What’s the inspiration and concept for Esquina?
It’s just a continuation of my love affair with Spain really; I love the culture. Every chef always dreams of opening up a restaurant that they would eat at themselves, and this is exactly the type of place that chefs would go and hang out. To be able to do this tapas bar here, is fantastic. There’s a no reservations policy, but that’s just the way traditional tapas bars are.

You’re making your presence felt in Asia, first in Shanghai with Table No. 1, and now in Singapore. Do you have any other plans down the line?
I’m actually opening up Pollen Restaurant in June next year. It’ll be at Gardens by the Bay and will feature Mediterranean cuisine inspired by the food of Spain, France and Italy, with plates meant for sharing. We’re looking at doing about 100 covers with a nice glass kitchen and people will actually be eating in a real live garden amid 1000-year-old fig, lemon and olive trees.

How would you describe your cooking philosophy?
My mantra is one foot in the past and one foot in the future, so I’m very forward thinking. There’s no such thing as new ingredients but I’m always looking for new techniques, new ideas; but I’ll only use it if it suits my cuisine. At the same time, I never let go of the past. For instance, one of my dishes at Pollen Street, Tongue in Cheek, has braised ox cheek which is done the traditional way, the classic way it’s been in France for hundreds of years. Why change it if it doesn’t improve it?

What’s the weirdest ingredient you’ve ever served?
When I was in Shanghai at Table No. 1, I worked with elephant clams (geoduck). I saw it when I was in the market with my sous chef and I just thought that’s the ugliest thing I’ve ever seen. He convinced me to try some and it was delicious, so I decided to use it. I blanched it, froze it and shaved it on top of a sashimi of scallops.

Anything else we should know about you?
I drink too much coffee; several skinny cappuccinos followed by black coffees. I’m also impatient and demanding, but I’m fair. I would never expect my guys to do what I wouldn’t do; I clean down with them after service. Whatever I do, I just want to be the best; I don’t care about the money.

What’s the most important thing to you as a chef?
One of the biggest compliments a guest can say to me when they leave is that the food was delicious, that’s really all that matters.

For more information, see news of Esquina's opening.

My parents were both teachers so they encouraged my brother and I to focus on our studies. I was able to get into Chulalongkorn’s Faculty of Medicine when I was only 15.

Skipping grades so quickly was tough in my second year. It was really hard to understand all the technical terms in the books. I took one hour per page! But my friends and I helped tutor each other until we all passed.

My inspiration to become a doctor came when I was in the sixth grade. I got hepatitis A and fell into a coma but the doctors cured me. I felt it would be great if I could help others like this.

I chose gynecological oncology because I wanted to use my surgical ability to deliver babies or remove cancerous tumors. I wanted to be a surgeon, but couldn’t perform long operations because I had thyroid problems.

There might be awkwardness between a male doctor and female patients. But patients are ill and need help, and we will
give them the best professional treatment we can.

We always get difficult cases here because patients are sent from smaller hospitals. But doctors are not angels. We can’t solve all the problems.

It’s hard when you have to tell patients how severe their problem is.

We have to show patients that we never give up so they won’t give up either. I say, “We will try. There are ways to cure. If your body responds, you will be fine.”

The cases that always make me emotional are where the mom or the baby dies. In some cases, both die because of complications that could have been solved with proper treatment.

I see doctors as problem solvers. My brother once told me that problems need to be solved, not endured. I take that as my motto.

I used to want a professorship but now I just want to be an instructor, as I’ve been for the past 18 years. I feel so fulfilled.

My biggest achievement would be creating as many great doctors as possible. My own skills will expire in 30 years. What’s the point of being a great doctor if I don’t teach others?

I grew up with a moderate interest in politics. If someone had told me ten years ago that I would be a leader in political movements, I would have laughed at them.

I voted for Thaksin in 2001. My colleagues warned me that he was corrupt. So I promised that if he turned out to be corrupt, I would be the one to fire him, because I voted for him.

I joined the People’s Alliance for Democracy (PAD) after seeing wide corruption in Thaksin’s government. But I left the PAD in 2010 when I felt that we had different political standpoints.

