiku poems from “Winter Days” in the haiku collection Basho Shichi Bushu (“Seven Anthologies of the Basho School”) composed by historical poet Matsuo Basho and his students in the renku style, in which each poet uses the last sentence of the previous poem by the previous poet.

WFAC 2005 runs from November 17th-20th, 2005 at the Princess Twin Cinemas.

For more information, please contact:

Joseph C. Chen, Curator
Waterloo Festival for Animated Cinema (WFAC)
Phone: +1 (519) 721-0417
Email: joseph@wfac.ca

About the Festival

The Waterloo Festival for Animated Cinema (WFAC) is a film festival for animated feature films, founded to promote appreciation for animation as a narrative medium for mature cinematic storytelling, and to review and celebrate animated feature films in the venue they were meant to be seen in: a theatre.
The 2005 Festival consists of three programmes: World Cinema, Retrospectives, and Tidbits. The World Cinema programme features contemporary feature films from around the world. The Retrospectives programme looks back at films of a certain theme or artistry, which have contributed to the films of today. Last but not least, the Tidbits programme features films from small creative teams challenging the limits of what can be accomplished, to tell the stories they want to tell.

Profits need to trickle down: study

Independent TV producers want more home-grown shows on the air

By JAMES ADAMS
Monday, October 31, 2005 Posted at 5:20 AM EST
From Monday's Globe and Mail

Canada's independent television producers are calling for "significant changes" to federal broadcast policy following the release today of a study that shows the country's big broadcasters are reaping huge revenues while the production sector languishes.

The study, prepared by Nordicity Group for the Canadian Film and Television Production Association, which represents about 400 companies, looks at relations between producers and the country's eight largest broadcasters and TV services, including BCE Inc. (which owns The Globe and Mail), CanWest Global and CHUM Ltd., in the years 1999 through 2004.

CFTPA president and CEO Guy Mayson is using the study as leverage in his organization's demand that Heritage Minister Liza Frulla start to spearhead a "new policy framework" for the country's TV industry, including more money to producers from broadcasters, improved tax credits, a redesigned Canadian Television Fund and programming expenditure requirements for conventional broadcasters.

Among the Nordicity findings:

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In 2003 the earnings-before-taxes margin for Canada's largest broadcasters was 9.7 per cent, well above the 5.8 per cent average for the Canadian economy as a whole. In 2002 that margin for broadcasters was 6.1 per cent, while for film and TV producers, it was just 1.6 per cent.

In 2003 the country's largest broadcasters earned $4.8-billion from their conventional, pay and specialty divisions. However, with the exception of mandated contributions to Canadian content in their specialty divisions, their contributions to production supported by the Canadian Television Fund declined by 14 per cent between 1999 and 2004. (For example, foreign programming acquisitions for pay and specialty services cost broadcasters $251-million in 2003 compared with the $315-million spent on Canadian programming, a difference of 26 per cent.)

In 2004 Canada's private conventional broadcasters spent four times more on buying foreign programming, largely of U.S. origin, than they did on acquiring independent Canadian shows: $535-million versus $124-million. Of this, $354-million was spent on foreign dramas, with only $68-million going to Canadian-made equivalents — a difference of more than 500 per cent.

In a release issued today, Mayson places much of the blame on the divergence between the broadcast and production sectors on the TV policy that was announced in 1999 by the Canadian Radio-television and Telecommunications Commission. That policy required large broadcasters like CTV and Global to put more Canadian content in their programming and to help them do so, the CRTC expanded the definition of Canadian "priority programming" to include entertainment magazines, variety shows and documentaries. At the same time, the federal broadcast regulator increased the definition of prime time to include the hours 7 to 11 p.m. seven days a week (previously it was 8 to 11 p.m. Monday through Friday), and tossed out the requirement that broadcasters had to spend a percentage of their revenues on Canadian content.

The findings of the Nordicity study echo a report issued in July by the Coalition of Canadian Audio-visual Unions, which includes the Alliance of Canadian Cinema, Television and Radio Artists and the Writers Guild of Canada. That report, titled The Need for a Regulatory Safety Net, calls on Canadian broadcasters to spend at least seven per cent of their annual gross advertising income on Canadian drama. It says that in 1998, before the introduction of the CRTC's new TV policy, private broadcasters spent almost $75-million on English-language drama; six years later, this expenditure had "bottomed out" at about $53-million, a decline of about 30 per cent.

