There’s an interesting blurb from Tyler Cowen on why he thinks Desi music isn’t as popular in the West as other types of world music (at least for now… times are always a-changing, of course). Asked by a reader –

Why do the US (a wealthy country) and Africa (a poor continent) put out more influential modern music than Asia (a populated continent of both wealthy and poor extremes)?

Tyler responds –

3. The micro-tonal musics, as we find in India and the Middle East, don’t spread to many countries which do not already have a micro-tonal tradition. Cats wailing, etc., though it is a shame if you haven’t trained your ear by now to like the stuff. It’s some of the world’s finest music.

4. Many Asian musics, such as some of the major styles of China and Japan, emphasize timbre. That makes them a) often too subtle, and b) very hard to translate to disc or to radio. African-derived musics are perfect for radio or for the car.

The comnentors also make some important points. For example, even though we don’t see desi tunes in the West very much, they are all over the rest Asia (outside China/Japan/Korea), the Middle East, Africa, and even some former eastern block countries. Second, most Indian pop music it is driven by the film industry rather than by a separate “music” industry. Another commentor further expands Tyler’s point about the micro-tonal aspects of Indian music –

While there is no contemporary popular style that uses the scalar melodic microtones of the Ancient Greek enharmonic scale, both the Islamicate and Indian (Hindustani and Karnaktic) repertoires use intervals that differ audibly from the Western tempered scale by microtonal intervals, thus the Islamicate scales use both intervals very close to the western semi- and whole tones, but also intervals close to three-quarters of a tone and somewhat wider than a whole tone (with a ratio of around 8:7). A scale approximating a western diatonic scale is possible in both these repertoires, but is only one among 18 or so in wide use in Arabic/Turkisk/Persian music and among significant many more in Indian practice.

I’m going to go way way way out on a limb and toss out another personal, vastly underinformed, pet theory on this question. Instead of musical structure, language barriers, and the like I also wanna toss in some cultural context…

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Three years ago, Indian singer-songwriter Rabbi Shergill exploded on the Indian alternative pop scene with “Bulla Ki Jaana,” a distinctively spiritual — and yet extremely catchy — hit single. The song was unusual because it took the words of the Sufi poet Bulleh Shah, and gave them a modern context. And Rabbi Shergill was himself unusual (even in India) to be a turbaned, unshorn Sikh, making a claim on popular music with a sound that has nothing in common, whatsoever, with Bhangra. From my point of view Rabbi has been a welcome presence on many levels — most of all, I would say, because he seems to aspire to a kind of seriousness and thoughtfulness in the otherwise craptastic landscape of today’s filmi music (think “Paisa Paisa” from “Apna Sapna Money Money”; or better yet, don’t don’t).

After a few years of silence (disregarding, for the moment, his contribution to the film Delhi Heights), Rabbi finally has a follow-up album, Avengi Ja Nahin (which would be “Ayegi Ya Nahin” if the song were in Hindi). The album is available at the Itunes store — so if you’re thinking of getting it, it should be easy enough to resist the temptation to download it illegally off the internets.

The video for the first single, “Avengi Ja Nahin”, can be found on YouTube:

I’m personally not that excited about it. The good part is, Rabbi has moved away from his earlier image as a kind of Sufi/Sikh spiritualist, and is here singing about a much more earthly kind of longing (i.e., for a girl: “Cut the crap/ Will you come or not? / Shade my face with your tresses/ Will you or not?”). But the bad part is, the song just isn’t that exciting.

Fortunately, the rest of the album has some much more provocative material.

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I remember the year I went to the Bonnaroo Music Festival. It was the summer of 2004, and I was trying to register people there to vote. Trying because getting people that are high registered to vote was really tough. I remember that I felt like I was the only brown girl in a sea of hippy-dippies.

If only I would have gone this year. I would have definitely seen another brown person.

“This is my last show,” the rapper M.I.A. announced from the stage of That Tent, “and I’m glad I’m spending it with all my hippies.” If, as she announced at least three times, it was M.I.A.’s last gig ever, she went out with a boom….For her finale, “Paper Planes,” the audience that spilled far outside the tent pumped fists happily at the gunshot sounds that are also one of the song’s hooks. “Thanks for coming to my last gig,” she said, amid noise that continued well after she was gone. [NewYorkTimes]

Is this the end of M.I.A.? Will she actually retire, or will she retire the way Jay-Z retired and be back within another year with a new album? She did cancel her European tour so maybe this was just the residual effect of that? Or maybe she simply doesn’t like touring?

M.I.A. never liked touring that much, anyway: “I’m an artist and it’s really difficult when you become the art, and you’re like, ‘Look at me!’ every day,” she explained. “I was never supposed to be like that. I’m eight things [painter, film director, musician, etc.], and I’ve figured out that you can get pleasure from being all of them, and that’s great. But I don’t want to be the thing. And that’s what touring is.”[Paste]

Or maybe it’s because M.I.A. got engaged last month and she’s feeling like she needs to settle down…

M.I.A. announced to her audience in Edmonton, Canada that she’s engaged! Not only that, but her beau-to-be comes from an “affluent” Montreal family. Mathangi “Maya” Arulpragasam agreed to marry Benjamin Brewer, the frontman/vocalist/guitarist for Exit and son of Warner Music Group’s chairman and CEO, Edgar Bronfman Jr.[MOG]

Is this a green card marriage or the real deal? Last year when I saw M.I.A. she kept talking about how she needed to get married so she could stay in the States. But then, why would she marry a Canadian?

