Final Review: Still Alive

7. (30) She criticizes Judaism for its male-dominated funeral rituals on p.30. How does this differ from what we have read about Sophocles’ world?

Kluger criticizses Jewish customs and culture by calling the tradition of Kaddish is 'ridiculous.' The Kaddish is only performed by men, who say prayers to the dead. She also shows a criticism through her friend, who ask: "who is keeping you from saying any prayer you please?" Her grandfather jokes about how having no sons, the (male) dog is the only one who can say a kaddish for him when he is gone. By restricting the right to observe the dead, the Jewish tradition of kaddish differs from the world in Sophocles. As shown in Antigone, it is every person's job to respect the dead.

Final Review: Still Alive

17. (92-93) The section on the discussion of claustrophobia is crucial to understanding the book. Why is this socially awkward for her? Where does she see connections between her memories and theirs?

For Kluger, her memories are not connected to anyones besides the Germans she feels have destroyed much of what they have. When she visited friends in Germany, the subject of their talk ends up on claustrophobia. While the company talks about their confrontation with the subject, like childhood air-raids and elevator problems, Kluger keeps silent about her confrontation with claustrophobia at Auschwitz. For Kluger, she realizes that had she said anything, the rest of the company would have been "bothered, troubled, sympathetic, and thoroughly uncomfortable." They would have resented her for being a spoilsport. The reason why she feels socially awkward is because her situation is more severe then the rest of the people around her, and because of the gravity of it, they would end the conversation about the subject because their situations are in no way close to hers: an elevator is no way comparable to what Kluger felt in Auschwitz. There is no connection between what she went through to these people. The only people who would understand are the Germans who she says has a common language and culture as her because they both went through it, although from different sides.

Final Review: Asian Music

8. (275) What has been the impact of Bally’s desire to “westernize” his music?

Bally's new music style can only be described through his own words: "it's new, it's exciting, it's refreshing and people are sick of hearing the same old crap over and over again. " He believes that his use of both traditional music and Western music is the way to "open Asian styles out into the Western market and out to the world masses - because some people don't like traditional music, some people do like traditional music, and vice versa. " Bally created a new style, and by doing so, you have "hundreds of styles for every kind of listener," The impact he has is having parents tell him that their "sons and daughters are listening to some Asian music, because before they didn't." Bally reasons that "like most of the Western youth, Asian kids brought up here also wanted the punch, racy basslines, the great drum beat and the powerful female vocals coming across."

Final Review: Retro-Nationalism...

4. (240) In the second to last paragraph, she distinguishes retronationalism from nostalgia for the East. What is her distinction and what do you think of it?

Simpson distinguishes retro-nationalism from nostalgia by defining retro-nationalism as articulating a critique of contemporary German-German society that cannot be explained away by invoking sentiment and/or retrograde politics, where as nostalgia is the uncritical longing for the past. She distinguishes the two by saying that retro-nationalism cannot be subsumed into the emotionalized model of nostalgia.

Final Review: Vinayak and Me

6. (218) What was Savarkar’s political platform when he was released from prison?

When released from prison, Savarkar joined the All-India Hindu Mahasabha group, and served as President from 1937, the year he was released from prison, til 1944. The platform that helped him come in power is his belief: 'Hinduized Politics and Militarize Hindudom.' While in prison, Savarkar wrote extensively on issues against British authorities. He is known as a nationalist, anti-Muslim, and also through his patriotic actions in India and Britain for Indian independence from colonial rule.

Final Review: Vinyak and Me

5. (218) Why was Savarkar arrested? How long did he spend in prison?

Savarkar was arrested in London on March 13, 1910, and was released in 1937, having spend 27 years in prison. He was arrested on five separate charges that included 'delivering seditious speeches,' 'procuring and distributing arms,' and 'waging war against the King Emperor of India.' He was 'extradited to India, and convicted of seditious activities" which caused him to be initially sentenced to fifty years in prison in Port Blair, located in the Andaman Islands. He was later transferred to Ratnagin because of his health and finally released in 1937.

Final Review: Savarkar

9. (206) What is Savarkar’s problem with English historians?

Savarkar's problem with English historians is that "their prejudiced eye could not or would not see the root principle of the Revolution." Savarkar writes that these historians have many misleading and unjust ideas about the Revolutionary War in India in 1857. This is because English historians have always ignored truth - "it is against their interests to admit the truth." Savarkar argues that the English spread rumors about the war, which caused an Indian writer to spread the idea, who Savarkar claims to be inspired by "English history and English money." And because of this, people started believing this, and soon, "like a procession of blind men, a company of inconsiderate fools arose, and rebellion broke out." Savarkar believes that if one had read the work of English historian closely and think about the matter, they would too see how ridiculous the work of these historians are.

