Mainstream Rappers Ruin a Perfectly Good Song

So by now everyone must have had the surreal experience of turning on commercial pop or hip hop radio over the past couple of months, only to hear M.I.A.’s “Paper Planes,” casually playing in between various mind-numbingly bad Pussycat Dolls and Rihanna tracks, as if it were perfectly normal to hear a song with lyrics like this:

Pirate skulls and bones
Sticks and stones and weed and bongs
Running when we hit ’em
Lethal poison through their system

No one on the corner has swagger like us
Hit me on my Burner prepaid wireless
We pack and deliver like UPS trucks
Already going hell just pumping that gas

“Paper planes” peaked this summer at #4 on the U.S. Billboard Hot 100, which is truly remarkable for any piece of music that prominently features the phrase “third world democracy.”

We’ve had our debates about M.I.A. here over the years — including the most recent episode, with Cicatrix’s post on Delon Jayasingha’s remix, which tears apart M.I.A. for her appropriation of LTTE imagery, fairly or unfairly.

Whatever our thoughts on M.I.A. in general, I think we might all agree that the recent remixes of “Paper Planes” by mainstream rappers leave something to be desired. The one I’ve heard on hip hop radio in Philadelphia features Bun-B and Rich Boy:

Listening to this reminds me that, whatever her faults might be, I’d rather listen to M.I.A. than “Bun-B and Rich Boy,” any day. There’s also a Lil Wayne remix , which is so terrible to my ear that it makes the Bun-B and Rich Boy remix sound like a work of art. (What do people see in Lil Wayne, again?)

Not to be outdone, via Ultrabrown I learn that Jay-Z has gotten in on the remix game as well though not with “Paper Planes.” Rather, Jay-Z’s remix is of “Boys,” and someone has YouTubed it here. As usual with recent Jay-Z, it’s a cut above what his peers are doing. What do you think of it, or the various mainstream hip hop remixes of “Paper Planes”? Continue reading

“You need to say Pack-i-Stan like Everyone Else”

The LA Times has a rather silly piece, where they interview “body language” experts on yesterday’s Presidential debate. The highlight for me was this little bit about pronunciation:

But Glass, who thought the debate was a draw, said Obama seemed unnatural at times. “Somebody coached him and did not do him a favor,” she said. “When he talks about an issue he’s passionate about, his gestures are fluid and real, but other times, he took his index finger and clasped it to his thumb, and it’s phony, it’s not real.”

She also thought his inflection might be a turn-off to some voters. “He’d say, ‘Pahk-ee-stahn,’ or ‘Tolly-bahn.’ You need to say Pakistan and Taliban like everyone else.” (link)

Um, is it possible he pronounces it correctly because… it’s actually the correct pronunciation?

Some bloggers over at the National Review’s “The Corner” have picked up on this as well (thanks for the tip, Sree):

The National Review’s Mark Stein, for example, said that Obama prefers the “exotic pronunciation.” He added, “[O]ne thing I like about Sarah Palin is the way she says ‘Eye-raq’.”

This came after the National Review’s Kathryn Jean Lopez posted an email that argued, “[N]o one in flyover country says Pock-i-stahn. It’s annoying.” (link)

Actually, I know plenty of people in certain “flyover countries” — i.e., in the Indian subcontinent — who pronounce it exactly that way.

Welcome to the United States of Stupidistan, folks. Continue reading

Music Fix: Mekaal Hasan Band

There was a great story about a Pakistani fusion group, the Mekaal Hasan Band, on NPR this morning, the text of which is here. For starters, you might want to check out one of their songs on YouTube, “Huns Dhun”:

On their website, Mekaal Hasan Band says the following about the song and video above:

The video is a real life account of the mass evacuation of the Afghan Refugees who, according to the Afghan Repatriation Deadline, were supposed to leave the border areas of Pakistan for Afghanistan by 2005. Seen through the eyes of three young Afghani friends, the video traces their journey from the area of Bajaur, NWFP, Pakistan to the bordering hills of Afghanistan.

I knew about the Afghan refugees in Pakistan, but I didn’t know about their forced repatriation, and I haven’t heard much about how they’ve been doing in Afghanistan since this happened in 2005. (Does anyone have more information about this?)