The Canadian Multicultural Hockey League (CMHL)

Making History in Canadian Hockey with the Multicultural Hockey Tournament

Toronto, October 31, 2005: With over two decades in the making, the Canadian Multicultural Hockey League (CMHL) is poised to break new ground in the history of Canadian Hockey. Founded this spring, the organization has been building a truly exciting project that is based on a unique and highly innovative concept in hockey; one for which the organization is already garnering tremendous support across Canada and particularly where it is based, in the most multicultural city in Canada, Toronto.

The CMHL is simply responding to a question that was posed in the 1980’s -- ‘would it not be a great idea to have a multicultural hockey league where the best players in each “community” play against each other, like a mini World Cup of Hockey Tournament at home?’ And after watering the seed since then, it is finally germinating. The CMHL is developing a unique and brilliant grassroots concept that was destined to happen in the aftermath of a year-long NHL hockey lockout, when Canadians are ready to embrace and revalidate their game of hockey.

Only a few months in existence, the CMHL is creating a first ever opportunity to demonstrate the power of the game of hockey to Canadians and their families. Having at its heart a key objective to promote hockey to the traditionally non-hockey playing communities, the CMHL will motivate those communities, would-be players and spectators alike, to fully appreciate one of Canada’s biggest legacies—the game of hockey!

The CMHL’s passion and pro-active nature for the development of the game in Canada will culminate with the Crown Royal Multicultural Hockey Tournament, which will be truly an historical event to be held in Toronto in the coming December 27-30, 2005. In nowhere else in the world but Canada, where we have such ethnic diversities, and particularly Toronto, could such an event be possible. Participating ethnic communities are working very diligently to put together their best possible representative team in an event that shares what all Canadians have in common – Hockey! Sixteen teams will play a total of 38 games between two arenas, Scarborough Gardens and Ted Reeve, at the time of year when many families are on vacation celebrating the holiday season together. It is anticipated that between hockey enthusiasts and community supporters, at least 20,000 spectators will attend the four-day tournament and be part of the quest for the Canadian Cup and Multicultural Hockey supremacy!

Former NHL players, Canadians George Servinis, Minnesota North Stars, Peter Zezel and Mark Osborne, Toronto Maple Leafs, all believe in the work of the CMHL and fully support the idea behind the upcoming tournament. Mark Osborne states: “I am fully behind the idea of bringing so many diverse cultural backgrounds together in our most multicultural city to play in a hockey tournament. It is a fantastic idea to promote our great game in the world's best hockey market to non-traditional hockey playing communities. Canada is Hockey and Hockey is Canada, and it is this exciting game that unites us all together."

CMHL’s tournament regulations require the game to be played non-contact and that players must be 19 years and older and Canadian citizens. In addition, players must have played at a high level of hockey: Junior, Semi Pro and Professional. Importing players from other countries will not be permitted. This will be truly Canadian! Players of Italian, Russian, Korean, Japanese, Portuguese and Greek backgrounds, for example, will be given a unique opportunity to play for their communities. The championship team will receive a $5,000.00 donation to a charitable organization of their choice, thereby giving back to the communities who supported them.

The CMHL is proud to welcome Crown Royal, the best-selling Canadian whisky in the world, as Title Sponsor of the upcoming tournament. Crown Royal's distinctive Canadian roots and legendary approach to bringing friends and family together to celebrate, will be in full force as the official sponsor of the CMHL’s inaugural event. Michele D'Angelo, Director, Crown Royal, states: "We are very excited to team up with the CMHL in this premier initiative and fully embrace this celebration of multiculturalism in Canada".

Judging by the unprecedented response to the Crown Royal Multicultural Hockey Tournament from other confirmed sponsors such as Rogers OMNI Television, Exclusive Media Sponsor; along with Coffee Time, Metohos, a host of allied organizations like Hockey Canada and the Hockey Hall of Fame – plus, various ethnic communities -- we can expect great excitement from the inaugural annual tournament and the future of the CMHL, which plans to launch in fall 2006.

Tickets for each of the 38 games are $5.00 and may be purchased on www.ticketweb.com or by calling 1-888-222-6608. Organizations wishing to get involved may call 905-274-1620. For additional information on the upcoming Crown Royal Multicultural Tournament, please visit www.cmhl.ca.

VANCOUVER ASIAN FILM FESTIVAL - Nov 4 to 7

9th annual film festival of best features, shorts and documentaries from Asian filmmakers from Canada and US, with 12 programs, 38 films and 2 panel discussions.

Opening Night features Sundance Film Festival award-winner THE MOTEL and director Michael Kang in attendance and closing evening featuring NFB documentary WHY THEE WED with director Cal Garingan in attendance.