Final Review: Savakar

2. (196) Why has Savarkar written this book?

Savakar’s response is to the British colonialism and the Indian War of Independence in 1857. It was his belief that this war “crossed the limits of current politics and can be regulated to the realms of history” and therefore he comprised his book in order to acknowledge Indian history and its greatness. In order to understand current aspects of life one must remember their past and one way to do this is through nationalism. Ultimately he writes this in order “to express such a patriotic and yet faithful, a more detailed and yet coherent, history of 1987” that has come from someone that has much pride and dedication towards India. In order to further express his dedication towards nationalism he originally wrote it in Indian vernacular. Indeed Savakar believed in the idea of knowing one’s roots, or where one came from and in order to do this one must be dedicated to India by fulling rejecting other cultures, such as Brtitians and Muslims.

Final Review: Vinayak and Me

10. (224) Which text influences Dr. Parchure in naming boys?

His desire in naming boys was outlined in the text written by Savakar— Hindutva where he explains the ideology of “what is a name?” and “how they are given”. Here Savakar focuses on issues of the etymology of Hindu and Hindustan “in order to promote a genealogy of names connecting Hindus and Hindustan with India and Indians. The representation of a name is very important indeed as discussed in class that a name has” two states of consciousness then alow[s] an easy flow of thoughts fro one to the other of see, till at last it seems impossible to separate them” (224). Here Savakar critiques that a name is a representation of the self, in that a person should be named according to the personality of a person because the name itself is a description of a person. In contrast, the name given to someone is also a reflection of the and what the person should represent. For instance, Dr. Parchure’s obsession with naming children is done in order to help promote nationalism. For the name Vinayak, many people thought it was a representation of the god Ganesh—“who was auspicious deity celebrated as the remover of obstacles” (213). This should be a reflection of the man Vinayak however was a name that was supposed to promote nationalism, and the celebration of Savakar Vinayak.

Final Review: Vinayak and Me

7. (221) What does Savarkar argue in his essay entitled, “A woman’s beauty and duty?”

In order to help promote Hindu nationalism, Savakar took a very traditional point of views towards women’s roles by emphasizing the amount of weakness a woman possessed in comparison to a man. In terms of masculinity, men were expected to be physically strong as indicated in Dr. Parchure’s experience as a wrestler and promotion of violence as seen in his physical abuse towards his wife. The main concern for women, however, was to fulfill the primary duty of keeping the home, having children, and promotion of nationalism. In order to do so women were encouraged to be educated, in the sense that they would learn how to be rained in areas that allowed them to teach their children how to promote a nation. If a woman were to be educated in order to help self empower herself in terms of being educated for understanding more about the world around her, subjects that went against nationalism. This was seen as morally wrong. In addition, women were taught to help promote traditional roles, as said in lecture (I think) would include spinning for fabric.

Exam Study Questions

These are SQ's to focus on (but does not mean not to look to other ones also, or that this covers all material on exam--lecture materials, blog/classroom discussions all still possible):

Savarkar, Indian War of Independence: 1, 2, 3, 9, 10, 11 & DQ 1, 2, 7
Ranchod Vira, letter: 1, 4, 7, 11, 12
"Vinyak and Me": 2, 4, 5, 6, 7, 10 & DQ 2, 3, 6
Ruth Kluger, Still Alive: 2, 4, 5, 7, 11, 13, 17, 20, 23, 25 & DQ 1, 2, 3
Simpson, "Retro-nationalism...": 2, 3, 4, 6, 7 & DQ 2, 3
Asian Music: 7, 8, 11, 12 & DQ 1, 4, 5, 7, 8

Exam Instructions

Part I: Short Answer (50%)
Please choose 6 of the following 8 short answer questions and answer them in 3-5 sentences. Make sure to define, identify, and contextualize the question in terms of the texts from the course. Be sure to use examples from relevant texts in order to offer evidence for your answer and to more fully develop and articulate your ideas.

Part II: Passage Analysis (25%)
Identify and analyze the following passage. Be sure to situate the passage within the text from which it comes and to define and elaborate on the terms and concepts it introduces. Consider its literary and rhetorical aspects, in addition to what it claims or describes. Finally, make sure to relate your interpretation of the passage to the overall themes and purposes of the text. A good answer will give a clear and detailed reading of the passage as a unit, as part of a larger work, and as part of the course.