In the NPR story, the part that I found most interesting is the story of how Mekaal Hasan first went from Lahore to Boston, to study at the Berklee College of Music, and then returned to Lahore, where he started the long, slow process of finding a way to be a rock musician in a non-rock oriented culture:

There wasn’t much opportunity to advance his craft in Lahore. So Hasan, like many of his peers, decided to leave Pakistan. He applied to the Berklee College of Music in Boston, and got in.

“That jump was just insane,” Hasan says. “It’s like going to another planet and watching people play unbelievable stuff. I had never seen anyone play that way before. I would just listen to music all the time. That’s all I did. I never felt more at home than when I was in Boston, ’cause I was surrounded by so much great music and so many great musicians. I think all creative people need an environment to flourish in.”

But Hasan was on a student visa, and his parents bribed him to come home early by offering to build him a studio. In 1995, he returned to Lahore.

“For a while, a good two to three years, I was massively depressed and really angry, as well,” Hasan says. “I was like, ‘Why am I here? What am I doing here?’ Then you had to reconcile yourself to the fact that, ‘Well, hey, man, you’ve always lived here.’ I resolved to make the best of it, and in some ways, this turned out to be a good exercise in just practicing the concepts that I’d learned in music school.” (link)

Ok, so not everyone has parents that can build them their own music studio! But however it happened, what’s important is that he managed to make the transition back — and now Mekaal Hasan and his band are making some really impressive music, using classical and jazz fusion.

Incidentally, another video I liked is Rabba. Mekaal Hasan Band’s album, “Sampooran,” is available on ITunes; they’re about to go on a tour of India (no word on a tour of the U.S. yet…). Continue reading

Minnesota Republicans on Ashwin Madia: “Not one of us”

Just a quick post, to highlight something that I’m sure we’ll be hearing more about in the weeks to come. We’re starting to see racially-tinged rhetoric against an Indian-American candidate for U.S. Congress:

It seems to me that the officials at this press event know exactly what they’re saying, though they nevertheless deny the racist and xenophobic thrust of their comments: “From a demographic standpoint, Erik Paulson fits the district very well.”

I do not know whether the Republican Party in Minnesota is going to start running ads along these lines or not. If not, perhaps this isn’t really all that important. But the rhetoric here just feels too deliberate to be merely a one-off event or an accident. That said, if they’re sinking to this level, Madia must be doing something right.

Incidentally, here is a debate between Madia and Paulson that took place on Minnesota Public Radio in mid-August. And here are a few recent SM posts related to Madia: here, here, and here. Continue reading

Nuke Deal Finally Ready

Well, it took three years and it nearly toppled Manmohan Singh’s UPA government, but the India-U.S. nuclear deal was finally ratified in the U.S. Senate last night (along with some other trivial legislation…). On NPR yesterday, I heard snippets of speeches supporting the deal from Republican Senator Richard Lugar and Democratic Senator Chris Dodd (who is almost as ubiquitous as the top 40 M.I.A. these days). I also heard a Democratic Senator, Byron Dorgan, from North Dakota, who opposed it. India’s fourteen civilian nuclear reactors will be under international inspection, but eight military reactors will operate without inspection.

Interestingly, India has also just signed a nuclear deal with France, after getting a general waiver from the Nuclear Suppliers Group. So clearly the work that went into the main India-U.S. deal is already paying off for India in some surprising ways. There is further talk of a deal with Russia in weeks to come.

Though I’ve supported the deal from the beginning, one of the arguments against it from the American side seems worth considering: if you grant India an exemption for civilian nuclear energy, even though it didn’t play by the rules and sign the Non-Proliferation Treaty, and even though it engaged in testing ten years ago, you weaken the argument against allowing countries like Iran to develop civilian nuclear energy.

Does that hold water? I tend to think not, since the point is moot if India already has nuclear technology and is committed to not sharing it with nations that want it. But the Times quotes one Michael Krepon who thinks it will be a problem:

Michael Krepon, co-founder of the Henry L. Stimson Center, a research organization in Washington, called the promise of big dollars and American jobs “pure fantasy” and predicted that the United States would regret further opening the nuclear door.

