I wish I could chip in with my comments on your dilemma but I can’t because it seems you are placing ‘dilemma’ where there is none. That is, I don’t understand what you are cribbing about!!

Unless, you make me clear as to your ‘profound’ dilemma I won’t be in a position to get you either a White female or a white Brahmin female.

So, I will wait for you to clear up my confusion. Meanwhile, as you are musician & even went to a musical school & you say you are a ‘Dalit’ I would like a GOOD piece on INDIAN CLASSICAL MUSIC from DALIT PERSPECTIVE.

Can you do it? I would love to have your take on it.

& not only that.

I would really appreciate if you also write JUKEBOX DIARIES -5 on INDIAN CLASSICAL DANCE from a DALIT PERSPECTIVE.

I am sure you would be brave enough to make an attempt.

A HINT: Do you see THAT music & dance as something silly?

All the best!

Manu

I myself love music so I would like to give you some feedback about the song itself.

I think you need to experiment a little more with the ‘remix’ potential of this song. It definitely is an interesting listen, but that’s BECAUSE I KNOW who you are. If not, this music would mean nothing to me.

I know this is the first song but I thought that it might be important to tell you that there needs to be a bigger connect with the dalit song and the hip hop strains. Right now its still a bit scratchily blended together.

Keep up the good work.

Am looking forward to many more songs like this

As santhosh said, “…the moment we talk about dalit or tribal music, it ends up in folk music”. Yes, something like “pure’ folk, and you are (as dalits and adivasis) not supposed to mix things. Folk songs should remain as ‘pure’ folk—the classical pandits and their followers desire for this and they get irritated with distortions and chromatics– the likable kalabhavan Mani (tends to remain with the desirable folk touch) and unlikable Jassi Gift (mixes and challenges the ‘purity’ notions) for example. And on the lyrics- it sounds santhosh has missed the satire and critique in it and read it just as notes of celebration—I mean the temple entry.

How rebel can be temple entry for Dalit’s today? Today it is time to boycott those temples of exclusion. Those songs might have been revolutionary in the past, but how can they be relevant today without change in the lyrics. In fusion, isn’t it possible to mix current concerns of dalits as well? Also to note that there is a tendency that the moment we talk about dalit or tribal music, it ends up in folk music. Is it liberating, without additions/deletions in the lyrics as well? Or just the change in beats makes it contemporary?