What happens when you combine a viral pop song with some Tollywood dance moves? The answer can be found in the video above. According to the Huffington Post, the scenes featured are from the 2006 Telugu film Ashok and “bring a merry twist to the catchy song and dance.” Enjoy!
Could an 18-year-old singer named Mathai be the next winner of NBC’s The Voice?
Billboard called Mathai’s performance on the show last week “awe-inspiring” and noted she was “one of the few [contestants] who understands nuance and power.”
I hope that as the season progresses we’ll get to see Mathai do more ballads. This 2010 talent show performance, in which a 16-year-old Mathai covers Adele’s version of To Make You Feel My Love, is incredible. (You can check out more of her songs at her official YouTube channel.)
The official John Lennon YouTube channel has been collecting tributes from fans around the world for the past couple of days. Here’s one submitted by Bollywood playback singer Suraj Jagan. (He’s best known for the song Give Me Some Sunshine from the 3 Idiots soundtrack.):
And because I strongly believe that no South Asian-themed John Lennon tribute would be complete without a link to the Bollywood version of “I Want to Hold Your Hand”, here’s that as well:
What are your favorite John Lennon songs? And have you noticed any other South Asian tributes to the Beatles?
Oh, Liz Phair. Has it really come to this?
Seventeen years after the release of her debut Exile in Guyville– an album Blender considered the 35th best indie rock album of all time– Phair is back with a new album called Funstyle.
Bollywood, the album’s lead single, is downright bizarre. Phair raps about the injustice of the music industry over a tabla and sitar-driven track. Sample lyric: “Let me tell you how it’s done here in Hollywood/Maybe you were thinking you was in the Bollywood.” Ugh. Hopefully a video of Phair dancing around in a lengha isn’t inevitable.
You can listen to the song below. (Warning: it’s a bit painful.):
I cannot express just how jealous I am of everyone who is attending the EMP Pop Conference in Seattle this weekend. One of yesterday’s panels was a roundtable on the one and only Freddie Mercury.
From the abstract of “Freddie Mercury Deconstructed” (I’ve bolded my favorite parts):
As the lead singer and songwriter of rock group Queen – and famous for songs like “Bohemian Rhapsody”, “Killer Queen”, “Somebody to Love”, “Don”t Stop Me Now”, “Crazy Little Thing Called Love”, and “We Are the Champions” – Freddie Mercury is arguably the most gifted and flamboyant of 20th century rock stars. Often neglected in discussions of Mercury”s stardom, however, are his Asian heritage and African roots, his interest and work with black and Asian musicians, and his bisexuality. The multiple (open) closets in which he worked and his subversive musical and visual content should have long ago prompted a total re-examination of the assumed whiteness, Western-ness and straight-ness of the rock front “man” mythology. But the often fraught journeys of contemporary artists like Mika and Adam Lambert and Sam Sparro suggests how far and not so far we’ve come.
This panel proposes to deconstruct Freddie Mercury’s impact on popular music, with a special focus on these hidden aspects of his public image. Among topics for consideration: Freddie Mercury’s early Bollywood and Hendrix influences; Tanzanian pop culture of the 50s; the politics of flamboyancy (Liberace to Elton to Morrissey and Mika); postcolonial superstardom; Mercury’s impact on contemporary artists like Lady Gaga; his influence on glam rock and the ways that his transnational identifications complicate our notions of “white” male rock singing; Queen’s ”70s multitracked vocal excess; Mercury’s buried ”80s records with Michael Jackson; revisiting Queen’s critical reception by the rock press; Mick Rock’s classic photographs of Queen.