I created the Multicolor Shirts movement because no one stepped up to express what we think.

If Red Shirts ask me why I hate Thaksin so much, I ask, “Do you have time to listen to me for a while? I bet that you will hate him then.” But they don’t listen. They are afraid to accept that they are wrong.

People who accept they are wrong are smarter than those who think they’re always right. You can’t always be right.

My family was threatened with arson. But they aren’t afraid. They don’t fully support me but they can’t stop me either.

I don’t want my son to be a doctor. I want him to save the world by being an environmentalist. He didn’t agree until the tsunami early this year. He now sees the urgency.

I don’t want our children to be slaves to a few politicians’ families.

I teach my son that even though we don’t have much money, we’ve never cheated anyone. We should be proud of whatever we have.

I am not afraid of going to jail, if found guilty for the airport’s occupation. I can sacrifice myself because I know I did it for my country.

I wasn’t a pretty girl growing up so I spent a lot of time feeling inadequate and wanting to grow into something or someone else.

I fell in love with this boy at church, Emmanuel. I then learned in Bible study it was one of Jesus’ many names and felt bad for liking him. He didn’t fancy me but whatever; I didn’t care.

I used to eat two double cheese burgers a day and fries. And ice cream.

My first boyfriend was someone I grew up with. I stalked him on Facebook and basically called him a lot. We went out for about a year. It didn’t work out so well.

Currently, I hang out with this one person 99 percent of the time. He helps put my mind at ease. I also have a band, but they’re all over the world and have crazy jobs so whenever we’re all around, we make music. I love them an insane amount.

I’m so emotional. I’ll refuse to admit I’m in love, but I secretly think I always am. Not just with someone, but with everything that’s happening. Like the sky. Haha, the sky. I sound like a hippie.

I still listen to Modest Mouse quite a bit. They were one of the first real bands I started listening to that I really liked and could relate to. They remind me that... not a lot, apart from the really important things, like my mom, matters.

Rice influences me. It makes me more Asian. And, it reminds me to moderate. When I have too much, my pants don’t fit right.

I think I left my heart in Los Angeles a month ago. My family’s there. I don’t talk to them every day, but they understand me.

The last time I was truly happy was just this morning when I gave my friend’s eight-year-old son a big hug. And he told me to get off him but I refused to. I do it every day.

Fame means people wanting to take a picture with me. Duh. Just kidding. I don’t even know.

In my spare time I write my work blog and personal blog. I also comment anonymously on forums and watch lots of Conan O’Brien.

I pray.

Describe your musical philosophy in three words… all is good!

My favorite happy song about sad things is… Michael Jackson’s “Heal The World.”

When MC Hammer had a cartoon in the ’90s, I was… looping 2 Live Crew on my Discman. Every day.

My club bangers and mash-ups are like… rainbows and unicorns.

Firecrackers in heels make me… sweat.

Santa Claus is great for… cuddling.

Catch Nad-trix in action with Inquisitive on December 16, before he makes his debut for the latest weekly night W.T.F (Wreck The Frequency) from December 30 at Zirca.

Michael, a brief intro to the show, please…
It’s a collaborative exhibition with British artist Bob Matthews. We deal with architecture and urban ruins in Singapore and the UK. I was based in the UK while Bob was in Singapore. It features interactive pieces, collages and site specific installation art. My work serves as a homage to [Belgian Surrealist] René Magritte, one of the most interesting mindf*ckers ever to exist in the world of art.

So what are some ideas you’ve been playing with in your recent work?
The idea of “uselessness” first espoused by [German philosopher] Immanuel Kant. I’m also intrigued by failure in the context of Singapore because there’s too much emphasis on success here.

In your prints you include the names of random people like local architect and urban planner Liu Thai-Ker, and more random still, graphic novelist Chris Ware. Why’s that?
I enjoy making far flung and often ridiculous connections. I’ve stolen everything I could from the world, what’s more interesting is that I even add their names to the works. It just keeps everyone guessing—am I accusing someone or making impossible connections?

