September 16, 2019September 20, 2019 3min readBy Priyanka Oza
What do Hasan Minhaj, Capitol Hill, and student loans have in common? They all come bearing receipts. For an important cause, of course.
In alignment with the episode, “Student Loans,” on his Netflix show, “Patriot Act,” comedian Hasan Minhaj came bearing receipts to Congress on Capitol Hill on how student loans hold back millions of Americans from getting ahead. One of Minhaj’s many reasons for taking his message beyond his Netflix platform? His “crippling ’emotional debt,'” over the fact that he has no debt due to careful planning by his strategic immigrant parents. However, as he points out, millions of Americans are not that lucky.
Forty-four million Americans owe more than 1.5 trillion dollars of student loan debt. In Minhaj’s Netflix episode taping alone, in an audience survey of about 200 people, the overall debt was estimated at more than six million dollars. The prominent issue is that borrowers do not get to choose their loan servicer. The U.S. Department of Education chooses for the borrower so there is no competition for companies to provide better service. Under-regulated loan servicing companies, i.e. Navient, as documented in Minhaj’s show, are exploiting borrowers with predatory business practices.
His message for action is simple:
Going bankrupt should not be the result of pursuing higher education for so many Americans. The government is capable of stepping in during a financial crisis.
The government needs to enforce regulations on loan-servicing companies that protect the borrower. Referencing the inflated cost of higher education today, Minhaj pointed out that this wasn’t the case when members of Congress present in the room were in school. Today’s generation pays more than three times the cost in tuition and interest rates than their parents. He reiterated,
The government has put their future in the hands of predatory, for-profit loan servicing companies.
Furthermore, the problem isn’t solely with loan-servicing companies. Government regulation within the Trump Administration is questionable when it comes to borrower protection.
Secretary of Education, Betsy Devos, reportedly has financial ties as an investor, to the debt collections agencies, Windham Professionals and Performant Financial Corp. Performant Financial Corp. was chosen in 2016 as one of seven firms by the Dept. of Education to collect student loans. Both Windham and Performant have marginal to satisfactory ratings. Despite this, the Dept. of Education stated that Performant and Windham’s proposals were “the most advantageous to the government.”
Minhaj’s grey suit was about the only thing that blended in with the audience. His comedic tone and style of message delivery were both provoking and direct. Scrolling through social media, there is public debate over Minhaj’s approach. Should he have more spoken directly? Did his jokes take the emphasis off his main message that the government needs to better protect American borrowers from predatory loan servicing companies? His analogies, rooted in the class Hasan Minhaj comedic approach, while light-hearted, were distracting. But does this make him any less credible?
High-level policymakers have yet to embrace the new wave of communication rooted in youth-centric social media messaging. Minhaj is a disruptor in the political comedy area. And his influence is credible enough (thanks to his research team at Patriot Act) to inform the public on issues as widespread as student debt.
Are Minhaj’s analogies rooted in youth-centric banter? Absolutely. In fact, this approach may be more effective than the regular boring “I am speaking to Congress” approach. He did troll Congress members a bit, and his interruptions towards the end were un-welcomed. Congress members had to have known that Minhaj is a comedian (especially if they did their homework and watched “Patriot Act”).
But then again, why would United States Congress members do their research on an Indian American Muslim comedian coming to testify on the student loan crisis, right?
“Ghoomer,” R. Balki’s latest directorial venture, had its world premiere at the Indian Film Festival of Melbourne 2023 (IFFM), earlier this month, and the moment was nothing short of memorable. Lead actors Abhishek Bachchan, Saiyami Kher, and Angad Bedi, were present to unveil their labor of love to the world, and all three were left speechless at the reaction of the global audience; the film received a standing ovation on opening night, leaving the team extremely emotional — a feeling that Bachchan tells Brown Girl is one he cannot put into words.
“Ghoomer,” tells the story of Anina (played by Kher), an exceptional cricket player who loses her right hand in an accident. Downtrodden and with no will to live, Anina finds a mentor and coach in Padam Singh Sodhi (played by Bachchan), an insensitive and brash failed cricketer who helps her turn her life and career around; Anina also has the unwavering support of her husband, Jeet (played by Bedi). Sodhi teaches Anina unorthodox techniques to make her mark on the cricket ground once again. Enter, ghoomer, a new style of bowling.