Part III: Essay (25%)
In a well developed, insightful essay, please answer one of the following two essay questions. You should offer an introductory paragraph with a thesis claim (which answers all parts of the question). Then offer supporting paragraphs, each with evidence from texts, support, and explanation. Make sure to be as detailed and descriptive as you can when you offer your analysis and interpretation. Be sure to elaborate on differences and similarities in the texts you choose to discuss.

Asian Music Response

In response to the readings on Asian artists such as Bally Sagoo and Radical Sista, I found it interesting that these people used music as a form of resistance, political action, and public expression by fusing modern sound with their traditional Indian roots. Their music is a direct response to the UK’s Assimilation and Dispersal Policies and Immigration Acts that fuel racist views against Asian immigrants. As Professor Chaturvedi said, these artists wanted to create a place where Asians could come together. And for me, I interpreted this as a celebration of their culture, their origins, and the need for accepting diversity. And similar to other immigrant groups throughout history, Asians and Afro-Caribbeans needed organizations in which to express their views through. For Bally Sagoo, Radical Sista, and the Asian Dub Foundation their political and personal views are expressed through their music. Overall, the lyrics and music of these artists call for social change in society and they are influentially successful by winning playtime on radio stations and during daytime discos. The existence of these political views reminds the British government there will always be dissenters and an ever-present need for transformation.

Study Questions to Help Review for the Final

Gandhi
What is swaraj? Is there only one definition of swaraj?

In the list of study questions provided, this pair of questions is accompanied by the page numbers 29-29, which are part of the chapter entitled "What is Swaraj?". A passage on page 29, written/spoken from the Editor's (Gandhi's) point of view, reads:

"There is need for patience. My views will develop of themselves in the course of this discourse. It is difficult for me to understand the true nature of Swaraj as it seems to you to be easy. I shall, therefore, for the time being, content myself with endeavouring to show that what you call Swaraj is not truly Swaraj."

From what the Editor says, you can tell that there is no single definition of swaraj. The chapter, instead of answering the question directly, gives a debate in which the Editor critiques typical assumptions of what swaraj is. The reader wants to drive away the English immediately; Gandhi does not agree that this is the most effective solution, especially if the Indian people intend to maintain the English institutions or "ways" for themselves, which is where Gandhi believes the real problem lies.

One way to start finding out what swaraj means is by taking apart its etymology.

Swa = "self" (Gandhi translates it into "home.")
Raj = "rule"

Go to the lecture notes posted on the Hum Core main website to see how Professor Chaturvedi "mixes and matches" with the etymology of swaraj: https://eee.uci.edu/programs/humcore/Student/Spring2008/LectureNotes/LNWk4-1_GandhiLecture1_S08.htm

Savarkar
What is Savarkar’s problem with Indian historians?

On page 206 of the Humanities Core Reader, Savarkar explains that he wants accounts of the revolution to be "written in a scientific spirit." He claims that it has never been done this way "by any author, Indian or foreign." According to Savarkar, Indian writers tend to follow the opinion of English historians. He writes, "An Indian writer drawing inspiration from English history and English money says, "Foolish people went mad simply at the rumour that cartridges were greased with cows' and pigs' fat as to whether the report was true? One mad said and another believed; because the second became disaffected, a third joined him, and so like a procession of blind men, a company of inconsiderate fools arose, and rebellion broke out." To Savarkar, this kind of thinking is terribly inaccurate as well as an insult. He does not believe that the revolution was an accident, certainly not a blind one. It was carried out with a noble purpose. Elsewhere he writes, "Is it possible, can any sane man maintain, that that all-embracing Revolution could have taken place without a principle to move it?"

Consider/interpret further these passages/quotes above (found on pages 206-207) if this question is asked on the final. The important thing is to figure out clearly what it is that Savarkar wants from accounts of the revolution, so you can more easily deduct why he is disappointed with both Indian and English historians.

Simpson
Why is “FDJ punk” an insult?

