Red Velvet 레드벨벳 「Bad Boy」

Posted on January 29, 2018 commentaires

Red Velvet 「Bad Boy」 - from『The Perfect Red Velvet』released on January 29, 2018.

Retour des Red Velvet toujours plus sexy et un petit peu plus lesbiennes !



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Sturb 「Cette publicité pour un baume à lèvres thaïlandais vous mettra l’eau à la bouche」

Posted on January 28, 2018 commentaires

KA Lip Care vient de sortir une publicité pour son baume à lèvres en Thaïlande qui soulèverait les sourcils en Amérique.

La publicité joue sur les dramas « boy love » populaires dans les pays asiatiques. Ce type de séries comprend deux adolescents qui réalisent lentement leur amour l’un pour l’autre. Les histoires sont incroyablement populaires auprès des jeunes filles et dans certains mangas japonais en particulier, cela peut être sexuellement graphique.

Dans le spot, un étudiant va dire ses quatre vérités à un autre qu’il accuse d’avoir brisé le cœur de sa sœur. Mais quand ce dernier lui donne la raison pour laquelle il a refusé les avances de la sœur, la publicité prend une toute autre tournure. Les spectateurs auront le souffle coupé comme les filles à la fin de la vidéo qui murmurent « Fiiiiiiiiiine … » après avoir assisté à la scène.

Le baume KA Lip Care se décline en plusieurs parfums, fraise, orange, mix de fruits, menthol et saveurs « pures ». On le trouve partout dans le monde, mais il ne garantit pas qu’on puisse trouver l’amour juste avec des lèvres plus douces.


Lazy Subber 「KA Lip Care | BL commercial」 - posted on December 20, 2017.


Kanaphan ‘First’ Puitrakul
Instagram: https://www.instagram.com/first.kp/

Poompat ‘Up’ Iam-Samang อัพ ภูมิพัฒน์ เอี่ยมสำอาง
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Daniel Villarreal 「Pangina Heals, co-animatrice de ‘Drag Race Thailand’ : « Il y a une grosse différence entre moi et Michelle Visage »」

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This post is also available in: Anglais, Espagnol, Portugais, Thaï, Chinois traditionnel, Ukrainien


Il est 3 heures du matin à Bangkok et Pangina Heals – co-animatrice de 「Drag Race Thailand」 – vient de terminer une longue soirée. J’avais espéré qu’elle serait en drag pour notre interview vidéo, mais après la performance qu’elle a donnée, elle a déjà retiré son maquillage et sa perruque et s’est mis dans le lit, torse nu, avec la webcam. L’homme derrière la drag est moitié thaï moitié taïwanais, il est plutôt mignon avec ses belles lèvres, ses grands yeux marrons et l’inscription « bats-toi » tatouée sur le pec gauche. Il est aussi un peu ivre.

Je lui demande de se présenter.

« Qui suis-je ? Je me pose la question tous les jours ! », répond-il. « Mon nom est Pangina Heals ».


Hornet 「Get Ready for the Very First Season of ‘Drag Race Thailand’!」 - posted on January 23, 2018.

La conversation s’oriente vite vers la popularité de 「RuPaul’s Drag Race」 en Thaïlande. Selon elle, l’émission a changé la vie de nombreuses personnes. Elle a mis un coup de projecteur sur les drag-queens et a permis à des performers comme lui de s’affirmer comme artistes dans le monde entier.

Dans certains endroits du globe, affirme Pangina, certains considèrent toujours le drag comme une forme de perversion, issue du désir d’un homme de devenir une femme. Mais désormais, dit-elle, « les gens commencent à comprendre que le drag n’a rien à voir avec le sexe ou le genre, mais plutôt la performance et le fait de rendre les autres heureux. »

Pour Pangina Heals, la plupart des spectateurs de 「Drag Race」 se fichent de savoir si le performer est un homme ou une femme. Ce n’est pas le sujet. Il s’agit de rire et d’être qui (ou ce que) vous voulez. Point à la la ligne.

Nous discutons de la perception hors Thailande que le drag dans ce pays se compose de « ladyboys » – de jeunes hommes qui s’habillent en femme pour séduire les hommes.

« On ne peut plus faire de généralisation sur quoi que ce soit désormais », répond-elle. « Mais les thaïs acceptent bien les filles trans, en particulier avec la popularité des concours de beauté Miss Tiffany » (ce concours de beauté pour femmes trans thaï se tient au mois de mai tous les ans).

Les femmes trans sont considérées comme des femmes en Thaïlande, affirme Pangina. « Je considère que nous faisons partie de la même famille, mais nous ne sommes pas la même chose. Il n’y a pas de mot en thaï pour désigner les drag-queens, donc nous disons “drag-queens” ».

Lorsqu’on évoque les différences entre le drag américain et le drag thaï, elle répond : « je pense qu’en général le drag est une question de créativité, d’art et d’expression de soi-même. Cela s’accompagne de la culture et de l’individualité. »

Elle reconnaît que beaucoup de thaïs aiment l’esthétique des « fishy queens » (ces drag hyper féminines qui pourraient passer pour des femmes), il ajoute « Mais ça ne veut pas dire que nous n’aimons que ce qui vient de la mer ».

Si 「Drag Race Thailand」 parvient à reproduire ne serait-ce que la moitié du succès de la version américaine, la série pourrait devenir un nouveau phénomène mondial. Donc comment Pangina Heals est-elle devenue la co-animatrice du show ?

« J’ai sucé pas mal de bites », répond-elle en blaguant (du moins on imagine)

Mais en vérité, Pangina Heals est sans doute la plus célèbre drag-queen de Thaïlande. Elle a déjà gagné le premier concours télé de drag-queens, intitulé 「T Battle」 et a participé à 「Thailand Dance Now」 et 「Lip Sync Battle Thailand」. Chaque semaine, elle anime par ailleurs des soirées à Maggie Choo’s, un bar de Bangkok.

En tant qu’animatrice de 「Drag Race Thailand」, Pangina Heals s’inscrit dans les pas de Michelle Visage, la vieille amie de RuPaul, souvent tranchante lorsqu’elle juge (elle dit que ses seins ne sont pas assez gros pour être considérée comme la version thaï de Michelle Visage)

Dans 「Drag Race Thailand」, Pangina sera aux côtés de Art Arya, un performer drag et styliste, avec qui elle affirme avoir une solide amitié. Pour Pangina, elles seront plus « sisters » que RuPaul et Michelle Visage dans la version américaine. « Mais évidemment, je suis une bitch qui juge les autres », s’empresse-t-il d’ajouter.