Nov. 4 – 7, various screening times, Tinseltown Cinemas (88 W. Pender). Tix $10/$8/$6/Gold passes $50. Info: www.vaff.org

Two Panel Discussions & Screenings:
A pair of Program screenings is accompanied by two panel discussions to help educate the public at large and to establish on-going dialogue between filmmakers and the various Asian communities. The notion of living in a diverse culture and how that diversity is perceived is shown in Linda Lee’s SCREEN TEST, Ming Lai’s PAWNS OF THE KING, Kevin Lee’s DASTAAR: DEFENDING SIKH IDENTITY and Mimi Gan’s WITH HONORS DENIED – followed by a discussion panel (Nov 5) with NFB filmmaker Cal Garingan, multicultural programmer and broadcaster Prem Gill, actor Judy Lee, journalist and author Gurpreet Singh, and moderated by Zool Suleman, a prominent immigration lawyer campaigning to stop racial profiling in Canada.

Asian youths growing up in diverse cultures and their reshaping of that diversity is shown in Amir Motlagh’s MY BREAK UPS INTO A MILLION PIECES, Huy Chheng, Anjali Nath, Long Trinh, and Ryan Masaaki Yokota’s ARNOLD MORENO = π, Janet Ip’s WE DON’T LIVE IN IGLOOS: INUVIK YOUTH SPEAK OUT and Rani Sandhu’s GETTING MARRIED – followed by a discussion panel (Nov 6) with cultural studies instructor Rita Wong, physician and filmmaker Janet Ip, convention and youth organizer Melinda Lau, filmmaker and producer Nilesh Patel, and moderated by radio broadcaster and immigration activist, Imitiaz Popat.


9th annual Vancouver Asian Film Festival
brings top North American Asian filmmakers to city

Vancouver, BC – The Vancouver Asian Film Festival (VAFF) is back for its ninth exciting year of showcasing independent Asian filmmakers from North America and highlights from Asia with four days of features, shorts and documentaries. This year’s Festival runs November 4-7 with 12 selected program screenings covering 38 films at the Cinemark Tinseltown Theatres (88 West Pender St.).

On-site tickets and memberships are available at the VAFF Registration desk prior to the screening, and advance tickets may be purchased online at www.vaff.org beginning Oct. 21st. Attendees must show a current VAFF membership ($1 fee) and be 18 years of age or older to attend. The VAFF Online Hotline is: info@vaff.org.


Opening Gala Presentation: This year’s Festival opens with the Canadian premiere of the Sundance Film Festival award-winning feature film, THE MOTEL – about a young adolescent growing up in the worst possible place for a teenager – a sleazy motel. In attendance will be NY director and screenwriter Michael Kang, who will be recounting his experiences workshopping the screenplay at Robert Redford’s Sundance Filmmakers Lab. Preceding this is the animated short WHAT ARE YOU ANYWAYS? – Jeff Stearns’ humourous story about growing up half-Japanese in Kelowna. Afterwards, the Gala reception will be held at WILD GINGER, located in the Tinseltown complex.

Closing Night: The Festival closes on November 7th with two programs, all by Asian Canadian filmmakers, and both examining matters of the heart. Cal Garingan’s NFB documentary WHY THEE WED?, asks eight gay couples what it means to walk down the aisle, amid the politics and protests and Marcus Sim’s romantic comedy SAM AND JESSIE is his first feature film attempt. And a selection of Asian Canadian shorts round out these two programs: Desiree Lim’s video letter about the twists of romance LOVE/CENSORED/TRUTH, Norman Yeung’s MARNIE LOVE, about the collapse of an open marriage, and Junga Song’s LOVE RECIPE, a comedy about a young man defying his male Korean traditions by cooking for his wife for the very first time.


Filmmakers By The Boatload: A record number of filmmakers are scheduled to be in attendance at this year’s Festival accompanying their films. With over 50% of directors attending, the 4 days promises a melting pot of North America’s emerging Asian filmmaking community. The independent filmmaking process and all of its frustrations is highlighted in Kevin Desmond’s feature FILM 101. As well, 3 short films will precede, with Cole Walliser’s delightful action flick NIGHT & DAZE, Rajkumar Viswanath’s sweet ALL IN TIME, and Eunhee Cha’s BLUE BIRD OF HAPPINESS, a hilarious look at non-Asians who adopt Asian children. These were the top 3 prize-winning films from this summer’s inaugural Mighty Asian Moviemaking Marathon, a 7-day short film competition amongst local Asian filmmakers.