Nostalgia is a common theme in contemporary Singaporean art. What’s your take on it?
The pop version is what authorities and advertisers peddle because it makes you spend money. What I’ve been more interested in is authentic nostalgia that’s aware of its potential pitfalls. Remembering is something that mixes memory and fantasy; that’s how the human mind works.

Asia Pacific Breweries Foundation Signature Art Prize 2011 Finalists Exhibition runs through March 4, 2012 at the Singapore Art Museum.

Utopias runs through December 18 at the National Museum of Singapore.

Aladdin is all about… fun, love and laughter.

We can't get enough of ABBA because… everyone secretly loves camp!

Pantomime is all about… being completely subversive. Men dressing as women, and women dressing as men.

My favorite scene is… where the elderly matriarch Amelia Neo of Amethyst Rise sings her own version of Lady Gaga’s “Born This Way.”

I love… Wizard Abbakadabrah because he’s so perverse!

If I was trapped in Batu Caves for a night… I’d be looking for a lamp to rub.

Aladdin, which features the theater debuts of Singapore Idols Hady Mirza and Sylvia Ratonel, runs through December 17 at Drama Centre, National Library.

What are you most excited about?
I’m excited to meet and play for my fans again. I don’t come to Bangkok that often simply because my schedule is crazy but I really see that my sound is doing well in Thailand. I’ve had a weekly radio show for more than 10 years now that’s being broadcasted on FM in more than 40 countries and online. Through the reactions on Twitter, I can see lots of enthusiasm for my upcoming gig.

Do you think this year’s gig will be different from previous ones you’ve had in Bangkok?
Yes, bigger! I’m bringing a crew of four people who will help me with the production of my show. I now tour with a custom built set up, L.E.D. screens and a show running completely on time code. This means all my tracks run in sync with the videos, but I still decide on the spot what tracks I play. My set is never prepared. I look at the crowd’s reaction and then decide where I go with the flow of my set. Also, I bring my own VJ who knows my music inside and out and we work with a very good promoter in Bangkok.

What has stuck in your mind about Bangkok since your last visit?
The crowd was exceptional last time I was there! Really crazy! Too be honest I didn’t expect trance to be so alive there, and I was immediately invited to come and play at one of the islands. Also, the photo shoot for the DJ MAG award I won a couple of years back was shot in downtown Bangkok and the cover for my album Imagine was done in a photo studio here, too.

What have you noticed about the house/trance music scene in Bangkok?
Electronic music is slowly taking over the world and Thailand is no exception but in my opinion the Thai people [took to it] a little sooner than the rest. They completely understand it, which makes my job so much easier and so much fun.

What would you say are your inspirations and influences?
I get most of my inspiration from hearing other producers and DJs. My biggest influences are all the producers I currently play tracks from.

What’s next?
I’m working on finishing the ASOT Yearmix 2011 with 86 of the biggest dance tracks of 2011 in one two hour non-stop mix. Also, I’m touring to promote my new double mix CD Universal Religion Chapter 5, mixed live at Space Ibiza. January 2012, I will be spending most of my time working on my new artist album and, in March 2012, I will tour the world again to celebrate episode 550 of my radio show “A State of Trance”.

How did your passion for electronic music start?
I’ve always been very passionate about music in general and I got into EDM [electronic dance music] after I first heard Steve Angello’s “Teasing Mr. Charlie.” It’s been very much the Swedish producers like him, Axwell, Seb Ingrosso and Eric Prydz who really opened my eyes.

A lot has happened in the past two years.
My life is definitely completely different. I would say the biggest difference is being so busy and spending so much time away from home.

What are your inspirations and influences?
I would definitely say my manager Ash. He helped me out a lot with feedback about what to change in my tracks and therefore had a huge impact on my sound.

What’s your all time favorite track that you’ve mixed?
I would have to say my track “Levels.” Just because of the reactions I get when I play it.

You’ve been touring a lot. What is your favorite gig?
I did a show in Toronto at Kool Haus which was amazing. That was the first show where I got a massive reaction every time. I will always remember it.

Who are you looking forward to collaborating with?
My dream collab would be Bono or Adele, the most talented singers out there right now.