Nous lui demandons si elle a fait pleurer beaucoup de candidates dans la saison 1, elle répond qu’elle a essayé d’être constructive et évité de ne dire que des choses méchantes, mais « elles sont très stressées et subissent beaucoup de pression, donc bien sûr elles pleurent. Mais je pleure aussi. »

« Il faut comprendre que lorsqu’Alyssa Edwards dit “ce n’est pas personnel, c’est juste du drag”, je suis totalement en désaccord. Le drag est personnel. Le drag est qui vous êtes, et parfois c’est un moyen d’échapper au monde. Dans ce monde gay, on juge beaucoup. Parfois, quand vous êtes en drag, vous devenez une meilleure version de vous. Et quand on s’en prend à cette version de vous, bien sûr vous allez mal le prendre, parce que c’est quelque chose qui vous sert à trouver du réconfort et à guérir. »

Par contrat, Pangina Heals ne peut vient révéler de ce qui s’est passé sur le plateau de 「Drag Race Thailand」, saison 1. Donc je lui demande ce qu’elle a appris lorsqu’ils ont filmé l’émission.

« Vous n’avez pas idée de ce que c’est d’être assis là et de juger des gens qui se battent pour leur avenir, qui se battent pour leurs rêves et qui se battent quasiment pour leur survie. », affirme-t-elle. « C’est tellement fort et je ne m’attendais pas à ça. La première semaine, j’étais toujours à moitié en train de pleurer. Mais je ne l’ai pas montré. »

Pangina Heals s’attend à ce que le show soit principalement en thaï. (« avec des sous-titres, j’espère », ajoute-t-elle). Son contrat lui interdit de dire si RuPaul fait une apparition dans l’émission ou non mais lorsqu’on lui demande ce que « la mère de toutes les drag-queens » penserait des fans dans le monde entier qui téléchargeraient l’émission illégalement, elle a une réponse :

« Mon sentiment est que nous avons travaillé tellement dur pour cette émission que le piratage ne devrait pas être autorisé. Nous devons soutenir les artistes. »

Puis, il arbore un large sourire, ouvre ses grands yeux et reconnaît, que oui, lui aussi télécharge des vidéos aussi occasionnellement. « Mais du porno ! », dit-il. « D’abord du porno ! ».

Author: Daniel Villarreal/Date: January 28, 2018/Source: https://hornet.com/stories/fr/pangina-heals-michelle-visage/

Pangina Heals out of drag

Daniel Villarreal 「Pangina Heals, ‘Drag Race Thailand’ Co-Host: ‘There’s One Big Difference Between Me and Michelle Visage’」


It’s 3 a.m. in Bangkok, and Pangina Heals – co-host of the upcoming 「Drag Race Thailand」 – has just wrapped up a rather long evening. I had hoped to interview him on camera in full drag, but following the night’s gig he’s removed his face and is laying in bed shirtless with the webcam on. He’s a half-Thai, half-Taiwanese guy who’s cute out of drag – boyish with full coral lips, large brown eyes and a cursive tattoo on his left pec that says “Strive.” He’s also a little drunk.

I ask him to introduce himself.

“Who am I? I ask myself that every day!” he says. “My name is Pangina Heals.”

Conversation soon veers to the popularity of 「RuPaul’s Drag Race」 in Thailand. It’s a show that has changed countless people’s lives, he says. The series has singlehandedly brought drag to the mainstream and has allowed performers – like him – to be showcased as artists and affirmed around the world.

In some places around the globe, says Pangina Heals, people still think of drag as a form of perversion, born of a guy’s desire to become a woman. But now, he says, “People are understanding that drag isn’t about sex or gender, but about performance and making other people happy.”

But Pangina Heals insists most viewers of 「Drag Race」 don’t care whether a performer is male or female. It’s not about that. It’s about laughing and being whoever (or whatever) you are. Full stop.

We chat about the perception by those outside of Thailand that drag in the Asian country is nothing but “ladyboys” – young men who dress up as women to seduce straight men.

“You can’t make a generalization about anything in life anymore,” Pangina Heals says. “But Thai people are really accepting of transexual girls, especially with the popularization of the Miss Tiffany pageant shows.” (That annual beauty contest for trans Thai women is held every May.)

Trans women are considered women in Thailand, he says. “I would consider us under the same umbrella, but not the same thing. There is no Thai word for drag queens, so we call them ‘drag queens,’ you know?”

When asked about the differences between American drag and Thai drag, Pangina Heals says, “I think drag in general is about creativity and about art and about expressing who we are. And so with that comes culture and individuality.”

Though he admits many Thai people like the aesthetic of so-called “fishy queens” (those hyper-feminine drag queens who can pass for women), he adds, “But that doesn’t mean we don’t like anything else from the seafood genre.”

If 「Drag Race Thailand」 is able to achieve even half the response its American progenitor has received through the years, the series could become yet another worldwide phenomenon. So how did Pangina Heals find herself as this new series’ co-host?

“I sucked a lot of dick,” he responds, joking (we assume).

But the truth is that Pangina Heals is probably the most famous drag queen in all of Thailand. He’s a relentless self-promoter who won Thailand’s first reality TV drag competition – called 「T Battle」 – and he also competed on 「Thailand Dance Now」 and 「Lip Sync Battle Thailand」, two other well-known Thai shows. He also hosts weekly parties at the Bangkok bar Maggie Choo’s.

As the co-host of 「Drag Race Thailand」, Pangina Heals steps into the (literal) heels of Michelle Visage, a longtime friend of RuPaul who on the American series can be a foil at the judges’ panel and often acts as springboard for some of the show’s best one-liners. (Though he says his boobs are technically not big enough to qualify as the Thai version of Michelle Visage.)

Pangina Heals’ role on 「Drag Race Thailand」 will be opposite drag performer and fashion designer Art Arya, someone with whom he cites a great bond. He predicts their relationship on the show will come off as “more sisterly” than what we see between RuPaul and Visage on the American series. “But obviously I am a judgmental bitch,” he’s quick to clarify.