International Spotlights: The international spotlight this year falls on the Philippines, a country whose films have not received much attention in Canada as yet. SIGAW (aka THE ECHO) is director Yam Laranas’ foray into the supernatural, horror genre. Another international highlight is the gorgeous Taiwanese feature 20:30:40, directed by well-known actress Sylvia Chang (EAT DRINK MAN WOMAN) about 3 women whose lives are in transition.

Asian Love: Beyond the search for identity, Asian filmmakers also turn to the search for love and relationships unique to their North American experience. Richard Cranor’s feature SIMPLY FOBULOUS is about a reluctant daughter who’s being matched with an F.O.B (fresh off the boat) Vietnamese mail-order husband. Taien Ng-Chan’s THE RED RIBBON incorporates an old Chinese fairytale about the god of love. And J.P. Chan’s TAKE IT OR LEAVE IT shows us briefly a young woman preparing for a blind date and all the possibilities she can imagine.

O Canada: The National Film Board of Canada (NFB) continues to support Asian filmmakers. Producer Germaine Ying Gee Wong and director Beverly Shaffer’s MR. MERGLER’S GIFT shows the relationship between a dying piano teacher and his 9-year-old child prodigy. Cal Garingan’s WHY THEE WED? asks eight gay and lesbian couples what it meant for them to defy the law in order to exchange marriage vows. And in the strong NFB tradition of animation, Monica Rho’s STATIONERY explores the twists of modern life as a woman searches for paperclips, and featuring the voice of Sandra Oh.

The Animated Asian: This year’s Festival brings a considerably strong lineup of animated films. In addition to Monica Rho’s STATIONERY, Jeff Chiba Stearns hand-drawn documentary of his life growing up half-Japanese in redneck Kelowna BC is contrasted by Justin Henton’s computer animated ESC where a 3D character comes to life. And the moody, futuristic love story SKY BLUE is an ambitious feature film from South Korea and the US that combines 2D and 3D animation with miniatures and live action.

The Horror, The Horror: Asian filmmakers tackle the horror genre with twin directors Albert and Herbert Leung’s JINN, a twist on a woman, an old lady and an apple, Chris Jun’s THE MAIN CHARACTER who gives up his body in order to live forever, Jimmy Ren’s urban legend STRANDED, and Yam Laranas’ haunted apartment Filipino feature SIGAW.

Best Canadian Short Award: This year marks the Festival’s second annual award for BEST CANADIAN SHORT, which is accompanied by a $500 cash prize. The qualifying films are Oscar Nam’s two shorts REMEMBER ONE and RESIDUE, Sui Ta’s KATA PRACTICE, Deborah Chow’s THE HILL, Michael Melski’s FOCUS GROUP THERAPY, Hong-Sik Kim’s KING OF SUSHI, Albert and Herbert Leung’s JINN, Linda Lee’s SCREEN TEST, Taien Ng-Chan’s THE RED RIBBON, Justin Henton’s ESC, Janet Ip’s WE DON’T LIVE IN IGLOOS: INUVIK YOUTH SPEAK OUT, Rani Sandu’s GETTING MARRIED, Desiree Lim’s LOVE/CENSORED/TRUTH, Junga Song’s LOVE RECIPE, and Norman Yeung’s MARNIE LOVE.

Judges for this competition are producer Shan Tam, NFB cultural diversity producer Selwyn Jacob, Citytv broadcaster and host Tasha Chiu, The Province newspaper movie columnist Glen Schaefer, and independent film producer Sylvia Jonescu Lisitza. The award will be announced at a filmmaker luncheon on Nov. 6th.

Sunday, October 30, 2005

Star Trek's 'Sulu' comes out

(CBC) - George Takei, the actor best known for portraying Mr. Sulu on the classic "Star Trek" TV series and subsequent films, has publicly "come out" to a Los Angeles-based gay and lesbian magazine.

Takei disclosed his homosexuality in an article published in Frontiers magazine Wednesday, the same day he debuted in a production of "Equus" at the David Henry Hwang Theater in Los Angeles.

Though the 68-year-old actor has been with his partner, Brad Altman, for 18 years, he said Thursday that the current social and political climate and the new theatre role helped inspire him to talk publicly about his homosexuality.

"The world has changed from when I was a young teen feeling ashamed for being gay," he told the Associated Press. "The issue of gay marriage is now a political issue. That would have been unthinkable when I was young."

In the psychological stage drama "Equus", Takei plays a "very contained but turbulently frustrated" psychologist investigating a teen stable boy who has savagely attacked some horses. The play was also adapted for film in 1977 by Sidney Lumet, with Richard Burton in the lead role.