Will M.I.A. retire? Will this be a love marriage for M.I.A.? Will she get kicked out of the U.S. for an expired Visa? Or is this all a part of her turning 30 meltdown? Only time will tell in the saga of M.I.A…. Continue reading →

(Link stolen from PTR.) I have no idea what the song is about [translation help, anyone?], but I love the video, beats, and the sound of the rap.

People in Chicago this week might want to head down to the University of Chicago for a Desi Hop Hop Conference, HipHopistan (April 17-19). It’s a mix of performances, roundtable discussions, and hands-on workshops. Among the performers present will be Yogi B & Natchatra (featured in the video above), as well as Chee Malabar, Kabir, Abstract/Vision, and the ubiquitous DJ Rekha.

I must admit I’ve stopped aggressively following developments in Desi Hip Hop and Bhangra/hip hop fusion somewhat lately. (Have I been missing much?) If I were in Chicago, I might show up at this event just to see if anything these guys are doing might inspire renewed interest. Continue reading →

The New York Times has a behind-the-scenes look at a new version of Phillip Glass’s modernist opera, “Satyagraha,” which is playing at the Metropolitan Opera House in New York until May 1. There is also a companion video piece, which I could watch but not listen to from the computer I’m working on this morning.

The libretto uses the Bhagavad-Gita as a source, and the opera as a whole aims to index some of the key events in Gandhi’s early political awakening in South Africa with the plot and text of the Gita. That alone might be a little confusing, since the central question facing Arjuna in the Gita, as most readers will know, is whether or not to fight — and Gandhi’s signature political contribution (“Satyagraha”) is the philosophy of non-violent resistance. The choice could of course be defended depending on your interpretation of the Gita, and indeed, I gather that Gandhi did his own translation — with commentary — of the Bhagavad-Gita in 1924. I haven’t read Gandhi’s version, though I should note that it has recently been re-published as a volume called Bhagavad-Gita According to Gandhi.

The current interpretation of Glass’s work adds some new elements, including a strong focus on newsprint and newspaper culture as a theme in Gandhi’s story (that at least seems dead-on). There are also towering puppets, made of “newspaper, fiberglass kite poles, light cotton cloth and lots of latex glue,” which symbolize historical figures from Gandhi’s past (Tolstoy), present, and future (MLK).

It seems like an interesting work, though I have to admit I’m not sure I personally would enjoy it. (And most tickets under $100 have already been sold out, so it’s not something where a person would go casually…) Has anyone seen this? Is anyone planning to? Continue reading →

One of the things that marks me as an ABD is the fact that the Indian national anthem leaves me cold. Largely that’s because I don’t identify as an Indian politically, but it’s also in part because most national anthems don’t move me. The Star Spangled Banner, for example, is a horrible song. I feel something when I hear it only because I am an American and am conditioned to do so, but honestly I’d far rather have a song like the Marseillaise which is actually catchy.

The first rendition of Jana Gana Mana is sung phonetically by Kenyans who make it sound a bit like church music – it loses the rhythm that it has when Indians sing it, but it becomes etherial and quite haunting (courtesy Chick Pea):

The second rendition is A.R. Rehman’s bombastic cover, as if John Phillip Sousa decided to set a lullaby to 24 tubas:

Do you guys have a favorite version of the anthem? How about the other regional national anthems (none of which I know) – Pakistan? Bangladesh? Lanka? Nepal? Afghanistan? Feel free to share youtube links but no rickrolling please …

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To mark Women’s History Month, I’ve been featuring works by desi women poets in a “Poetry Friday” series all month long. Here’s the last of four installments (1, 2, and 3.)

Songs are poetry, and singer-songwriter Rupa Marya has been on my radar for the past couple of weeks, ever since I found out about her world music band Rupa and the April Fishes (think the Indigo Girls meets traces of Natalie Merchant meets “classic French chanson, Argentinean tango, Gypsy swing, American folk, Latin cumbias, and even hints of Indian ragas”). [It turns out that Abhi wrote about them last year. link]

The group’s debut album “Extraordinary Rendition” has been picked up by Cumbancha, a record label founded by the head of music research and product development at Putomayo World Music, Jacob Edgar. It releases on May 1, and Rupa and her gang are in the middle of a North American tour that includes NYC and the Montreal Jazz Festival.

A musician, songwriter, and (yes!) physician, the American-born daughter of Indian immigrants spent part of her childhood in France. Many of the songs on the band’s new album are in French. From an article in the SF Chronicle:

The years between the World Trade Center attacks in 2001 and the 2004 presidential election changed her outlook on life and prompted [Marya] to alter her sound completely, by writing in French.

“What happens if you communicate … in a way that people who don’t speak that language can understand what you’re saying?” Marya says. “Especially when the world was becoming much more afraid of differences. That’s when everything sort of took off into another place.

Her song Une Américaine à Paris, I think, conveys some of her post 9/11 reflections. The lyrics (reprinted with permission of Rupa and the April Fishes) follow, both in the original French and in Rupa’s English translation.

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