Serious Popcorn: September 2008 Archives
Rapper Snoop Dogg is now an old dude to hip hop fans, having made his name more than a decade ago. But the guy has staying power. Last month he made a cameo appearance in a Bollywood movie called Singh is Kinng [sic], starring Akshay Kumar as (quoting the New York Times) "a Capraesque hero who spreads bedrock Indian values -- honor your mother, help the poor."
Naturally Singh is Kinng upholds these values; if it didn't, it wouldn't have gotten past the national censorship board in India, never mind the stricter ones in places like Malaysia, where an English-language online reviewer praised it in these terms: "Singh Is King revolves around a gang of dreaded criminals, who are transformed by a good man and his selfless love for a beautiful girl."
I know, Snoop has been on reality TV lately as a family man, raising his 3 kids while chillin' with his off-again on-again wife. But still, it's a pretty big leap from Da Pound (booty, bling, dope, pimps 'n' ho's) to the old-fashioned moralism of Bollywood.
But this great leap for Snoop may be a first step for Karan Wadhera of Cashmere Asia, a new LA-Mumbai company seeking to hype hip hop to the subcontinent: "We're introducing Snoop to a very broad audience that has never heard of him before."
It will be fascinating to see how this plays out, because most of the huge global audience for Bollywood movies is still quite unaware of how saturated American culture is with Snoop-grade smut. Indeed, most of the non-US reviews I've read don't even bother to mention his name. Indeed, the one just quoted ends with this sentence: "Also, there is a surprise guest appearance by a very famous American rapper at the end of the movie for the remix title track."
Quite a contrast with the US reviewers, for whom the only noteworthy thing about the film is Snoop's cameo appearance, clad in a pseudo-Sikh turban and red cloak, performing these lyrics from the title song: "Watch me zoom by, make it boom by / Whaddup to all the ladies hanging out in Mumbai."
Wow, Snoop's lyrics don't come any cleaner than that. It's impressive, what some people will do to win 3 billion new fans.
Naturally Singh is Kinng upholds these values; if it didn't, it wouldn't have gotten past the national censorship board in India, never mind the stricter ones in places like Malaysia, where an English-language online reviewer praised it in these terms: "Singh Is King revolves around a gang of dreaded criminals, who are transformed by a good man and his selfless love for a beautiful girl."
I know, Snoop has been on reality TV lately as a family man, raising his 3 kids while chillin' with his off-again on-again wife. But still, it's a pretty big leap from Da Pound (booty, bling, dope, pimps 'n' ho's) to the old-fashioned moralism of Bollywood.
But this great leap for Snoop may be a first step for Karan Wadhera of Cashmere Asia, a new LA-Mumbai company seeking to hype hip hop to the subcontinent: "We're introducing Snoop to a very broad audience that has never heard of him before."
It will be fascinating to see how this plays out, because most of the huge global audience for Bollywood movies is still quite unaware of how saturated American culture is with Snoop-grade smut. Indeed, most of the non-US reviews I've read don't even bother to mention his name. Indeed, the one just quoted ends with this sentence: "Also, there is a surprise guest appearance by a very famous American rapper at the end of the movie for the remix title track."
Quite a contrast with the US reviewers, for whom the only noteworthy thing about the film is Snoop's cameo appearance, clad in a pseudo-Sikh turban and red cloak, performing these lyrics from the title song: "Watch me zoom by, make it boom by / Whaddup to all the ladies hanging out in Mumbai."
Wow, Snoop's lyrics don't come any cleaner than that. It's impressive, what some people will do to win 3 billion new fans.
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Terry Teachout on the arts in New York City
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Andrew Taylor on the business of arts & culture
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rock culture approximately
rock culture approximately
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Rebuilding Gulf Culture after Katrina
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Richard Kessler on arts education
Richard Kessler on arts education
diacritical
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Art from the American Outback
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For immediate release: the arts are marketable
For immediate release: the arts are marketable
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No genre is the new genre
No genre is the new genre
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David Jays on theatre and dance
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Jan Herman - arts, media & culture with 'tude
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Apollinaire Scherr talks about dance
Apollinaire Scherr talks about dance
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Tobi Tobias on dance et al...
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Howard Mandel's freelance Urban Improvisation
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Focus on New Orleans. Jazz and Other Sounds
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Doug Ramsey on Jazz and other matters...
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Jeff Weinstein's Cultural Mixology
Serious Popcorn
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Martha Bayles on Film...
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The Future of Classical Music?
Greg Sandow performs a book-in-progress
Greg Sandow performs a book-in-progress
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Exploring Orchestras w/ Henry Fogel
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
Harvey Sachs on music, and various digressions
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Kyle Gann on music after the fact
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds
Norman Lebrecht on Shifting Sound Worlds
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Jerome Weeks on Books
Jerome Weeks on Books
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Scott McLemee on books, ideas & trash-culture ephemera
Scott McLemee on books, ideas & trash-culture ephemera
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Drama Queen
Wendy Rosenfield: covering drama, onstage and off
Wendy Rosenfield: covering drama, onstage and off
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Chloe Veltman on how culture will save the world
Chloe Veltman on how culture will save the world
Stage Write
Elizabeth Zimmer on time-based art forms
Elizabeth Zimmer on time-based art forms
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Public Art, Public Space
Public Art, Public Space
Artopia
John Perreault's art diary
John Perreault's art diary
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Lee Rosenbaum's Cultural Commentary
Lee Rosenbaum's Cultural Commentary
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Tyler Green's modern & contemporary art blog
Tyler Green's modern & contemporary art blog