What are you listening to these days?
As terrible as it sounds, I actually don’t listen to much music since I have to listen to so much when working. So when I do get time off I much rather just have silence.

What’s your background?
I was born in Chaiyaphum where I grew up and lived until the ninth grade. My father is a tailor in town, while my mother works as a nurse at a local hospital. My parents love to listen to old folk Thai music like luktung and molam so it’s been in my blood since the beginning. It also reminds me of home when I am away from my family.

How did you start playing pong-lang?
I didn’t play pong-lang at first. I taught myself to play the pin (Isaan guitar) at home before I got in a pong-lang band in junior high. Though I was a drummer, my eyes still watched the other instruments’ every movement. So I kind of knew how to play many instruments, just not very well. I didn’t have a chance to play pong-lang until I entered the College of Music of Mahidol University. I thought pong-lang was the best instrument to use in the entrance exam because it was the easiest—and I liked it. So I am the first student to play pong-lang here.

So what are your musical studies like?
I actually study like all other students—all the basics of music, like jazz, swing, classical and more. But my pong-lang skill is special, and none of our teachers know how to play it. So it’s like an experiment for my teachers and I to explore new ways of making the pong-lang more versatile. I’m lucky that my teacher, Nitithorn Hiranhankla, really dedicates herself to help me. She even wrote a song, “Lai Ka Ten Kon,” that has a special pong-lang solo.

Tell us about the Osaka International Music Competition.
My teacher encouraged me to participate. I had to beat a hundred other competitors to be one of Thailand’s final three folk song representatives. I was so excited. It’s an open competition where people of any age can take part. In my category, we had teenagers and grandpas. I didn’t think about winning or losing when I stepped on the stage but it ended up that I won.

Why did you decide to study folk music in the city?
It’s true that you might learn more quickly if you were learning in Isaan, but I think studying in Bangkok gives you an opportunity that you can’t really get elsewhere. There are lots of good musicians out there and it still takes years for you to be known. Here you can learn new ways of playing music and create a network of those who want to take Thai folk music to another level. I am also a bassist of Mahidol band Thaitem which plays contemporary music with Thai instruments. I’m open to every kind of music.

What is your biggest dream?
I want to bring molam to more people. It only appears at Isaan spiritual events, not daily music. I want to mix pong-lang with international music as well as invent new ways of playing it. My teacher and I recently invented chromatic keys, like black keys on the piano, for pong-lang. It’s really cool.

What is your background before starting the Cambodian Space project?
Julien: I've always been involved with music in Australia, including The Stiff Kittens, Moler, Jen Cloher and The Endless Sea. I've released a lot of records where I've collaborated as a guitarist with singers like Mick Blood of The Lime Spiders fame and also with Simon Day from Rat Cat. I've recorded a lot of my own projects, a cult kind of album with a group called Cashcow and more recently released a bunch of my own albums as frontman with my Tasmanian collective The Green Mist, TGM's first album Next Stop Antarctica features a mix of Australian and US musicians from renowned bands The Beasts of Bourbon and The Violent Femmes.
Srey Thy: I was born in hard times in Cambodia and moved about the countryside with my father who was a tank driver in the army. My family has never had money and we were very poor. Music has always been my solace something that got me through hard times and something that also brings a lot of happiness and hope. From age nine I worked in the rubber plantations but later when I was nineteen, i moved to Phnom Penh to look for work, I had to support my family as both my parents were sick and unable to work. It wasn't easy and I had some very bad times but after a while I got a job singing in a Cambodian restaurant. I learnt a lot of songs and have worked as a musician ever since but for very small money.