When asked how many contestant girls he destroyed during the filming – how many queens Pangina Heals reduced to tears during Season 1 – he says that while he tried to be constructive and not just say mean things, “They’re under a lot of stress and pressure, so obviously they cry. But I cry, too.”

“You have to understand,” he says, “when Alyssa Edwards says, ‘It’s drag, it’s not personal,’ I completely disagree, because drag is personal. It’s basically who you are, and sometimes it’s an escape from the world. And in this very judgmental gay world, sometimes when you get in drag you become the better version of you. And when that version of you is attacked, of course you’re going to feel negative and not OK, because that is where you go for solace and for healing.”

Pangina Heals is contractually obligated not to reveal anything from the taping of 「Drag Race Thailand」 Season 1, so questions about things like the craziest thing to happen on-set are off-limits. Instead I ask what he learned while filming.

“You have no idea what it’s like to sit there and judge people fighting for their future and fighting for their hopes and their dreams and basically fighting for survival,” he says. “It’s so impactful, and I didn’t expect that. The first week I was, like, mid-crying, but I didn’t show any emotion because it was so hard to digest.”

Pangina Heals expects that 「Drag Race Thailand」 will mostly be in Thai. (“Hopefully with subtitles,” he adds.) His contract keeps him from commenting on whether RuPaul himself makes an appearance on the show, but when asked whether he thinks the Mother of All Drag Queens – the “Supermodel of the World” – would think less of international fans who dare to pirate episodes of 「Drag Race Thailand」 to watch in other countries, he does have an opinion.

“I feel like because we worked so hard in filming and working on this show, pirating should not be allowed,” he says, “We should support these artists.”

Then he flashes a huge, toothy smile, his eyes opened wide, and admits – speaking out of the side of his mouth – that, yeah, he occasionally pirates things, too.

“But for porn!” he says. “Primarily for porn!”

Author: Daniel Villarreal/Date: January 23, 2018/Source: https://hornet.com/stories/pangina-heals-interview-drag-race/




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KHNG KHAN × BLO 「Flip Flip」

Posted on January 25, 2018 commentaires

KHNG KHAN × BLO 「Flip Flip」 - posted on January 25, 2018.


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Curtis M. Wong 「K-Pop’s New Star Breaks Fresh Ground By Addressing His Sexuality In Debut Video」

Posted on January 22, 2018 commentaires
In 「Neverland」, HOLLAND shares a sweet kiss on the beach with another man.


Holland 「Neverland」 - released on January 22, 2018.

A K-pop star was born this weekend, and he happens to be gay.

The singer HOLLAND released his first single, 「Neverland」, on Sunday to near-unanimous praise from fans and critics. The video for the R&B-tinged ballad, which can be viewed above, shows the singer canoodling with a male love interest on the beach and in a living room. The clip concludes with a tender kiss between the two men.

By addressing his sexuality directly in 「Neverland」, HOLLAND sets a new standard as an openly gay male K-pop singer. He may not be the Korean music scene’s first openly queer artist ― singer MRSHLL came out as gay last year, while another singer, Harisu, identifies as transgender. But his video still breaks fresh ground in a genre that continues to lack substantial LGBTQ representation.

Fans around the world were clearly moved by 「Neverland」, in spite of the fact that the video received a 19+ rating in Korea because of the same-sex kiss.


As of Monday afternoon, the 「Neverland」 video had been viewed more than 1.6 million times.

Here’s hoping we’ll be hearing more about HOLLAND moving forward!




HOLLAND 홀랜드
Facebook: https://www.facebook.com/hollandofficial/
Twitter: https://twitter.com/HOLLAND_vvv
YouTube: https://www.youtube.com/c/HOLLANDOFFICIAL
Instagram: https://www.instagram.com/holland_vvv/


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HOLLAND 홀랜드 「Neverland」

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Holland 「Neverland」- released on January 22, 2018.

HOLLAND, la première idol ouvertement gay, yes ! Et il se tape un beau garçon dans son clip ouvertement gay !


HOLLAND 홀랜드
Facebook: https://www.facebook.com/hollandofficial/
Twitter: https://twitter.com/HOLLAND_vvv
YouTube: https://www.youtube.com/c/HOLLANDOFFICIAL
Instagram: https://www.instagram.com/holland_vvv/


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Inkoo Kang 「The Deracination of Andrew Cunanan」

Posted on January 19, 2018 commentaires
Why is 「The Assassination of Gianni Versace」 interested in its protagonist’s sexuality but not his race?

Darren Criss as Andrew Cunanan in 「The Assassination of Gianni Versace: American Crime Story」

You finally need two hands to count all the current TV shows with Asian American protagonists. 「Fresh Off The Boat」 (ABC) and 「Master Of None」 (Netflix) arrived with fanfare for breaking ground (though a third season of Aziz Ansari’s romantic comedy was uncertain even before the star’s current scandal), while 「Quantico」 (ABC) and 「Into The Badlands」 (AMC) keep chugging along, and the comedy 「Brown Nation」 (Netflix) and children’s melodrama 「Andi Mack」 (Disney Channel) have yet to become blips on the mainstream pop cultural radar. So it’s a bit strange, and off-putting, that the latest series with an Asian lead – one of the most anticipated shows of the year, it so happens – isn’t being described as such. In fact, its network – once a standard-bearer for prestige TV’s lack of diversity – is highlighting the drama’s focus on queerness and homophobia – and by doing so largely erasing its main character’s racial identity, especially in the first half of his story.

「The Assassination of Gianni Versace: American Crime Story」 isn’t about the titular victim but his killer: Andrew Cunanan, a San Diego native born to a Filipino father and an Italian American mother. Writer Tom Rob Smith adapted journalist Maureen Orth’s nonfiction account『Vulgar Favors』, structuring the episodes in reverse chronological order so we work backward from Versace’s murder. In a recent interview, Smith said of his source material that it “reads very much like an outsider commenting on a world of which they’re not part, and sometimes that can make you seem quite removed from it.” I agree with his assessment; Orth’s book includes lengthy and salacious discussions of Versace’s HIV status and the popularity of meth among gay communities. But Smith’s description could also be turned on 「The Assassination of Gianni Versace」, which is a white writer’s dramatization of another white writer’s interpretation. 「American Crime Story」’s first season, 「The People v. O.J. Simpson」, tackled issues of both race and gender skillfully; there’s no reason why we should accept any less from its second.