Takei, who is of Japanese-American descent, lived in a U.S. internment camp from the age of four to eight. After growing up feeling ashamed of his ethnic background and his sexuality, he said he has been gradually coming out to his family and friends over the years.

In an interview this week, he said the revelation through the magazine was "not really coming out, which suggests opening a door and stepping through. It's more like a long, long walk through what began as a narrow corridor that starts to widen."

Takei is best known for his role as Hikaru Sulu, the helmsman of the Enterprise on the classic 1960s "Star Trek" TV series. He also joined the rest of the cast in the franchise's six subsequent films and received a star on the Hollywood Walk of Fame in 1986.

New York, Paris museums to help out Hong Kong

New York's Guggenheim Museum and the Pompidou Centre in Paris have signed a partnership agreement to help create a new museum in Hong Kong.

The two museums plan to help Hong Kong create a world-class museum of contemporary art, photography and design.

The new museum will be built in a cultural district that is being developed in West Kowloon, according to reports from Agence France Presse.

The Hong Kong government had approached them seeking a partnership.

The Guggenheim and Pompidou Centre will work with local partners and with other museums around the world on the project.

Japan's top mobile carrier reports nearly 15 per cent profit growth

TOKYO (AP) - Japan's largest mobile phone service operator, NTT DoCoMo Inc., said its profit rose 14.9 per cent in the half-year through September, due to continued cost-cutting efforts and a lower churn rate. Group net income totalled 385.3 billion yen ($3.35 billion US) in the six months ended Sept. 30, up from 335.2 billion yen during the same period of last year, NTT DoCoMo said in a statement.

The Tokyo-based company said its group revenue fell 3.2 per cent during the six-month period to 2.37 trillion yen ($20.64 billion), but its operating profit grew 16.1 per cent to 633.1 billion yen ($5.51 billion), NTT DoCoMo said.

The company did not break down earnings into quarterly figures.

NTT DoCoMo's offer of discount packages resulted in a decline in average revenue per user, but the introduction of a broader range of mobile phone handset lineups led to an increase in the number of new subscribers and helped lower the company's churn rate - the rate at which customers switch to other providers.

NTT DoCoMo shares remained unchanged at 198,000 yen ($1,722) on the Tokyo Stock Exchange shortly before earnings were released.

© The Canadian Press, 2005

Matsushita profit jumps 33 per cent on strong sales of PCs, flat-panel TVs

TOKYO (AP) - Matsushita, the Japanese maker of Panasonic electronics, reported Friday a 33 per cent surge in profit for the July-September quarter, lifted by strong sales of flat-panel TVs, digital cameras and personal computers. The Osaka-based firm said group net profit totalled 31 billion yen ($268 million) in the fiscal second quarter, up from 23 billion the same quarter last year. Sales totalled 2.2 trillion yen ($19 billion), unchanged from the same period a year ago.

While its rival Sony Corp. has stumbled in recent years, falling behind in TVs and portable audio players, Matsushita Electric Industrial Co. Ltd. has fared better by aggressively focusing on high-end consumer electronics goods such as plasma display TVs and digital video recorders.

Matsushita kept its forecast for the full year, ending March 2006, unchanged at 110 billion yen ($953 million) profit on sales of 8.720 trillion yen ($76 billion).

© The Canadian Press, 2005

Report: Chinese poultry sales slumping amid bird flu anxiety

BEIJING (AP) - Poultry sales in Beijing and Shanghai have plummeted by up to 80 per cent amid rising public anxiety after three bird flu outbreaks in Chinese flocks, a newspaper reported Saturday. The government has tried to reassure the Chinese public that it can stop the disease. China has reported no human cases, but health officials warned Friday that one was inevitable unless China prevented future outbreaks in birds.

At the Guantang market, the biggest wholesale poultry market in Shanghai, the country's biggest city, sales have fallen by 80 per cent, the China Daily newspaper said.

"The price for a home-raised chicken has halved to less than ($1.41 Cdn) per kilogram," the market's general manager, Wang Baorong, was quoted as saying.

Health officials say the main cause of human infections is direct contact with poultry in slaughtering, butchering or cooking, or surfaces contaminated by their droppings.

There is no evidence that properly cooked chicken or eggs can sicken people.

Xu Min, a merchant at Beijing's Wanziju market who used to sell 150 birds a day, said she has had to cut her purchases of birds from suppliers by more than half, according to the China Daily.

"My income has been cut in half since the bird flu panic started," she was quoted as saying.