Balki checks all the boxes with this feature — his protagonist is a female athlete, the film is his way of giving back to cricket (a new form of delivery), and he highlights the idea that nothing is impossible for paraplegic athletes. The heart of Balki’s film is in the right place — Kher mentions that the film is meant to be more of an inspirational movie and less of a sports-based movie. One can only imagine the impact that a film like this would have on an audience that’s hungry for meaningful cinema.
And, to chat more about “Ghoomer,” Brown Girl Magazine sat down with the stars of the show. Bachchan, Bedi, and Kher came together to talk about their inspiring characters, the filming journey, and how their film aspires to change the landscape of cricket and paraplegic athletes in the country. It was all that, with a side of samosas.
Take a look!
The featured image is courtesy of Sterling Global.
January 1, 2023January 1, 2023 7min readBy Brown boy
Wyatt Feegrado is a comedian and content creator from Walnut Creek, San Francisco, California. Feegrado moved to New York City to attend the Tisch School of the Arts at NYU. Feegrado always wanted to be a comedian and grew up watching “The Last Comic Standing” with his mom — his favorites being Alingon Mitra and Sammy Obeid. In 2020, Feegrado starred in the TV show “Bettor Days,” on Hulu and ESPN+, as the character Vinnie bets on the baseball team The Astros and wins big. Feegrado also has a podcast called “First World Problematic,” along with Vishal Kal and Surbhi, where they talk about a range of topics such as racism, sexism, and homophobia, and will be dropping an “Indian Matchmaking” Reunion show. Currently, in Bangalore, Feegrado is performing his first show in India, at the Courtyard in Bangalore. He was previously on tour in the United States. He recently dropped the Amazon comedy special “Wyatt Feegrado: De-Assimilate.” Continue reading to learn more about Wyatt Feegrado.
Do you feel that your upbringing in Walnut Creek and your personal experiences are what molded your comedic style?
Walnut Creek, for people who have never been there, is frankly a very white place. I must’ve been one of four or five Indian kids in my high school of 2000. I think growing up like that, you begin to believe that it’s a bit ‘odd’ that you’re brown. Part of finding my comedic voice was changing that perspective to say; it’s not weird that I’m brown, it’s weird that you’re not. That’s the paradigm shift — I don’t move through the world trying to impress people, why should I? Who are they? They should be trying to impress me.
What was it like attending the Tisch School Of The Arts and what classes helped shape you as a person?
I hope I don’t get too much flack for this…but I don’t really think that NYU helped my career very much. Being in New York helped me immensely, it raised the ceiling on what I could achieve. I really appreciate NYU’s approach, they teach art as a fundamentally collaborative discipline, which I do believe it is. However, that’s just not how I learn. I’m a competitive person, I want to be pitted against my fellow students and prove I’m the best. That motivates me. I would say, if you want to use NYU or any art school to your advantage, understand that classes are only half of what you’re supposed to be doing. That was a pet peeve of mine, I used to see my fellow students finish class and simply go home. That’s not the way to do it in this industry. Every day, after school, I used to go to two or three open mics, send in self-taped auditions, and make opportunities of my own. You’re betting on yourself — so go all in.
What was the process of creating the comedy special “Wyatt Feegrado: De-Assimilate?”
In terms of writing the jokes, it’s the culmination of studying joke writing for 10 years. But I was approached with the opportunity in March or so, and I had my reservations to even tape a special — I’m a perfectionist so I wanted all my jokes to be some of the best ever written. But that’s just a bad strategy in terms of trying to make it in life. When an opportunity falls in your lap, you have to take it no matter what. Worry about whether you’re ready later. One time I was cast in a commercial for Facebook that required me to do skateboard tricks. I lied and said I knew how to do skateboard tricks at the casting call. I landed the commercial and then started practicing how to skateboard. I think the most important lesson in comedy you can learn is how to believe in yourself when nobody else does. I always have the confidence that I will rise to the occasion.
What was it like getting your special on Amazon Prime?