The show’s Andrew, played by Darren Criss, does mention his father’s plantation in the Philippines early on. But between his pathological lying and that country’s colonial past, his race isn’t confirmed till about midway through the nine-hour season. A few character details here and there suggest Andrew’s racial self-hatred and the prevalence of anti-Asian racism within the gay community, but the relative sparseness of these implications is all the more noteworthy in contrast with the richly developed portrait of the decade’s homophobia.

Credit where it’s due, even if the bar for praise here is laughably low because Hollywood’s institutional aversion toward Asian stories and characters remains so entrenched: In casting 「Glee」’s Criss (who played Blaine Anderson), Ryan Murphy hired a half-Filipino (if white-passing) actor to play the half-Filipino role of Andrew Cunanan. Criss is excellent, and in later episodes, the Philippines-born Broadway performer Jon Jon Briones is electrifying as Andrew’s father, the sociopathic Modesto, who teaches his favorite child all the wrong lessons about the American dream.

If 「The Assassination of Gianni Versace」 feels urgent as it revisits the stifling homophobia of the ’90s, it’s far less successful in reimagining Cunanan from a racialized point of view, at least in the first eight episodes. (The season finale was not provided to critics in advance.) It’s certainly not as if those racial and ethnic depictions of Cunanan don’t exist. In his analysis of the divergent foci of the mainstream American and Filipino American media narratives about Cunanan, scholar Allan Punzalan Isaac notes that the former wagged its tongue about his “deviant” sexuality (Tom Brokaw infamously referred to the killer as a “homicidal homosexual”), while consumers of the latter looked on with a mixture of “pleasure and horror.” The horror is understandable enough. The pleasure, perhaps, is easier to grasp when you’re part of a group whose presence and history are constantly made invisible by the larger American culture. “Perhaps [the Filipino American fascination with Cunanan] stemmed from a longing to be reflected in the small screen in this American media sensation,” Isaac wrote several years after Cunanan’s death. Filipinos preferred participation, he conjectures, in “any American drama, even for the wrong reasons.”

Nearly all of the eight Filipino American scholars, activists, and advocates I talked to for this story say that Cunanan has fallen out of popular Filipino American lore, just as he’s been forgotten by American pop culture until now. Professor Christine Bacareza Balance told me in an email interview that when she polled 40 or so students in a recent Filipino American Studies course, only one or two knew who Cunanan was. But among gay Filipino Americans, he remains something of a cult figure and for a few Filipino American writers, a literary muse. Isaac begins his seminal book about Filipino American identity,『American Tropics』, with a meditation on Cunanan’s incarnation of many of the concepts central to his subject: the possibility of “assimilation gone wrong,” the fear of rejection and the eagerness to belong, the embodiment of Filipino/American “mestizo” beauty standards, the corresponding ethnic ambiguity. (Isaac quotes a『New York Times』article describing Cunanan’s face as “so nondescript that it appears vaguely familiar to just about everyone.”) Paul Ocampo, a co-chair of the Lacuna Giving Circle, a philanthropic group that fosters leadership in LGBTQ Asian American communities, offers a more cynical interpretation: “There’s an aspect of the glitter and glitz of Hollywood to this story that attracts many in the Filipino American community more than the macabre.”

It’s important to remember that Cunanan murdered five people, apparently in cold blood. His victims deserve to be mourned. But in the absence of other well-known personages (or the inconspicuousness of many successful celebrities’ – e.g., Bruno Mars’ – Filipino-ness,), it’s perhaps inevitable that some Filipino Americans see or project certain facets of themselves in one of the very few Filipino Americans to appear on TV and on page 1, especially during that era. Ben de Guzman, a policy advocate in D.C., saw Cunanan on the news and thought, 「There but for the grace of God go I」. “As a young, gay Filipino American man who was around his age when he was in the news,” de Guzman recalls via email, “I was forced to look at how the same forces of homophobia and racism that informed my life must have affected him too.”

The former party boy and escort remains a symbol of queer defiance for some in the gay Filipino American community. “Here was a gay Filipino man who seemed unapologetic and daring in his acceptance of his sexuality,” says Ocampo. “In this, he seemed to exude a self-possession that many people struggle with.” Balance says that the image of Cunanan as a “queer Asian/Filipino American on the warpath” “truly goes against many dominant representations within ‘mainstream’ U.S. media.” Isaac contrasts Cunanan’s narrative with the gay/bi film 「Call Me by Your Name」, which he observes is “set outside the U.S., outside the AIDS scare, outside any class conflict – all part of the Cunanan spectacle.” Isaac seems to anticipate a reckoning as Cunanan’s story unfurls on the series: “How is this story of intergenerational sex, wealth, casual prostitution, and reckless living in the gay demimonde of the ’90s to be received in this age of domesticated gay marriage?”

And if Cunanan’s messy and unpredictable life story seems ripe for fictional inspiration, 「The Assassination of Gianni Versace」 certainly didn’t get there first. A decade after Cunanan’s death, novelist and playwright Jessica Hagedorn (a canonical Filipino American writer), along with songwriter Mark Bennett, launched in the killer’s hometown a workshop production of their musical 「Most Wanted」, a thinly fictionalized version of Cunanan’s story that explores media sensationalism and marginalized individuals’ desperation to belong. Smaller-scale works like Regie Cabico’s poem 「Love Letter From Andrew Cunanan」, Gina Apostol’s short story『Cunanan’s Wake』, and Jason Luz’s erotic short story『Scherzo for Cunanan』likewise attempt to humanize a murderer who, while deplorable for his actions and indisputably extreme in personality, almost certainly had some desires and experiences common to many Filipino Americans. None of these works add up to a complete portrait, or could. But created from Filipino American perspectives, they explore the aspects of Cunanan’s life that white America still isn’t fully grappling with.

Inkoo Kang writes about technology and culture for Slate.



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Chloe Sargeant 「Meet Art Arya & Pangina Heals, the fierce queens hosting ‘Drag Race Thailand’」

Posted on January 18, 2018 commentaires
Art Arya Pangina Heals

「Drag Race Thailand」 is happening this year – so who are the hosts filling RuPaul’s (size 12) heels?

It was absolutely inevitable that the enormous uprising of drag reality series 「RuPaul’s Drag Race」 would lead to international spin-offs.