How did you guys meet each other?
Julien: By accident, I first came to Cambodia on an Asialink Artist Residency program. I was supposed to go to East Timor but conflict had flared to a crisis point and no-one was traveling to Timor to start music projects, I called Asialink and they told me the program was for all Asia and to go ‘look at the map, and call back with another choice’ so I went to Cambodia. I soon met and heard Master Kong Nay whose gravely, blues-like Chapei Dong Veng songs just blew me away, I was hooked. I made several more trips, whenever I could, made a series of videos and a film called Mekong Delta Blues and started working on a dramatic screenplay, a musical or sorts, involving a character from a small village who ends up in the city and becomes involved in unexpected twists through a preoccupation with music. I filmed, interviewed and recorded people, from master musicians and university professors through to singing hawkers, orphans and beer ladies. On one occasion, a young woman told me I should meet her friend who was a ‘a really good singer’. I took her advice and went to a bar where Srey Thy had just started working. Chanthy had consulted a fortune teller just a week earlier to ask if she was making the right decision to work in a bar entertaining ‘barang’ foreigners. She’d long been a karaoke singer in Cambodian bars but this was different. The fortune teller said she would meet a foreigner who would offer her a job and this would change her life. So it seems that was me. When I met Srey Thy, the only English she knew was ‘Hello, you like eat drink beer”. I stuck around for a few beers and played Thy a bunch songs I had with me, her face lit up and she seems really surprised I had this music. We agreed to meet and rehearse a few songs, I found some more musicians and organised a show. The first gig went really well and before we’d even finished the night we had a band. All we needed was a name, and for a few reasons The Cambodian Space Project seemed to fit the bill perfectly. It then took Srey Thy about 4 months to learn to pronounce the name in English.

Do you ever have any problems with cultural differences as a band?
Julien: Yes, but it's usually funny stuff and not a problem as such. Cultural differences add a lot to what we do and what we're hoping to achieve artistically. But yeah, there's been some funny stuff.

Most bands might dabble in influences from other music, but the very existence of your band is a mix between Khmer music and pop rock. Why was that important to you?
Julien: Yes, the mix is the driving wheel of the band, it's something that keeps us all interested. But more recently we've had the opportunity to travel and play with musicians from other cultures, in Austin, Texas, just Srey Thy and I travelled to perform a showcase at the South By South West Festival and were backed by a Cumbia band made up of Texan, Mexican and Colombian musicians, a great experience and some of Srey Thy's new songs like Not Easy Rock'n'Roll have a real Colombian influence.

How did you guys become so involved with Cambodia?
Julien: Well a few of the band members are Cambodian and born here while the others have come here to work. I came on an Asialink artist residency, Scott Bywater worked with the Khmer Rouge tribunal, Gaetan Crespel (accordion) worked at Bophana (film and sound archives) and sometimes the band includes Gildas (bass) and Irene (guitar) both who grew up in France but have Khmer parents.

What is the music scene in Cambodia look like?
Julien: The music scene is small but it's huge compared to 2 years ago. It's very exciting and there's this whole new community of Khmer-Barang bands playing this inspirational mix of music. Good bands to look up are Dub Addiction and Cyclosonic. Aside from this there's a whole lot of regular Cambodian bands and music is a big part of the culture. NGO's such as Cambodian Living Arts have contributed a great deal to the cultural revival of more traditional music forms.

In composing a song, what normally is your inspiration?
Srey Thy: Music can make you laugh or cry or both and for me the inspiration can come from anywhere. Sometimes when I try to write a song I can't really think of much then another time the idea will almost write itself. I write about whatever I'm feeling, experiencing or worrying about. Sometimes sweet, sometimes sour.

What else are you listening to?
Srey Thy: I'm listening to a lot of French music, gypsy guitar music, Edith Piaf and now a song I love by Serge Gainsbourg but sung by France Gall. I'm also listening to Peggy Lee, Nancy Sinatra, Jimi Hendrix, Ray Charles, stuff I find on youtube. But really I mostly listen to Cambodian rock music and singers from the 60's like Pan Ron, Ho Meas, Sin Sisamuth, Ros Sereysothea, Pov Vannary, I also listen to Chapei music and a lot of Khmer Surin. Now I'm really loving the Sounds of Siam album.

People probably draw a lot of comparisons between you and Dengue Fever. How do you respond to that?
Srey Thy: I met them once when they came to Cambodia but I didn't know them before and now I don't think of DF as a Cambodian band but it's great that they like Cambodian music. I new about Chom Nimol's family who are well known musicians in Cambodia. I don't have any of their albums but I know their songs are often the same songs that many bands (including CSP) play in Cambodia. Same same but different.