Go to page 256 of the Humanities Core Course reader to help answer this question.

passage analysis sample

The performance of this song in the western media unleashed a debilitating debate within the SED and FDJ. As a result, the band was boycotted in the GDR media. In an attempt to break the silence, Pankow wrote an exculpatory letter to Erich Honecker (without response), and insisted that they were misquoted in the interview with Radio Bremen. But it was not the fine points of the dialog (regarding official GDR permissions, for example) that disturbed certain functionaries so mucht that the performance of that song was discussed at the meeting of the Central Committee in December 1988. The old men apparently knew who they were, even while the band foregrounded the polyvalence of its text." (245)

Why pankow thought letter would help?
Which “text”/song?
What was the performance that was so objectionable/threatening (in contrast to dialog)?
What the song says?


1. Relate to similar ideas from whole text: localizing the passage. Situating or Identifying the passage. Narrative moment.
2. bringing passage in relation to other themes in the text as a whole.
3. pulling out specific details to analyze:
4. relating to different passages.
5. relating to themes of making/doing/thinking more generally.

Re-mixing Identities

The first question asked of both Bally Sagoo and Radical Sista was their "origins" or background in relation to music. They each discussed what kind of music they grew up with, and how they both rooted themselves in and diverged from the styles they were so accustomed to. I find it interesting how, in Sagoo's life, there was already a presence or blending of both Western and Asian music, due to the differing interests of his father and mother. His father was in a pop band in the early sixties that resembled the Beatles and performed popular film tunes. He therefore embodied Western music for Sagoo in Sagoo's early life. On the other hand, Sagoo's mother was a priest in a temple who played religious music which was heavily Indian-based. Both styles influenced Sagoo early on in his life, so it was no surprise when he took this blend and carried it on into more modern styles, fusing them more closely into each other. Radical Sista, on the other hand, was not into Asian music at all. Initially she preferred Punk and Disco, until her interests shifted towards Hip-Hop and Breakdance. It is interesting how historical and cultural changes (such as the shifting role of young Asian women from housewives to college students) moved both Sagoo and Radical Sista towards the "re-mixing" of their musical styles as well as their own personal identities.

ADF

I found it interesting that the ADF wrote a song entitled "Free Satpal Ram". The whole incident behind Satpal Ram struck me as violent, and that it all began because of Bhangra music that was playing. ADF wrote the song because they were angry with Britain, and felt that Satpal Ram received a miscarriage of justice. Although diversity is still accepted more in our present day, it is still obviously present. ADF poses the idea that music goes beyond writing. Like Gandhi, ADF wants to engage in a debate or conversation, however their medium is different. Writing can sometimes be seen as two dimensional, a person reading thoughts on a page - sometimes even through words, ideas cannot be expressed fully, since you are not able to see or read the emotion on the person's face like when you are talking to them in person. However music, ADF's music for example is meant to have "no separation" between the music and the issues the music presents. If the issue has angry feelings behind it, the music will come out sounding angry or brash. ADF, like the GDR music movement in Berlin, seeks to provide a counter to what is mainstream at the time. This way, a new form of thought will progress and people will start to think more than just two-dimensionally. By growing awareness through music, artists such as ADF can spark change or "bring awareness to the general population" (Dr Das,. Aniruddha Das).

Re-Mixing Identities

Like Sharilyn, I’m going to be focusing on the gender inequality seen in the British Asian music scene in the 1980s. I thought it was very interesting that Ranjit served as a pioneer for female DJs in the 1980s, even though she herself was still very young. She brought up the fact that she was hassled by the hundreds of men in the hall and that because she was one of the few females, they assumed that she ran “away from home” or that she was a “loose woman” (271). I admire Kaur for challenging the status quo and continuing to go to clubs and spin music, even though it was clear many of the attendees felt it was not her place and assumed that she was simply accompanying a boyfriend who DJed. I was also somewhat surprised by her mother and grandmother’s response to her career choice because I expected them, being from the old world, to object vehemently. However, to my surprise, her mother even assisted her in bookings and her grandmother did not object. I believe that part of Ranjit’s ability to help progress gender roles was because of her maternal figures (her mother and grandmother) and the fact that they helped, rather than hindered, her efforts.

Radical Sista

I thought it was really interesting that Ranjin Kaur’s DJ name is Radical Sista. In a way, she was appointing herself to be a “radical” change, not solely with music, but also with a humanistic and cultural change. For example, she points out that “there were more Asian women at college and they were going to the daytime gigs” (270). With the influx of more women at college, there were changing ideals on the stereotypes of women. Although it was hard, as she references one time when she was probably one out of four women at an event with 700 men, she is that “radical” change, slowly progressing the way women are viewed in contemporary society. With music as a medium for participation , women are able to actively engage in changing the past’s norms for women. Also, she mentions that “on the family front it was kind of like, ‘we’ve lost her now, we’ve lost her to the world of music… no one is going to marry her’” (272). I thought this was funny, but also accurate in the way it depicts a lot of the old stereotypes. If something doesn’t sit well with parents or is just out of the ordinary, it’s difficult to imagine that domesticated lifestyle and standards for that different individual. Being “lost to music” was comical because it’s as if they make it seem like she lost her sanity to it. However, I think that Radical Sista’s family perhaps overlooked the fact that her music highlights her parents’ past in Punjab; her music glorifies the cultural history and makes it relevant and engaging to a wider audience.