So Four by Three, the amazing production company that produced my special, has a very good relationship with Amazon, as they’ve produced a lot of content for their platform. They handled distribution for me, and together we made the strategic decision to also release De-Assimilate on YouTube. I think because of the over-saturation of streaming services you have to pay for, combined with the renaissance YouTube is having, where a lot of the content will have TV-level production value, more and more young people are turning to YouTube as their primary source of content. People are always asking who is going to win the “streaming wars.” My dark horse candidate is YouTube.
As a comedian how do you deal with hecklers?
So many comedians are mean to hecklers. I hate that. There’s no reason for that. They’re a person too and it’s not right to berate them unless they truly insulted you first. In my opinion, there are three types of hecklers — the heckler who is just too drunk, the heckler who thinks they’re helping the show, and the heckler who actually hates you or thinks you’re unfunny. I think only the latter deserves to be berated. The rest of them I try to work around, and tell them they’re interrupting the show in a way that doesn’t interrupt the show in itself.
What was the first joke you ever wrote and your favorite joke you have ever written?
Oh god this is going to be horrible. The first joke I every wrote was:
“Shawn White is a professional snowboarder, but a lot of people don’t know he is also very skilled in Curling, his hair”
That is so bad. I’m embarrassed. At least it disproves the BS some people say that “funny isn’t learnable.” That is NOT TRUE. What they mean is the infrastructure for funny scant exists. There’s no Standup Comedy Major in Art Schools or Textbooks that teach joke writing. There will be one day, but for now there isn’t.
My favorite jokes I write are jokes that I really think encapsulates the zeitgeist. My favorites on the special are the joke about how Jesus’ Disciples are Brown, and how the Vaccine is the first time anyone in the US has gotten healthcare for free.
Are there any jokes that you regret telling in front of an audience?
Of course. Referring back to my answer to the first question, any joke that has the underlying presumption that it is ‘odd’ to be brown — which is a genre of jokes that many Indian-American comedians in history have been pigeonholed into — I regret saying those type of jokes when I first started. Now I do the opposite. Sometimes I’ll do a joke about how Jesus was brown in Texas just to piss them off.
What has been your favorite project to work on?
Flying to Nashville to shoot Bettor Days for ESPN+ was great. I was just out of school at the time so it felt amazing to make money, travel, and work. Also the sets were fun and I’m still friends with the cast. And then getting to see myself on TV for the first time — thrilling.
Can you tell us more about your podcast First World Problematic?
Yes! First World Problematic is the comedy podcast I host with Vishal Kal — yes the same one that broke Nadia’s heart on Indian Matchmaking — and Surbhi, another close comedian friend of mine. We’re all Indian-Americans, and we discuss a wide variety of topics, such as dating, pop culture, and just in general make a lot of jokes. ALSO! We just released an Indian Matchmaking Season 2 reunion special — we brought back all the cast members of season 2 for a tell all! In Jan we plan to do a Season 1 reunion.
Who do you look up to in the world of comedy?
Man. I’m a student of a looooooooot of comedians. So so so many people I look up to. Steven Wright and Dave Chappelle are my first loves. When I was a kid, I used to think standup was just time pass, until one day I stumbled upon Dave Chappelle: Killin Em’ Softly on YouTube. That is what made me realize that standup can be high art. That is when I knew I wanted to be a comedian. Steven Wright is the comedian who first inspired me to write jokes, many of my first jokes emulated him. I have learned so much about modern Joke Structure from Dave Attell, Emo Phillips, Dan Mintz, and Anthony Jeselnik. Bit structure I take directly from Louie CK and Bill Burr. As for my comedic voice, I learned so much from Paul Mooney. Listening to him is what I feel really unlocked my approach to comedy, the way how he is so mean, so aggressive. He talks about white people the way the media talks about black people. I always thought us Asian people needed that, an Asian comedian that talks about Asian-American issues, but not with the friendliness you typically see Asian comedians portray. He taught me to be in your face. And Chappelle taught me how to be nice about it.
Do you feel that South Asian comedians can be easily pigeonholed?
Historically — unequivocally yes. In the modern times, much less so. I very much think South Asian comedians in some sense pigeonhole themselves, by trying to emulate past South Asian comedians, who were pigeonholed by the market. I do think now, and it is completely because of social media, there is a market for every kind of comedy. Like I said in my previous answer, I’d like to be a South Asian comedian with the confrontationality that we have historically only seen from Black comedians.
