The stage was set and audience members filed into the room to find their seats – quite ordinary and par for the course for an evening at the theater.
This, however, quickly proved to be far from an ordinary evening as lively, upbeat Punjabi music filled the small theatre, infectious enough to make one want to dance in their seat, followed unexpectedly by classic pirate songs that brought to mind voyages of bearded men far away at sea. Such spontaneity could only be a sign for the audience — they were in for something special during the impending performance of Manhattan Theatre Club’s production of “India Pale Ale.”
From award-winning playwright, Jaclyn Backhaus comes the world premiere of this vibrant new play that remarkably blends adventurous tales of pirates, Sikh family traditions and lots and lots of beer in a seamless coming together of cultures from East and West, which meet in unlikely harmony in a small town in Wisconsin, America’s heartland.
“India Pale Ale” delves into the world of the Batras, a Punjabi Sikh family that has called America their home for generations, and centers on the character Boz (Basminder) as she makes an important and life-changing decision to move away and open a bar, defying cultural norms and shaking things up for everyone around her with her actions. With twists and turns, the play keeps you guessing as it explores an array of themes including desire and duty, joy and heartbreak, love and loss.
It is a story that many young people, especially within the South Asian diaspora, can relate to as they chase their dreams, oftentimes the kind that their parents may not agree with. It is a story based on current events that ask audiences to examine how we treat our neighbors who are different from us. It is a story that is, at its heart, quintessentially American.
Brown Girl Magazine had the pleasure of speaking with the play’s lead actress Shazi Raja, who stars as Boz, after catching a preview performance of the show. Raja, a Houston native with a BFA in Acting from Rutgers, was drawn to participate in the production because of how passionate she felt about the story when first reading the script and especially because it was driven primarily by people of color (POC) – an important factor for Raja in choosing roles and projects that are diverse and inclusive as she commits herself to those which are “full of color and life and energy and that represent the world that I know”.
With a full cast of South Asian talent, a script that catered to actors, and a powerful story with themes and messages that felt very poignant in today’s society, “India Pale Ale” ticked all the boxes for Raja and she knew she wanted to be involved in the production in any capacity. Raja’s desire to be part of this led to her starring as the lead in what is her first venture back to her theatrical background after time away doing film and television.
In playing the role of Boz, she completely embodies her character, which is not surprising as, according to Raja, she and Boz are very much alike to the point that sometimes it is hard for her to separate herself from the character. She describes the character as someone who is headstrong and has an attitude, qualities Raja shares, but also has a strong bond with and so much affection for her family.
“She loves her family dearly, she is very family-oriented and wants to be there for her family. But she has these ideas that sit outside of her family’s normal traditions. And I think that’s she’s stubborn in a way … it’s like she gets an idea in her head and even though she’s afraid to go with it, she knows it’s the right thing to do in her heart.”
This is one of many familiar struggles within South Asian families as young people find themselves trying to forge their own path in life while holding on to the traditions and values of their parents, essentially balancing dual cultures and even identities. Raja can relate as well. She is mixed-race of South Asian and German-American descent.
“I always felt out of place. I was never brown enough for my brown family and I was never white enough for my white family.”
Along with the fact that, as an artist, she pursued a career that isn’t as favored in desi communities as those in the STEM fields, things were not easy for her, especially in an industry where she belongs to an underrepresented minority group. But that experience only led her to embrace and feel very connected to her own South Asian heritage, which she is proud to be able to represent on stage.
Being true to oneself is a value of great importance to Raja so it makes sense that her favorite scene to perform in the play is one where Boz can really be herself for the first time, an experience that is sure to resonate with those who know the joys and sense of freedom that come with being able to live your truth.
Showgoers from South Asian backgrounds will also recognize themselves and others in their lives in the colorful characters brought to life vividly before them. From Boz’s Maa and Baba, her brother and daadi, even her meddling auntie, there’s someone in the story who mirrors those we know in real life. “We all know this auntie, we all know this daadi,” says Raja.
The family presented on stage is a genuine reflection of the ones we know at home and that translates off-stage to the cast as well, who Raja says is “one big happy brown family”. This family-like atmosphere has made a difference in her life as it allows her to be around fellow South Asian artists for the first time and make a family out of her castmates who share her ideas, visions and hopes for the future and beyond.
“We really have bonded together because it’s important. And it’s also really nice to work with older south Asian actors which I really haven’t gotten to do. I walk around calling Momma [Purva Bedi] my momma and I call Baba [Alok Tewari] my baba and I call Sophia [Mahmud] my daadi and the younger crew hang out a lot after work … it’s very exciting because the more and more we do the show, our bond is only getting that much stronger and we’re only getting that much closer.”
Raja also finds it reassuring that her castmates share her feelings on the importance of the work they are doing with this play, particularly in regards to representing the Sikh community in a way and a forum that seldom centers them. “This is very comforting and very homelike to be in this show because everyone understands what representation means in this business,” she states.
Like Riz Ahmed, she believes representation is “not about diversity … it’s just about representing the world as we know it”, in which respect there’s still a long way to go. We have only just now begun to move away from stereotypical portrayals of brown people in the arts and media.