Re-Mixing Identities

Bally Sagoo said that people do not really listen to the lyrics of the dance music. I found this statement of his very interesting because I could relate to it a lot. I listen to Farsi music and Hindi music but in neither do I understand the lyrics. With Farsi music, I understand a couple of the words here and there but I do not fully understand the lyrics. Same goes with Hindi music. Personally, when I listen to these kind of songs I listen for the beats and rhythms. Even when I listen to American music, I rarely listen to the lyrics. Every once in a while I actually look up the lyrics and read them. Going back to the article, towards the end Ranjit says that she listens to the lyrics of songs and she banned some songs because of the political message it was giving out. I found this point interesting because it contradicts what she previously had said about lyrics not having and importance. Ranjit clarified her statement and she said that as a DJ you must listen to the lyrics in order to know what you are playing. I agree with her statement. Being a DJ, you have to know your audience. If you are playing a song that has racial remarks to a specific group, and that group happens to also be your audience, you will be in trouble! I believe that Ranjit is being very wise when she says that "There's that kind of level of harassment." So I think to some up their argument, to Ranjit and Bally, lyrics and the message that a song delivers does have an importance to a limited extent. Regardless of whether its dance music, or any type of other music, the lyrics do have an important meaning.

Revision Guidelines

1)--What interpretive question(s) are you answering? Without having a clear interpretive question in mind, your essay will not have a coherent focus. Are you certain that your main question is interpretive and not factual or evaluative?

2)--Each topic sentence should be a mini-thesis, or your argument for that entire paragraph. Topic sentences and concluding sentences should not use quotes because those are places where you should focus on your argument, making clear to the reader what your position is. Introductions and Conclusions generally do not benefit from quotations either.

3)--Each quote should have at least 2-3 sentences of analysis.

4) --Before you use a quote in a paragraph, ask yourself: what am I arguing about this quote? Does it help to advance my thesis either by setting up a claim that I will complicate or that I will disagree with? Have an idea of what you are arguing about the quote before you use it, and make sure that your analysis explains how this quote provides proof for your larger thesis statement.

5) Check your own essay against the Grading Rubric. Use it as a checklist. Does your paper go beyond the obvious? Scrutinize your paper against all of the categories for the rubric.

note of thanks: revision guidelines taken from Christine Connell.

Re Mixing Identites article

I think that it is really cool to look at this type of music and to have a small glimpse of how it has progressed from its beginning. I like the part in the interview where someone mentioned how every place has to have its stages. It is so true. In history you can look around at different societies and each has stages of development and they don't have to be identical, but they all follow a certain mold. Another point, Bally is great because he understands that for his music to reach the popularity he desires he must be promoted by the Western market. I feel like maybe the fact that other musicians have not realized this has hindered their success. It is important to understand that the Western music stations may be playing meaningless and talentless pop music for entertainment, but that these stations are still legit. even though they play that music. It is upsetting to see musicians who are great say "I don't want to be a sell out" and so they don't attempt to become popular or share their talent. I also wanted to comment on the racism issue. I think that it is another main reason why the Asians were stifled and I am still seeing the same thing today, but in another way. Those who listen to specific types of music, be it rock or hip hop or whatever, are extremely closed minded to other styles. Yeah, that isn't EXACTLY racism but it is a bias and an attitude that reflects racism in that certain musical styles have certain specific racial followings and, for example, a white girl listening to hard core rap or whatever will be judged much more harshly than a black guy listening to it.... because its "his music." I believe that it is important to have the musicians like Bally R. and Radical Sista out there who just want to spread the music to whoever will listen because the general population feels like they have a claim on music that comes from their own race.