Chinese authorities reported a bird flu outbreak last week among chickens and ducks at a breeding facility in the northern region of Inner Mongolia. Outbreaks were reported later in the eastern province of Anhui and Hunan in central China.

© The Canadian Press, 2005

Ruling by Japanese panel could lead to reopening of border to U.S. beef

TOKYO (CP) - The risk of mad cow infection in U.S. beef is nearly as low as Japanese beef if proper precautions are taken, a government panel ruled Monday, a decision expected to lead to an easing of an import ban that has caused tensions with Washington. The panel on mad cow disease forwarded their report to the appropriate ministries for a month of hearings before rendering a decision on the ban, which was imposed in December 2003 after the discovery of the first U.S. case of the bovine illness.

"Based on the assumption that all precautions are taken as requested, we consider the difference in risk between U.S. and Japanese beef to be extremely small," panel chairman Yasuhiro Yoshikawa said, reading the report to his colleagues.

Media reports say the decision will lead to the resumption of imports of beef products from U.S. cows younger than 21 months old as early as the end of this year. No case of mad cow has ever been discovered in animals of that age.

Japan closed its border to U.S. and Canadian beef in 2003 after cases of mad-cow disease were reported in the two countries.

Before the ban, Japan was the most lucrative overseas market for U.S. beef, and an increasingly impatient Washington has pushed hard for a resumption of the trade.

Last week, 21 U.S. senators introduced legislation that would force President George Bush to impose tariffs on Japan if it does not lift the ban.

After lengthy negotiations, the U.S. and Japanese governments this year agreed that Tokyo would allow the import of U.S. beef from the younger cows. The Japanese side, however, said approval was needed by the Food Safety Commission.

Still, Japanese consumers remain wary of American beef, with recent polls showing that nearly 70 per cent of opposed lifting the ban.

Further delays in overturning the ban could cause more tensions with the United States ahead of a Nov. 15-16 visit by Bush.

Scientists agree that beef from cattle infected with mad cow disease, or bovine spongiform encephalopathy, causes a fatal brain disorder in humans.

Canadian beef is still banned in Japan but that country's ambassador to Canada, Sadaaki Numata, said over the weekend that both sides are working to resolve the problem.

The Canadian Press, 2005

Thok by Roger Sinha

presented Monday, October 31st at 7:30 pm on Bravo

THOK, choreographed by Roger Sinha, will be presented Monday, October 31st on BRAVO at 7:30 pm. Directed by Albert Gérard and produced by Cinéma 3180 B.E., this riveting choreography will be featured in Dance With Me, a series showcasing Québec-based dance companies performing in unique environments.

Filmed within the Eco-Musée du Fier-Monde, dancers Sophie Lavigne, Magdalena Nowecka and Sinha himself, transport the senses to a universe rich in sound and the beauty of gesture. The skin of the dancers and the sounds provided by metallic chimes installed on the bodies of the dancers, melt together with the iron and wood surfaces of the museum in a tight net of communication

Since its creation in Montreal in 2003, THOK has been very successful for Sinha Danse, having toured across Canada and having been nominated for a Dora for best choreography in the 2004 CanAsian Dance Festival presentation of Sinha Danse. The popularity of this trio can be attributed to the unique dance vocabulary that mixes contemporary and classical Indian dance.

Roger Sinha is Artistic Director of Sinha Danse, founded in 1991. Company works include the exquisite solo Loha (2001) as well as Apricot Trees Exist (2005), Sinha’s latest creation.

ASIAN POP All In

- by Jeff Yang, special to SF Gate
Thursday, October 27, 2005
http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2005/10/27/apop.DTL

If you're a poker buff, you know that some of the biggest names on the money tour are Asians -- like legendary two-time World Series of Poker champ Johnny Chan and refugee-turned-rounder Scotty "The Prince" Nguyen. Meanwhile, a new generation of Asian American card sharks are beginning to deal themselves into the game. Jeff Yang checks in with some of the reigning Asian kings and queens of the pro poker circuit.

Las Vegas

Visit Vegas and the first thing you'll notice is that the city's strange interlude as a wholesome vacation destination is done, over and out. Forget the slightly creepy era of "Bring the Family to Vegas!" (As what -- marker security?) The Gray '90s are over, kids! This is Sin City -- Now With 30 Percent More Sin!

Which isn't to say that the theme-park atmosphere isn't still there: Vegas wouldn't be Vegas without garish lights, flashy simulacra (if you're looking for a 30-foot-tall model of just about anything, it's here) and milling, disoriented crowds gawking at the aforementioned lights and simulacra.