「Drag Race UK」 and 「Drag Race Brazil」 have been rumoured for yoooooonks – but it turns out that 「Drag Race Thailand」 has beaten both to the punch, with the new series being confirmed for the early months of 2018.

In an international version of 「Drag Race」 – who exactly would be able to take over for RuPaul as host? Who in Thailand is a big enough drag deity to be able to pull off the fierceness of such a polished LGBTQI+ icon?

Meet Pangina Heals and Art Arya, both seasoned queens and drag icons, who are co-hosting 「Drag Race Thailand」.


Pangina Heals
Pangina Heals, real name Pan Pan Narkprasert, is a half-Thai, half-Taiwanese performer from Bangkok, and is commonly dubbed “The RuPaul of Thailand.”

A well-known host in Thailand’s drag circuit, Pangina hosts a weekly LGBTQI+ night in Bangkok at the very chic venue Maggie Choo’s.

Pangina Heals is also credited with popularising waacking in Thailand, a dance genre that originated in LGBTQI+ clubs in Los Angeles in the 1970s. Similar to vogueing, waacking uses wickedly fast arm and shoulder movement as a form of interpretative dance.


Pan Pan Narkprasert 「Pangina Heals and Debbie See Waacking」 - posted on August 15, 2012.

The queen also participated on Thailand’s version of 「Lip Sync Battle」 and won the competition with a fierce rendition of Lady Gaga’s 「Telephone」.

Since the announcement of her as the reality show’s host, Pangina explained that her multicultural background, in addition to spending several years studying in the United States, has given her a unique and diverse take on drag.

“I want to bring a lot of culture from the Thai side and the craft and nitty-gritty details we’ve been trained to see,” she told NewNowNext. “I also understand the Western side of drag after four years in L.A, so merging those two cultures together I hope I bring in something new and relevant.”

“Drag is a passion, something that should be spread—like a disease!”


Art Arya
Art Arya is a legendary Thai drag queen, as well as an enormously respected Thai fashion icon, stylist and designer.

As well as appearing on 「The Face Thailand」 for two seasons, Arya has worked in the fashion industry for 30 years.

She studied art and fashion design in both Bangkok and France and has worked with Lanvin in addition to taking on independent work. Arya now works as the creative director of Thai label THEATRE.

Honestly, go spend some quality time with Arya’s Instagram account, because it is — by name and by nature — absolute ART. Like, look at this. LOOK. AT. THIS.


「Drag Race Thailand」 will feature ten of Thailand’s top drag queens – Dearis Doll, Natalia Pliacam, Omadiva, Bunny Befly, Annee Maywong, Petchra Petchii, Meannie Minaj, Jaja, Morrigan Xaster and Bella Biggie.

The series will air on LINE TV in Thailand in February 2018. There’s no word yet on whether we will receive it here in Australia – but we will keep you updated, henny.

COME THROOOOUUUUGHHHH THAILAND!






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Katie Heaney 「Hayley Kiyoko Is Living Her Queer Teenage Dream」

Posted on January 11, 2018 commentaires

On the eve of releasing her debut album, the Disney actor turned quadruple-threat pop star is ready to take her unapologetically queer music to the mainstream.

On a warm New York City night in late March, Hayley Kiyoko tells a sea of screaming fans at the Bowery Ballroom that they’re pretty. Each time she sings the chorus of one of her 2016 singles (I just wanna tell you that you’re really pretty, girl), she points at a different girl in the predominantly young, snapback-wearing, rainbow flag-carrying crowd. Even from the balcony above, you can see the hearts in their eyes. They are the chosen ones, singled out, blessed by their Lesbian Jesus.

Over the span of her still-young musical career, Hayley Kiyoko has mastered the sort of populist stage persona to which many young musicians can only aspire: sexy, but vulnerable, and shy, like you; a cocky underdog, indebted to her fans. The 26-year-old is a former Disney star and a present-day quadruple threat, at least – she sings, acts, plays multiple instruments, and directs her own music videos, each of them received like sacraments by the huge, devoted following she amassed well before the release of her highly anticipated debut album,『Expectations』, slated for release in March 2018.

At the Bowery show, mixed into her bouncy, gyration-heavy, platinum blond hair-whipping set, Kiyoko gives several short, warm-and-fuzzy speeches about how lucky she feels to be here. When she thanks the crowd for making space in the music industry for “someone like her” – gay, female, half Japanese – she starts to cry. She tells us how, as a preteen, she used to go home after school, take a nap, and imagine “Hayley’s World,” a magical place where the girls she liked liked her back. Now, years later, she is living in it.

A little over half a year after watching her lay glittery, gay waste to the Bowery Ballroom, I meet Hayley Kiyoko for breakfast at Clinton Street Baking Company & Restaurant, a much-hyped brunch spot on the Lower East Side. She arrives with crew in tow – her manager, her best friend-cum-assistant, her assistant’s friend, her label’s press contact, a photographer – but is encouraged to sit alone with me (“for privacy”) while her mini entourage gathers around a booth five feet away.

Though still in the infancy of her pop music career, Kiyoko has been around for a long time. As an actor she’s played Velma Dinkley in the early-aughts made-for-TV 「Scooby Doo」 movies, and guest-starred on Disney’s 「Wizards of Waverly Place」. In 「Lemonade Mouth」, a cult favorite Disney Channel original movie, Kiyoko played spunky drummer Stella Yamada. She also had a role in the short-lived 「CSI: Cyber」 and starred as Aja in 2015’s remake of 「Jem and the Holograms」. She still acts – she stars in an upcoming Facebook show called 「Five Points」, produced by Kerry Washington – but has gained more prominence, in recent years, for her music: synth-heavy, catchy, and unabashedly queer pop.

Kiyoko, a Los Angeles native, is tomboyish California cool. Today, she wears blue Adidas sneakers, socks with blue monsters on them, blue jeans, an oversized black NASCAR T-shirt, and an open Army-style green button-down on top. When I ask her to show me the T-shirt so I can do the profile thing and describe it, she tells me, “Don’t describe it too much, because it’s some random racer dude and I don’t know if he’s a racist.” Her shirt was chosen not due to any particular racing ardor, but for its place in today’s blue-toned color scheme.

“People are always like, ‘Yeah, you know Hayley, she’s a player,’ and I’m like, ‘Who said that?’”