Re-Mixing Identities

Out of all the articles I have read, this seems to be one of the more interesting ones. I really enjoyed how Bally talks about sturggling to break this "Asian identity". I also enjoyed how on page 286 she states, "And now at least the kids are paying some attention to their roots and their culture and their music, listening to the originals, as well as to what we're doing now." This makes me realize the importance of music, and how much of an impact it can make on a younger audience. Ranjit even states, "Yes and they take more interest as well. It's about identities at the end of the day,' cos now, when we listen to Alaap it's like, "Yes it's good, it's nice, it's from back home." On a personal level, I completely agreee with how the music can take you back to your roots. I have a Filipino heritage, and when the Black Eyed Peas singer APL produced a song in our native language of Tagalog, it produced in me a feeling of pride and longing for my country and my identity. I find it interesting too that Ranjit had the same problem with her job and her family's approval of being a DJ. Ranjit states that her family thought, "We've lost her, we've her to the world of music." This can be relatable to many people in college today. Parents expect their children to be the future doctors and lawyers of the world, and if their children want to pursue art or dance, it seems like something to be looked down upon intead of uplifted for being gifted in the arts.

Re-Mixing identities article

After reading the article I found it particularly in the message that Bhangra brings which according to Bally was a “flavor of ‘east and west’ in a heavy way” (270). I think that this is another example of the American melting pot, but specified the component of music. Similarly other cultures have tried to cope with the identification of their culture in a mixed society. Take for instance the word “Chicano”, or another word for Mexican American. To many this word might just be another word, but to the Mexican American community it has a special meaning that they created which is the marriage between American culture and Mexican American. This in relation to the article signifies how some cultures try to bring out their own cultural identity in cultural melting pot—the United States. Not only this but I thought it was interesting that even though in America, the land of opportunity and free thinking that there are some people that still are not able to accept cultural diversity. In an example, in the article one of Bally and Ranjit’s main goals were to make the charts in a western society, however there were limited opportunities to do this because radio stations refused to play their music. Even within the households, their parents “were trying to shelter [them] from too much westernization” (275). Even though America may be the land of the free and the home of the brave there are still barriers that are not willing to accept this integration of cultural ideas because it is seen as “different”. I believe the Beatles say [no bias of course!] “come together right now, over me”.

Final Exam Terms

The Final Exam is composed of three sections:

• Short Answer (50%). Choose 6 of 8.
• Passage Analysis (25%). Given one passage.
• Essay (25%). Choose 1 of 2.

Terms/Concepts/Ideas to Review:

Savarkar
Gandhi/counterargument--Indian War of Independence--translation from Marathi--publication details (vs. Hind Swaraj)--swaraj/swardharma--Empire--Muslim/Hindu Unity--Savarkar's shifting position on Hindu Unity--imprisonment--Savarkar's pathos--mutiny vs. rebellion--accidental/temporary causes--real causes--counterpublic--Abhinav Bharat Society (Young India Society)

Ranchod Vira letter
circulation--intellectual labor of peasants--"Government"--Era of Truth--historicist's labor

"Vinyak and Me"
Ganesh--Upenda Parchure--Dr. Parchure--masculinity--wrestling--"Hinduize Politics, Militarize Hinduism--Godse--"Woman's Beauty and Duty"--Hindutva: "Who is a Hindu?"--India Nationalism--naming

Ruth Kluger, Still Alive
Vienna, Austria--Anschluss--autobiography--child's view (secret of death/sex)--"without pathos"--Nuremberg Laws--Snow White analogy--Nazi propaganda--Adorno: "To write poetry after Auschwitz is barbaric"--role of mother--memory--schorschi and transport--father--monuments/museum culture--Therisienstadt--Auschwitz--Good Deed--redemption--double world--moral predicament (ambivalence)--art/catharsis/sublimation--resistance--liberation, problems with--truth--uprootedness/refugees/DPs--humanity/crimes against humanity--sentimentality--masculinity/gender--Holocaust "named"--courage/cowardice--humor

Simpson, "Retro-Nationalism"
compliance/defiance--Stasi--GDR--IM--FDJ--retro-nationalsim--Ostalgie--Amiga--Pankow--Feeling B--Die Skeptiker--taboo--the wall--problem of expression: why would it be worth it to forego personal expression?

Housee & Dar, "Re-Mixing Identities"; Rockwell, "The Asian Roots of Asian Massive"; Brady, "Quick Guide to Asian Fusion"
remixing--Radical Sista (Ranjit)--Bally Sagoo--traditional film music--Bhangra--"westernize"--Karsh Kale (Asian Massive)--Asian Underground--ADF education--Free Satpal Ram--racism--fascism--Asian/Black community--Hip Hop