It’s no secret that the difference between sustainable and equitable opportunities is often infrastructure. Artists from the subcontinent and diaspora South Asian communities have long fought to transcend into the music landscape in a meaningful way.
After decades of industry executives, artists, producers, writers and composers alike making strides for folks that look like them, the next generation has arrived with help.
Outer Voice Records is an emerging South Asian American record label committed to developing and promoting its community in mainstream music. The collective will include roster artists, songwriters, producers, engineers, filmmakers, photographers, graphic designers, and businesspeople – all of the South Asian descent.
As an often unheard and underrepresented community in music, Outer Voice aspires to change this narrative. The label was founded in November 2020 by brothers James A. Mathew and Philly Mathew and has recently launched with the duos song,“Photographs.”
Outer Voice Records is a new initiative in partnership with Converse’s All-Stars program. The team has been mentored by the likes of Tyler the Creator, Christian Clancy and has a stacked set of new South Asian mentors including Brown Girl Magazine’s music lead Jashima Wadehra and Sonali Mehta, Anik Khan, Ani Sanyal, KayRay, ChefDillo, Sat Mehta, Navjosh and many more.
The collective approach hopes to forge a full-transparency hub for artists to improve their music industry knowledge and creative pursuits simultaneously. The young team of executives each brings unique experiences, perspectives and goals to the table.
James A. Mathew, CEO & Co-Founder
Philly Mathew, COO & Co-Founder
Becky Mathai, Chief A&R Officer
Nish Baig, Chief Communications Officer
Rohit Bolla, Chief Marketing Officer
Archit Upadhyay, Chief Creative Officer
Brown Girl Magazine has been covering musicians in our community for over a decade, and the progress, opportunities, ever-growing list of names is all an indication that we are here to stay. We look forward to Outer Voice’s roster and upcoming releases. Be sure to stream JAM and Philly’s “Photographs” and apply to join Outer Voice here.
“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!
Few people can call themselves rocket scientists. Even fewer can say they are a rocket scientist-turned-actress, producer and Broadway star. Salma Qarnain is a Pakistani Muslim woman who can claim the title.
Artistry runs through Qarnain’s veins. Her grandfather was a filmmaker in Bombay and Karachi, before passing away at a young age. Her mother performed in plays throughout college. Now Qarnain is using artistry to build empathy, playing characters that represent her family’s story and promoting Black and Brown allyship through Black Man Films — the production company she co-founded with Roderick Lawrence.
Qarnain grew up in the Midwest but traveled back to Karachi often. Some of her earliest memories were in Karachi singing along to the Beatles and pretending to be Ringo Starr. When her family moved to the United States, typical of South Asian immigrant parental influence, her interest in math and science and immense love for Star Wars led her to pursue aerospace engineering, hence rocket science. Her mother’s passing forced her to rethink her goals and when she wanted to achieve them.
Today, she describes her purpose for creating art in profound terms.
I want people to be equal. I want people to understand we’re very much all together a speck of dust in the entire universe, and that there are so many more things we share than we don’t.
Starting entertainment work in the aftermath of 9/11 made it clear how she, a Pakistani Muslim woman, would be seen.
I remember [at] that time… Friends of mine told me, ‘Don’t let anybody know x, y, z about you, because they may have a bias against you. Something might happen.’
The beginning of her career was defined by how Western culture perceived Muslims and South Asians. Her first entertainment gig was as a casting assistant in Washington D.C. She noticed if South Asians were cast,
They were going to be playing something stereotypical to what a South Asian person is thought of… that could be the geeky, mainly male, math nerd, or a terrorist.
While the position provided an opportunity to learn about what it took to become an actress, Qarnain also leveraged her responsibilities to make a change — if a role didn’t absolutely require a white actress, she would gather diverse resumes for the casting director, slowly trying to shift the idea of what a person of color on television had to be.
With people of diverse experiences joining writer’s rooms and a “pipeline of young South Asian actors,” the industry has improved but isn’t close to equitable. She sees “Life of Pi” on Broadway and Black Man Films as ways to combat that.
Broadway’s adaptation of Yann Martel’s 2001 novel brings a multigenerational South Asian cast to the stage and has Qarnain playing two roles — Pi’s (gender-swapped) biology teacher, an analytical, guiding mentor, and the Muslim cleric Pi studies under. “Life of Pi” is one of Qarnain’s favorite novels for being a story about faith, storytelling and the power of both to provide hope. She took a callback for the role via Zoom in an Applebee’s parking lot.
I feel very invested in both of these characters. Just because they are absolute extensions of who I am as a person, and to have this be my Broadway debut — I couldn’t have asked for anything better.”
She got to play a Pakistani Muslim character once before in the off-Broadway play “Acquittal.” It was the first time she could represent an authentic story. In “Life of Pi,” Qarnain helped workshop the scenes with the cast and playwright Lolita Chakrabarti to make them more authentic.
She absolutely took our suggestions and comments and reactions, for myself, from another person in our cast – who’s also a Muslim – and then from castmates, [who are] Catholic and Hindu, to understand what would work and what would people respond to. That’s where the gift was, that [Chakrabarti] was very receptive to what we had to say.
Black Man Films and her partnership with Roderick Lawrence run parallel to her theatrical journey. The pair formed the production company during the pandemic through a short film that Lawrence created to explore Black men’s mental health. As an enthusiastic fan of Lawrence’s work and having wanted to begin producing for film and television, Qarnain joined the project immediately. The short film, “Silent Partner,” went to 21 film festivals and won Best Short at several.
It was never done for accolades. It was done because there was a purpose and message to the story around Black men’s mental health told through the lens of micro-aggressions in the workplace.
The second short film, “Speak Up, Brotha!” was released in late March and will be played at Oscar-qualifying film festivals, this summer.
For Qarnain, Black Man Films is a platform for change and Black and Brown allyship.
I want people to look at our films and understand where they are, who they are in this film; in “Silent Partner.” If they’re complicit in propagating systemic racism, and, if so, what are they gonna do about it? How can they start? How can they talk to their parents? How can they, you know, engage with other South Asians and put a stop to colorism and any racism that exists against the black community?
Telling stories that reflect the experiences of people of color gives creatives the power to build systems that can improve people’s lives.
There is a racial hierarchy that exists and if we want to break that, we have to be a part of building everything, not just for us, but for everybody who isn’t white.
She is confident that the stories she’s helping bring to life will do just that and change the world in the process. From “Life of Pi” to “Speak Up, Brotha!” the possibilities for encouraging justice and empathy are endless.