Color is big for Kiyoko – she says it’s how she sees music. The video for her debut album’s first single, 「Feelings」, which she directed, was inspired by an orange gas station she once saw; she designed everything else in the video in service to that orange. “I start with a color palette and a mood board,” she says. “What color is the Jeep going to be, and what color should be on the wheels to accent the orange gas station?”

I embarrass myself by telling Kiyoko I thought the video must have been inspired by 「San Junipero」, the beloved queer love story told in the now-famous 「Black Mirror」 episode – the hazy nowhereness of the setting, the ’80s vibes, the Jeep... no? “That’s interesting,” says Hayley, in a way that suggests what I’ve said is neither very accurate nor particularly interesting. To save face, I begrudgingly tell her my girlfriend said 「Feelings」 reminded her of Michael Jackson’s 「The Way You Make Me Feel」 video. Kiyoko grins. Bingo.

“I’ve always wanted to do a video of me following a girl down the street,” she says. “Michael Jackson’s done it. Omarion’s done it. All these male pop artists have followed women down streets in videos – it’s kind of the classic thing. And I was like, there is no video of a girl following a girl down the street. I need to do this at some point in my life.” But because Hayley is Hayley – not just singer, songwriter, dancer, and performer, but also director and storyteller – her own girl-chasing video had to do more. The set design is all her, as was the decision to shoot it as a one-take. “Nobody’s done it as a one-take,” she explains. The choreography, too, is very deliberate, playful, and flirtatious and just this side of goofy. “What I love about it is that it still feels real, like that moment of meeting someone and kind of vibing, like, ‘Are you into me? Maybe? Yes?’” says Kiyoko. “Not in a forcible way – in a very consensual way.”

Though she plays a convincing lesbian Lothario, Kiyoko, who is currently single, emphasizes that her videos are more like self-starring fanfiction than autobiography. “People are always like, ‘Yeah, you know Hayley, she’s a player,’ and I’m like, ‘Who said that?’” she says. “I’m obviously the most emotional, sensitive, reserved person.” Still, it’s clear this isn’t exactly a reputation she doesn’t enjoy. (After the Bowery Ballroom show, Hayley tweeted, “To that gorgeous girl in the middle of the crowd with blonde hair... dm me. ;)”) And why shouldn’t she? In her relatively newfound status as a young lesbian sex symbol, Kiyoko embodies a sense of vindication (and hope) for all the queer kids who felt left out and unloved in middle school – herself included.

“I’ve been parading around, leading people, being loud, since forever.”

Kiyoko wasn’t out in high school, except to a very few close friends, but says she knew she was gay “since the womb.” In every other respect, though, Kiyoko was as visible and present a high school student as it is possible to be. She was elected president of her middle school and then her high school first-year class. She was given the title of “Commissioner of Pep Rallies.” She created and choreographed for the Agoura High Step Team. “I love that shit,” she says. “I’ve been parading around, leading people, being loud, since forever.” Given her upbringing, it isn’t especially surprising Kiyoko caught spotlight fever – her father is Jamie Alcroft, a comedian and voice actor, and her mother is Sarah Kawahara, an Emmy-winning figure skating choreographer who did the choreography for 2017’s Oscar contender 「I, Tonya」.

Kiyoko was first discovered at the age of 5, while attending a photo shoot with a friend (you know, typical 5-year-old things), and was subsequently cast in commercials for Cinnamon Toast Crunch and Slim Jim. Her music roots took hold just as early: She demanded drumming lessons at the age of 6. In 2007, when Kiyoko was 16, the artist and producer Vitamin C asked her to join a girl group called The Stunners (of which singer Tinashe was also a member). The group released a few singles, but disbanded in 2011 before they released a debut album.

Like Beyoncé, like Justin Timberlake, like George Michael, Hayley Kiyoko is not meant to be part of an ensemble cast. She is too ambitious, too much a perfectionist, too charismatic – too many of the things a person needs to become a star in her own right.

But that doesn’t mean she was always as self-assured as she is now. Some of the early music videos Kiyoko released as a solo artist, like 「This Side of Paradise」, feature male love interests – a move that was, says Kiyoko, partly driven by fear. “It was an extreme struggle,” she says. “I did not want to be the gay artist, and I talked to my manager all the time, like, I don’t want to lead with that. I didn’t want people to look at me like that’s all I am.”

“I did not want to be the gay artist ... I didn't want people to look at me like that’s all I am.”

But then came 2015’s 「Girls Like Girls」, which now has more than 82 million views on YouTube. The video depicts the kind of early high school love story most budding queer kids are familiar with: a best friendship which turns into something more. Previously, Kiyoko says, she wasn’t comfortable casting a girl to play her love interest, even though she knew that was what she wanted. The 「Girls Like Girls」 video, in which Kiyoko does not appear, was a way for her to test the waters. And as soon as Kiyoko saw the internet’s adoring, emotional reaction to the video, she felt moved to create more videos that spoke to who she really was – and to appear in them herself. “The fear that I used to have has now forced me to be like, you know what? No one else is stepping up, so I will,” she says. “I will be that person that I was afraid to be.”

Kiyoko has taken to her mission with aplomb, releasing, in the last year and a half, a series of sultry, heartache-y videos about falling in love (「Sleepover」) and falling out of it (「Cliff’s Edge」), all of which she directed herself. In what is perhaps her most famous video among diehard Kiyokians (the name by which Kiyoko’s fans self-identify), 「Gravel To Tempo」, Kiyoko dances through a high school, watched skeptically by a pack of pretty, popular girls. In sneakers and baggy denim shorts, she taunts them, climbs atop a cafeteria table to flirt with them, and eventually wins over a girl known to Kiyokians as Headphones Girl, a pairing to which many, many Tumblr posts are devoted. In the week leading up to the release of her video for 「Feelings」, Kiyoko and Headphones Girl (Chanel Celaya) kissed in a video on Kiyoko’s Instagram story.

“The fans needed it and they deserved it,” laughs Kiyoko. “They lost their goddamn minds.” The kiss was pure (and savvy) publicity, but where previous eras’ “gay for sweeps week” efforts seemed like cheap stunts – like the brief fling between 「The O.C.」’s Marissa Cooper and Alex Kelly, for a personally devastating example – when Kiyoko feeds fans’ fantasies, you can’t help but cheer her on. It is still novel to watch a young queer woman of color get exactly what she wants.