It's just that these days, the themes are a lot more ... mature. The buccaneer-themed resort Treasure Island is now calling itself "TI." As part of its overhaul, its free outdoor come-on show has been renamed "The Sirens of TI" and now features a crew of buxom, underdressed "pirettes" lip-synching to dialogue studded with dopey puns on "chest" and "booty." (As one wag was heard to joke, TI apparently now stands for "Tits Included.")

But of course, T&A are just two of the subsidiary vices available in America's adult wonderland. The big draw here is, and always will be, gambling in all of its many forms. It's a city of gilded mousetraps, designed to funnel you into any of a thousand venues where you can be surgically parted from your cash.

Once you're actually in a casino -- and you will be -- you'll immediately notice a second thing about Vegas: It's neatly divided into two separate and decidedly unequal worlds. One is for everyday tourists, video poker addicts and slots monkeys -- joes who lose a week's paycheck and chalk it up to a learning experience.

The other is for people who are here to play for real. This includes "whales" -- the high rollers who sustain casinos the way buffalo once provided for Native Americans (before casinos did, that is) -- and grinders, cash-game players who methodically crank out a living at the tables while staying carefully anonymous. Finally, there are the gamers. The big names. The rock stars of the gambling world. And the game they play, of course, is the king of games: poker.

This week, the gamers were here in force because the casino with the biggest game in town, the Bellagio, was hosting the Festa al Lago, an 11-day orgy of competitive poker culminating in the main event, the million-dollar World Poker Tour Doyle Brunson North American Championship.

The big news buzzing around the Bellagio was that a tour rookie, a sleepy-eyed Taiwanese American kid from Texas named Weber Kang, had just won the Festa's Event 4, beating out giants like Michael Mizrachi and Cowboy Kenna James to take home $173,085 in winnings and a complimentary invitation to the April 2006 World Poker Tour Finals. Joining him at the final table: fellow circuit newcomers Bryan Kim -- who would later himself win Event 8, pocketing $257,585 -- and Liz Lieu, the only female finalist in any of the tournament's 10 events.

A few days before, another Asian player, Nam Le, had won over $140,000 by taking Event 2. And a week later, the grand shebang at the $1,060,050 Main Event itself eventually went to Minh Ly, a longtime king of the cash-game scene who's recently made big moves on the tournament circuit.

The Festa was hardly an exception. If, as actor/card buff Ben Affleck was famously quoted as saying, "poker is the new golf," Asians are dominating the new golf even more than we dominate the old golf. According to Card Player magazine, 22 of the world's top 100 tournament players are Asian, including the current favorite for 2005 Player of the Year, John Phan. Last year, half of the top 20 PotY finishers were Asian, prompting eventual winner Daniel Negreanu to pen an editorial asking why the staggering ascendancy of Asians on the pro poker scene has been so generally ignored.

"I could provide you a list of Vietnamese players whom you rarely hear much about who play much better than many of the players that ESPN spends a lot of time covering," wrote Negreanu. "Nam Le, Hung La, David Pham, John Phan, J.C. Tran, Can Kim Hua, Minh Nguyen, Vinnie Vinh, Tuan Le, and so many more that I could fill the rest of a page. ... So, why is it that we hear more about Dutch Boyd on ESPN than we do Minh Nguyen?"

He goes on to point to a number of possible reasons, including language barriers, a tendency toward soft-spoken, stoic or other demeanors that play better at the table than on TV and, of course, good old-fashioned racism: "Overall, the Asian man isn't as respected in our society as he should be. ... He is often ridiculed, but rarely taken seriously."

While all of these factors have clearly contributed to the under-the-radar nature of Asian players, the most fundamental may simply be that Asian pros have generally been focused more on raking than repping. Winning tournaments and being profiled on ESPN may be glamorous and fun, but historically, it's what's on the table that has paid the rent.

"I had dinner a while ago with one Asian player who in a one-month period at the Bellagio big-money game won $6.5 million," says Gary Thompson, World Series of Poker director of operations. "This same guy, he was playing in a tournament where the first prize was $350,000, and he busted out after playing for 12 or 14 hours. He told me, laughing, 'I work so hard for a first prize of $350,000, and in the side games, I can win $300,000 in an hour."

Poker Celebrities and Celebrity Poker

So why waste time playing grueling marathons against fields of up to 3,000 players when the real cash is sitting on the sidelines?

One motivation, of course, is ego -- proving you're the best -- the best in the room, maybe the best in the world. Ego is a competitive force that drives some of pro poker's most colorful and beloved characters -- like Johnny "Orient Express" Chan, two-time winner of the World Series of Poker, and Scotty Nguyen, the cheerful assassin whom some have dubbed "The Prince."