But you know who is really pigeonholed nowadays? Female comedians. This may be a tangent, but if there was a Female comedian that talked about Female issues, with the hostility towards men that Bill Burr will occasionally have towards women, in my opinion she would likely be the GOAT.
How do you feel social media such as Instagram, Twitter, TikTok, Facebook, and Snapchat have changed comedy?
Social media has been a truly beautiful thing for comedy. It has completely decentralized the power structure of our business. Back in the day, if you wanted to get famous, you had to do comedy that appealed to the white men who held the power at the networks, at the talk shows, in the writers rooms. They still do control all those things, but now because of social media the people watching our stuff are representative of the population, and we can grow our followings because the market is wider. Now if you have a social media following, you have all the leverage, and therefore you see a multitude more styles of standup comedy out there. Also social media in my opinion is the third great comedy boom. Seinfeld made standup a household art form, Netflix made it possible for people to binge watch standup, and now Tiktok and Instagram have proliferated standup to the point where it is EVERYWHERE. There are more comedians than ever and there’s a bigger market for standup than ever.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Us Indian-Americans are at a very interesting financial and cultural intersection. Indians are the richest ethnicity in America, and culturally Indian parents will generally pay for their children’s college, unlike other ethnicities. If Indian parents were to hypothetically support their child to go into the arts, just like they may support them in getting their Masters degree, I believe Indians would have an astronomically higher chance of making it in the arts than anyone else. The greatest gift you can give your artist child is financial support in the early stages, since we all know the early stages of the arts make next to nothing. We just have to get rid of the Doctor, Lawyer, Engineer only BS that I would argue is a remnant of the Caste System in India.
Also, remember to call white people Euro-Americans. It helps the movement!
RedBison Productions, a New Jersey-based production house, announced their upcoming film “Sach Is Life” at a press event hosted at Goa Restaurant in New York City. The film draws inspiration from an extraordinary true story about a mother and her 3-year-old boy suffering from multiple dystrophy.
This project entailed over two years of extensive research and has resulted in an original story centered around a family who relocated from Kashmir to the United States to save their son fighting a daily battle with death and uncertainty.
“Sach Is Life” stars 2023 Emmy-nominated Jim Sarbh(recognized for his work in “Rocket Boys,” also known for his roles in “Made in Heaven” and “Mrs. Chatterjee vs. Norway,”) and Kirti Kulhari(known for her roles in “Four More Shots,” “URI,” “Pink,” and “Criminal Justice,”) in lead roles. “Sach Is Life” is produced by Rahul Bhat & Romila Saraf Bhat and written and directed by Harsh Mahadeshwar.
“We proudly introduce ‘Sach Is Life,’ a film based on extraordinary true events,” affirms Romila Saraf Bhat and Rahul Bhat, both producers of Red Bison Productions in Princeton, New Jersey, and Harsh Mahadeshwar, a writer and director in Houston, Texas.
“This is more than just a film, it’s a tribute to the invincible human spirit and the infinite potential that resides within each one of us. We are thrilled to collaborate with immensely talented actors Kirti Kulhari and Emmy-nominated Jim Sarbh to bring this heartwarming story to life.”
“I’m extremely excited to collaborate with a crew from the U.S. and to work in an environment that’s different from how it’s done in India. I’ll do my best to make it a film that we all are going to be proud of,” said Kirti Kulhari, who will play the role of the mother. “Sach Is Life” also marks Kirti’s international debut.
Calling “Sach Is Life” an “incredibly uplifting” story, actor Jim Sarbh said he’s proud to be a part of this film.
“I am excited to be a part of this extremely heartwarming and inspirational story of resilience, dedication, and belief. Nothing moves me quite like a story of a family coming together to help one of their own achieve their dreams.”
“Sach Is Life” begins filming around April 2024, and will be shot in Kashmir, New Delhi, New Orleans, New Jersey, and New York.
About Red Bison Productions:
Red Bison Productions is based in Princeton, New Jersey, US, and demonstrates a strong and enduring dedication to the South Asian diaspora. Their mission is to bring global true-life stories to worldwide audiences.