After we finish breakfast, Hayley Kiyoko and I get our auras read at Magic Jewelry, a tiny, popular crystal shop in New York City’s Chinatown. While we wait for our Polaroid-style aura photographs to process, Kiyoko peruses the crystals, asking to see any/all citrine spears the store carries.

『Citrine』is also the name of Kiyoko’s third EP, so named for the crystal she came to rely on after a 2016 accident that left her badly concussed. (She hit her head during a Road Rules/Real World-themed birthday party competition.) Of the aftermath, Kiyoko says, “I couldn’t think, I couldn’t open my eyes, I couldn’t drive. I was fucked up. I take like five pills a day for my head, still.” Kiyoko was on tour at the time, crying before and after shows because the pain was so severe. She started resting with a piece of citrine on her forehead, and she says it helped her a lot. (So, too, have her regular appointments with the UCLA concussion clinic.) A seven-minute song on Kiyoko’s debut album is devoted to her concussion and the resulting struggle to heal.

Kiyoko picks up the citrine stones offered to her, examining them closely using criteria I can’t discern. In any case, they run about $300 apiece, and as she puts it, Kiyoko is not yet a “bajillionaire.” Aura photographs, on the other hand, cost only $20.

The clerk gives us a brief explainer: On these photographs, we’ll see ourselves surrounded by blobs (my word, not his) of color, which indicate energies associated with chakras. Sometimes, he tells us, when friends come in together, they see similar color patterns. Then, with a flourish, he rips the cover sheets off our photographs one after the other, and we ooh and aah at the twin purpley-pink halos around our heads. My aura does look very similar to Hayley’s, which I find flattering.

“What does that mean?” Kiyoko asks, half-jokingly panicked.

The clerk explains that our auras’ bright magenta means we’re in search of balance between the outside world and inside world, and also that we’re obsessed with feelings. In spite of myself, my eyes widen – without knowing it, this stranger has just invoked the title of Kiyoko’s new single, an ode to the dazzling, thrilling moment when girl meets girl and anything is possible.

There is something radical and refreshing in how plainly Kiyoko claims her sexuality and the language that goes with it. Many of today’s up-and-coming queer musicians still tend to avoid gendered lyrics, leaving their songs’ subjects open to interpretation in service of universality. (Not so long ago, Sam Smith told『Fader』he kept his lyrics gender neutral so they could be about anyone, whether “a guy, a female, or a goat.”) But ever since she released『This Side of Paradise』, her second EP, Kiyoko has been explicit: Her music was, is, and always will be about girls. And yet, she says she still encounters people who are surprised when girls are who she wants to write about.

“That’s the whole point of my trying to achieve success in mainstream pop – to have straight people sing to my music that has a ‘she’ pronoun in it.”

“I was in a writing session the other day, and a writer was like, ‘Oh, you shouldn’t use that pronoun because other people can’t sing to it,’” she says. “And I was like, ‘I’m sorry, I’ve been singing to straight songs my whole life, and I’m just fine.’”

That Kiyoko is able to perform and sell explicitly queer music is, of course, thanks in part to predecessors like Tegan and Sara, who’ve made it a point to call out the homophobia and sexism they faced early in their careers. A lot has changed since they released their first album (1999’s『Under Feet Like Ours』), but as far as the wider music industry is concerned, love songs, even in 2017, are only considered universal when sung by a guy to a girl, or vice versa. Adam Lambert, too, has criticized the music industry’s refusal to let gay men sing openly about men. As evidence that there is still a cultural resistance to using same-sex pronouns in pop music, consider, for instance, the embarrassingly popular practice by which artists “gender-flip” the pronouns in their cover songs to, I guess, preserve their heterosexuality, the way Ryan Adams did on his album-length『1989』cover.

It is not entirely surprising, then, that Kiyoko still has to fight for those hers and shes and girls. “That’s the whole point of my trying to achieve success in mainstream pop – to have straight people sing to my music that has a ‘she’ pronoun in it,” she says. “Who cares? If it’s a good song, sing to it.” Who should care, indeed? But in a sphere dominated by winky, ambiguously queer pop hits like 「Cool for the Summer」 and 「I Kissed a Girl」 – songs with accompanying videos which, notably, don’t feature their lyrics’ suggested female love interests at all – Hayley Kiyoko stands alone. And while she is content to carry this mantle for queer girls everywhere, Kiyoko won’t be happy until she’s doing it from the top of the charts.

Toward the end of our session at the crystal shop, the aura reader points to a spot on the picture just above Hayley’s head. “Sometimes when the color is a bit cloudy like this, it means our head is spinning,” he says. “There is dissatisfaction at the moment. We know what we want, but we’re still searching.”

Kiyoko laughs. That sounds about right.

「TRL」 in 2017 is a surreal setting: a gleaming neon pink-white studio plunked in the center of Times Square, where TV screens play “throwback” hits like Soulja Boy’s 「Crank That」, and the backstage walls are painted jet black with caution tape-yellow accents. It all feels very 2003, with the added element of an industrious production assistant who thrusts a phone into every guest’s hand, urging them to record something for 「TRL」’s Instagram story. While Hayley’s team waits for her segment in the greenroom, the VJs chat with a duo called “the Dolan Twins,” famous for something I’m too old to understand. One of them (the bad boy, it seems) wears a dangly silver feather earring in one ear, like George Michael.

Later that afternoon, Kiyoko’s 「Feelings」 will be the first music video premiered by the second coming of 「TRL」, and backstage, she announces she’s going to vomit. (She doesn’t.) A few months later, in January 2018, she’ll return to the show to premiere yet another very sexy video (which you can watch below), for a song called 「Curious」, about a girl with a boyfriend and a lingering thing for Hayley.

But for now, Kiyoko is brought onstage to play a version of Pictionary with two female fans in their early twenties – one of whom, after being given the mic to introduce herself, speedily adds “I’ve-had-a-crush-on-you-since-I-was-five.” When Kiyoko hugs her, she mouths, oh my God.