"When I first started playing back in 1978, they laughed at me and said, 'Who's this Asian kid? Asians can't play poker,'" says Chan. "Three years later, I was beating 'em all. And I mean all of them. I won two World Series in a row, in 1987 and 1988. Nearly won three, and no one else has even come close to that. That's why I'm the best. That's why everybody wants to be Johnny Chan."

Nguyen, winner of the 1998 World Series of Poker, gently corrects him. "You tell Johnny, 'There's one guy bigger than you, and that's Scotty Nguyen.' Ask him, tell him to walk all around the world, England, Australia, and see who's recognized more, Scotty or you, and see what he says. Nobody's bigger than Scotty Nguyen, baby."

For veterans like Chan, Scotty Nguyen and Men "The Master" Nguyen, the tournaments traditionally weren't about winning money -- they were about keeping track of who's on top. The theory was, you play side games to pay bills. You play tournaments for bragging rights.

But a funny thing has happened in the past five years. Poker, once a blue-collar, backroom pursuit, suddenly rocketed into the stratosphere of the popular imagination -- going from fad, to phenomenon, to obsession in record time.

"Everyone's playing it," says Eric Morris, publisher of the poker lifestyle magazine Bluff. "Doctors. Lawyers. Grandmas are playing poker. Old men who used to play chess. Guys who used to play Dungeons and Dragons."

Not to mention, of course, celebrities -- from Brad Pitt to Matt Damon, Shannon Elizabeth to Tobey Maguire, Mimi Rogers to David Schwimmer. Some of them are even good: Jennifer Tilly, she of the helium voice and voluptuous figure, is actually the current reigning Ladies World Series of Poker Champion. (It bears mentioning that Tilly is half Chinese. Rack up one more for the Asians.)

The latter-day hipness of poker has turned its top pros into celebrities themselves -- pursued by fans and groupies, barraged with requests for interviews and autographs ... not to mention extremely lucrative sponsorships and endorsement and merchandise deals.

"A properly marketed World Series champion can make as much money through endorsements and appearances as he or she can from winning the event itself," says WSoP's Gary Thompson.

With poker riding such an incredible high, media-genic characters -- like Doyle Brunson, Chris "Jesus" Ferguson, Phil "The Brat" Hellmuth and Dave "Devilfish" Ulliott -- have been able to take their TV-friendly personas straight to the bank. Their popularity has, in turn, inspired a new generation of young players -- many of them introduced to the game via Internet poker sites -- to jump into the pool.

"You see kids in their 20s and 30s winning a few online games and then saying, 'Okay, I'm going to become a professional,'" says Joe "Joe Poker" Sebok, poker blogger/writer, and a rising star himself at just 26 years of age. "When people ask me how you decide to become a pro, I say, 'You don't.' You play, you move up the levels, play more, and suddenly you realize you're doing it for a living."

Sebok has been on the circuit for less than a year and a half but has already turned in two final-table performances, including a fifth-place finish at 2005's World Series of Poker. He does have a few advantages: His stepdad is Barry Greenstein, the Silicon Valley engineer who left the tech world for pro poker in 1991 and is now considered by many as one of the five best all-around players in the world.

Raised Betting

Although Sebok isn't Asian himself, having been raised in San Francisco and then going to UC Berkeley meant growing up around a lot of Asian Americans. His take on the rising tide of young Asians in the poker world reflects what he saw many of his friends go through in childhood.

"This is all conjecture, but Asian American kids, they get so used to high expectations -- you have to get As, you have to go to a good school, you have to be a doctor or a lawyer -- that you almost get used to disappointment. You do amazing things, and it's still never good enough. Maybe that's what hones that competitive edge, because in poker, you have to keep getting better or the game will pass you by."

For immigrants, childhood is even more of a proving ground for the round table. "I had a very tough time growing up, baby, I went through so much you got no idea," says Scotty Nguyen, who came to the United States as a young refugee.

"I came from scratch. A lot of Americans start out with millions from their parents. We Asians, we gotta learn from scratch. When I was young, I sat around on the street playing poker, and my dad would drag me home and beat me. But it doesn't matter, I just keep coming back, playing the same game, because my dad stopped buying me things at nine years old.

"Everything I had, I won on my own -- I won my clothes, my shoes, my books for school, everything, playing poker. Before I left Vietnam, I brought home to my family 100,000 dong, which is like $100,000 here. And how many people are going to make $100,000 over there?"

Or as Sebok puts it: "You go through horrible st