“There will be a reckoning for this agreement,” he said. “You can argue till you’re blue in the face that India is a special case. But what happens in one country affects what happens in others.” (link)

There is a full-length critique of the deal by Michael Krepon here, published in 2006. Continue reading

“Sikh Stand-up Comic” in Newsweek

narinder singh gotham.jpg
After my post last week on Hari Kondabolu’s “Manoj,” it seems fitting to discuss an actual stand-up comic who walks the delicate line between what we might call “self-deprecating good fun” and outright self-hatred, Narinder Singh (thanks, Colleen). Narinder Singh has three YouTube videos up: here, here, and here (as “Sikh Stand-up Comic”). I don’t love the videos — seems like he’s trying too hard — though admittedly the sound quality on them makes it hard to understand what he’s saying at times.

But Narinder’s “My Turn” essay in this week’s Newsweek is much more to my taste. The key section for me was this:

“A lot of people ask me why I wear a turban,” goes one of my jokes. “I tell them it’s because it contracepts my vices. But you know what, turbans are great contraceptives . . . I haven’t had sex in five years!”

I became more ambitious. I now wanted to show the entire audience that Indians, Muslims or brown people in general were affable and moderate. Because I received my first couple of threats from Sikhs, I had to convince myself that my fellow Sikhs were in fact also moderate. But it felt strangely exciting reading the verbal barbs posted on my first YouTube clip: I was having an impact.

I e-mailed some of the overzealous Sikhs and told them that I was making fun of prejudice against those who wear turbans, not the turban itself, which seemed even more sacred now. After 9/11, many Sikhs had cut their hair and stopped wearing turbans. The menacing looks and discrimination were too much. Our visible identity in numbers was dwindling in both America and India. Bollywood films had reduced Sikhs to fools and caricatures. In America we were being taken too seriously; in India, not enough. It sometimes made me feel compelled to conform and fit in, too. (link)

Seeing Narinder Singh say this makes me appreciate his approach to comedy more, in spirit if not in the actual performances I’ve seen. For one thing, though the reasons were different I too received my share of hate mail around the time I was first blogging at SM, (including an outright threat, from a fellow Sikh). I sympathize partly because I think the temptation is strong to “make an impact” and get attention with edgy statements — every writer, blogger, or comedian just starting out knows this — even if it offends some people and loses you some friends.

Still, I’m not sure he’s quite there yet in his actual comedy routine. What do people think?

To end on a positive note, Narinder Singh’s final quip might well be the funniest line he’s written:

Still, I completely understood my fellow Sikhs’ sensitivity and their fear of being marginalized further. I really didn’t mind the death threats and the heckling, as long as I continued not having sex.

Continue reading

Why I Didn’t Like “The White Tiger”

After reading Jabberwock’s positive review of Aravind Adiga’s The White Tiger some time ago, I was all set to pick it up. Jabberwock, after all, is the quintessential cosmopolitan Delhi-ite, so how can you go wrong?

Adiga also beat out both Salman Rushdie and the amazing Michelle de Kretser to make it to the shortlist for the Man Booker Prize. Again, that should bode well, irrespective of whether Adiga actually wins the prize. (I have heard that he is currently considered one of the favorites.)

But I haven’t been able to shake the sense that The White Tiger, despite its topicality and its readability, is somehow fundamentally fake. I almost hesitate to bother saying it, because it’s quite common for Indian authors to be accused of composing narratives about India’s poor primarily for non-poor, non-Indian readers. It’s a ubiquitous complaint — almost a critical cliché — which doesn’t make it any less true. Let me give you a passage that I think illustrates my problem with Adiga’s novel quite directly. It’s from near the beginning of the novel, as Adiga is introducing his narrator and protagonist to us: Continue reading

“Indian It Up” With “Manoj”

Hari Kondabolu’s video Manoj is up in its entirety** on YouTube. It’s about 11 minutes long, and well worth a look:

I mentioned the short film and posted a few lines of the script a few months ago. It’s well done — my favorite bits include the “South Asian Studies” major, and the comedy club owner who wants Manoj to “Indian it up” with the curry and cows.