After the game (which the girl with the crush tragically loses), Hayley’s team, the appointed 「TRL」 VJ, the camera crew, and I run – literally – out of the studio, down the escalator, and right into Times Square. It’s overcast, but the lighting crew fixes it so Hayley and the VJ glow gold. We form a circle around them and wait, and people start to gather the way they do when it’s obvious someone famous is nearby. Behind me, a couple of preteens stand on their tiptoes, and when they see who it is, they shriek. “It’s the girl from 「Lemonade Mouth」!!” Well, yes – but if all goes according to Hayley’s plan (and given her relentless, exacting pursuit of her every vision, that seems likely), that won’t be how you know her for long.

The camera crew counts down, and the crowd cheers. Now recording, the dark-haired, cropped sweatshirt-wearing VJ chats briefly with Kiyoko about her video and her forthcoming album. Or so I assume, because I can’t hear her – the mics they use are for the television audience’s benefit, not ours. Then Kiyoko introduces 「Feelings」, and the video of her chasing a beautiful, receptive girl down the street is projected onto a large screen outside the 「TRL」 studio, in the middle of Times Square. Once again, we can’t hear a thing, but Hayley dances along just the same, beaming, watching herself get the girl.




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Brut. 「Le racisme anti-asiatique « est vu comme moins grave parce qu’il est banalisé »」

Posted on January 05, 2018 commentaires

Suite à la publication sur les réseaux sociaux d’une comptine enseignée en école maternelle et jugée raciste, l’association des Jeunes Chinois de France s’est indignée. Elle a tenu à rappeler le racisme ordinaire dont sont victimes les Asiatiques.

« Chang est assis. Il mange du riz. Ses yeux sont petits. Riquiquis. » Ces paroles sont celles d’une comptine qui serait enseignée dans plusieurs classes maternelles en banlieue parisienne. Largement relayée sur les réseaux sociaux depuis sa publication le 26 décembre dernier, cette comptine été vivement critiquée car jugée raciste et réductrice. L’association SOS Racisme a rapidement dénoncé les paroles de la comptine. L’association des Jeunes Chinois de France a également fait part de son indignation et demande sa suppression.

« Il y a beaucoup de clichés qui circulent sur les personnes asiatiques »

Au sein de l’association, le président Daniel Tran raconte que cette comptine les « a beaucoup marqués et interpellés parce que ça véhicule beaucoup de stéréotypes sur les Chinois. » Cette comptine relance notamment le débat sur le racisme anti-asiatique en France : « Il y a beaucoup de clichés qui circulent sur les personnes asiatiques, des clichés propres aux hommes et propres aux femmes. La femme plutôt « gentille, docile », qui doit dire « oui » à tout. L’homme, aussi ce cliché de « gentil », mais aussi qui n’est pas viril, qui est informaticien, qui fait du kung-fu, qui fait des nems, alors que les nems ce n’est même pas chinois pour ceux qui ne le savent pas. »

Daniel Tran souhaite aussi souligner que, parfois, ces clichés ont des graves conséquences : « Il y a des clichés qui vont dire, par exemple, que les Chinois se baladent avec beaucoup d’argent sur eux. Il y a eu une agression en août 2016 d’un couturier chinois à Aubervilliers qui s’appelle Zhang Chaolin. Trois agresseurs ont essayé de voler l’argent qu’il avait sur lui. Malheureusement, il a succombé à ses blessures. »

Le rôle de la nouvelle génération
« J’ai 26 ans aujourd’hui, j’ai quitté l’école maternelle il y a à peu près 20 ans et je me dis qu’il y a toujours ce genre de stéréotypes qui sont encore véhiculés. » déplore-t-il. Pour lui, cela est du au fait qu’en 20 ans, « on n’a peut-être pas assez agi. C’est un racisme qui est vu comme moins grave parce qu’il est banalisé, parce qu’on ne l’a pas assez dénoncé. »

Alors aujourd’hui, « il faut agir davantage pour définitivement supprimer cette comptine ou d’autres stéréotypes sur les Asiatiques. Ça fait depuis les années 1980 qu’il y a beaucoup d’Asiatiques en France. La première génération n’a pas pu dénoncer ces choses-là, mais c’est la nouvelle qui va prendre le relai pour les dénoncer et, au fur et à mesure, j’espère que la société française va prendre conscience de la gravité de ces actes. »


Brut. 「Les Asiatiques, victimes de racisme ordinaire ?」 - posted on January 04, 2018.


Association des Jeunes Chinois de France (AJCF)
Official Website: http://www.lajcf.fr
Facebook: https://www.facebook.com/lajcf/
Twitter: https://twitter.com/ajcf_fr


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Kimberly Yam 「New K-Pop Music Video Praised As Celebration Of LGBTQ Love」

Posted on January 02, 2018 commentaires
More of this, please!


LOOΠΔ/Chuu 「Heart Attack」 - released on December 28, 2017.

Fans are applauding K-pop girl band LOOΠΔ for breaking barriers with its newest music video, 「Heart Attack」.

The video, released last week, shows the group’s newest member, Chuu, pining for her fellow bandmate Yves’ affection.

With LGBTQ love rarely seen in the K-pop industry, fans took the video as a monumental statement. In less than a week, the video has racked up more than 500,000 views.


The video doesn’t explicitly mention that the pair is together or that either of them identifies as LGBTQ. Still, fans have taken the chemistry between the two, along with shots of Chuu working to get her bandmate’s attention – and their closeness near the end of the clip – as evidence of their love in the music video. The clip’s YouTube description also mentions that the single is about Chuu’s “desire to be loved by Yves.”

“The titled track 「Heart Attack」 does not interpret the feelings of being in love in a serious way, but with Chuu’s own adorable emoticon-like ways,” the YouTube description reads.

Of course, social media users had a lot to say after the music video’s release.


The video is particularly noteworthy given the state of LGBTQ rights in South Korea. The country has made strides in accepting the gay community, with a record number of people showing up for Seoul’s annual pride festival. However, same-sex marriage has not yet been legalized. And just last year, a watchdog group reported that the military had launched a “witch hunt” to prosecute gay soldiers after a video emerged showing two male soldiers having sex.

“Military investigators used the information they gained from the investigation on the sex video to track down other gay soldiers in the army, starting by forcing the suspects to identify who they had sex with and then widening their search from there,” Lim Tae-hoon, head of the Military Human Rights Center for Korea, told The Associated Press.

The country’s president, Moon Jae-in, came out in opposition to homosexuality and the legalization of same-sex marriage while on the campaign trail, angering LGBTQ rights activists.




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