Having short films like this available might be especially good for young Desi comics starting out, as they try to figure out how to tread the line between intelligent ethnic comedy and self-hatred. That said, I think the film also shows that there really is a gray area there; aren’t many people (including many Indian Americans) still quite prepared to find a comedian like “Manoj” funny? (Paul’s comment in the earlier thread on this also illustrates how the path to the right kind of “Desi material” is not an easy one.) Another issue raised here (and I know everyone is tired of it) is the ABD/DBD divide, specifically the different relationships to Indian accents. I imagine some readers might watch this and think, “well, isn’t Hari himself actually using a fake version of the Indian accent here for comedic effect?”

(For those in the Washington DC area, Manoj will be screened publicly as part of the DC Asian Pacific American Film Festival this Friday night at 7pm. Another obviously Desi short is Maya Anand’s Anjali, which screens on Sunday.)

** Hari emails me to say that the YouTube version is itself slightly edited. The real full version of the film (15 minutes) is at Vimeo, here. Continue reading

Art: Nandalal Bose at the Philadelphia Museum

nandalal bose Sati.jpg

(click on the image for a higher-quality version)

The New York Times is essentially perfect in its review of a current major exhibit at the Philadelphia Museum of Art, on the painter Nandalal Bose. The exhibit was put together by the San Diego Museum of Art and the National Gallery of Modern Art in New Delhi (which is also, incidentally, very much worth a visit). We went there a couple of weeks ago, and enjoyed it (though it certainly helps that the Philadelphia Museum of Art has a play area for children in the basement; otherwise, 2 year olds and art museums are usually not compatible.)

The key question the exhibit addresses is: what did it really mean to make “modern” art in an Indian idiom in the latter years of the British Raj? From the dominant colonial point of view, there was no such thing as “modern Indian art”: by and large, the British were mainly interested in ancient Indian art, including traditional Indian art produced in the modern era. (One prominent exception was Ernest Binfield Havell, who actively supported Bengali artists who aimed to invent a modern style in Indian painting.) Continue reading

Posted in Art

Fatima Bhutto on Musharraf’s Exit

By now most readers will have seen the news that Pervez Musharraf, Pakistan’s President, has resigned from his post rather than face impeachment charges. While for some this might seem like a happy day, a slightly closer look at the situation in Pakistan suggests that the country is not now headed for greater stability or economic prosperity.

Since his party lost the Parliamentary elections earlier this spring, he was already essentially irrelevant. The threat of impeachment announced by Asif Ali Zardari and Nawaz Sharif in recent weeks says more about the desperation of the new coalition government than it does about Musharraf himself.

In the weeks to come, I’m sure we’ll see a number of accounts of the fall of Musharraf, ranging from, “well, he was bad, but these guys are worse,” to “well, he was so bad that the room can’t help but smell better now that he’s gone.” There might even be a couple of people saying that he was actually good for Pakistan (democracy is overrated), good for women’s rights (he got a couple of laws passed; who cares about Mukhtar Mai, anyway?), and an invaluable ally to the United States in the fight against Islamic extremism (though I’m not sure how anyone could really make that argument with a straight face).

A preliminary account worth reading, which leans towards the first position, comes from Fatima Bhutto, Benazir Bhutto’s niece (but no fan of her aunt or her aunt’s widower, Asif Ali Zardari). Bhutto who starts off with a description of the recent press conference where Zardari and Sharif expressed their moral outrage about Musharraf’s “anti-democratic” actions as President and head of the military:

Zardari snarled every time Musharraf’s name came up, seething with political rage and righteousness, while Sharif did his best to keep up with the pace of things. He nodded sombrely and harrumphed every once in a while. The two men are acting for democracy, you see. And impeaching dictators is a good thing for democracies, you know.

But Nawaz Sharif and Asif Zardari are unelected. They’re not just unrepresentative in that they don’t hold seats in the parliament – they have absolutely no mandate in Pakistan. They head the two largest, and most corrupt, parties in the state but hold no public office. Pots and kettles.

Continue reading