“The world that I had grown up in is not the world that I get to see in movies and TV and in theater,” she recalls. But now as an actor, Raja gets to be a part of bringing her world to audiences and is especially grateful for older desi actors like the ones she gets to work with on the show who “paved the way for us when there was nobody out there”.
While it is still a novelty to see South Asians at the center of stories on stage and screen, no one can deny that seeing the list of cast and characters full of desi names in the playbill shows a definite step in the right direction.
This kind of normalization of South Asian stories in the mainstream world is one of Jaclyn Backhaus’ hopes for this play. In her author’s note in the show’s playbill, she speaks of how she initially included a glossary of South Asian terms (ie. langar, gurdwara, roti, etc.) in the first draft of the play in order to avoid confusion among readers as to what the terms referred to, but ultimately decided not to do so.
She shares:
”I decided that, rather than defending the humanity of my Punjabi heritage, I would consider it as the baseline reality – something audiences are invited to meet halfway.” …
“Get ready for a day when the glossary is no longer needed, when South Asian stories are presented with the regularity of apple pie or casserole.” – Jaclyn Backhaus
Despite the slow progress being made, Raja is determined to be part of the solution as she feels that artists have a responsibility to ensure that their stories and communities are being portrayed accurately, especially because those in power who make the decisions regarding the way our stories are told often fail us.
“When we are given the gift of being able to represent our people, I think we need to hold our ground, stay strong and be vocal about our truth.”
Finding community among other desi artists who understand what it means to be an artist has also been very uplifting for Raja and she urges creatives, aspiring and seasoned, to do the same because it makes all the difference to know one is not alone, though it might sometimes seem that way.
“Remember that there are a lot of us out here. … I really found it to be the best to get a community of other desi artists who just get it and it’s empowering and it makes me never ever want to give up because now I know there are so many of us.”
With the idea of community rooted at the center of the play, Raja would like audiences to come away with a timeless message, one of unity and togetherness.
“Yes, we are all different and our differences are important,” she says. “But we need to also remember that our differences can bring us together and can help us love each other.”
Heartfelt, inspiring and a whole lot of fun, this is a story that we all need now more than ever, especially given the era we live in today. If it can move us to open our hearts a little more, break bread together and share in langar with those with whom we normally wouldn’t, “India Pale Ale” will have served its purpose.
“India Pale Ale” – directed by Will Davis and starring Purva Bedi, Angel Desai, Sophia Mahmud, Nate Miller, Shazi Raja, Nik Sadhnani, Lipica Shah, Sathya Sridharan, and Alok Tewari – officially opened on Oct. 23 and runs until Nov. 18 at MTC’s NY City Center.
Shazi Raja can be seen in “God Friended Me” currently on Sundays at 8:00 p.m. ET on CBS and the upcoming horror film “Haunt” opening this year on Halloween.
Miranda Deebrah is an unconventional Indo-Guyanese writer, performer and storyteller. Born in Guyana, descending from the indentured laborers who left … Read more ›
February 2, 2023February 11, 2023 7min readBy Arun S.
Kevin Wu
Kevin Wu, previously known as KevJumba, is an American YouTuber, from Houston, Texas, with more than 2.68 million subscribers on YouTube and more than 323 million views. His content consists of vlogs, social commentary, musical parodies and more. Wu also streams on Twitch and has released original music as well as freestyles. His most popular YouTube video is titled “Nice Guys” with Ryan Higa. Wu has also worked with many individuals including A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. He has also appeared in movies such as “Hang Loose,” “Revenge of the Green Dragons,” “Man Up,” and more. Wu is one of the first original YouTubers gaining popularity in 2008 and even had another channel, titled JumbaFund, now known as Team Jumba. Continue reading to learn more about Kevin Wu’s journey!
We really enjoyed the project ‘Underneath the Lights.’ On the track “WHY U IN LA” the lyrics, “Don’t know who I might be, it might surprise me. I could be a hypebeast, That’s nothing like me, It’s so enticing.” How do you feel this speaks to the idea of self-discovery? What have you learned about yourself, diving back into making content?
I love that song we did. The artist who sang those lyrics his name is Zooty. I really provided the energy and direction for the musical piece, but I give credit to my producer Jonum and Zooty credit for the lyrics. Both guys are a slightly different generation, gen-Z, whereas I grew up as a millennial. I find that I left a lot on the table when I left YouTube at 23, so when I work with gen-Z I have so much that I want to give. Coming back to YouTube this time around, it’s all about self-reliance. Coming from movies and television, you have to depend on people to get a better product. But with YouTube, I’m going back to my roots and putting my wit and effort into every part of the process again (writing, directing, performing, producing, editing). I want the result to be authenticity and a homegrown feeling.
When you started your YouTube channel you were known for your vlogs and social commentary. How do you feel about the new age of content creation — where content is in surplus but individuals aren’t feeling the content?
It’s hard to say whether or not individuals are or aren’t feeling content — the taste is just so wide now. It’s like living in Los Angeles; food is very competitive, and when picking a restaurant you have every ethnic variety and even fusion foods. I imagine opening a restaurant in LA to be very competitive and the attention to detail in what you make has to be authentic or hit a certain demographic. I feel on the Internet, YouTube does a decent job of catering to your sensibilities, the so-called algorithm. However, the personal connection you get with content creators has somewhat been shifted, and now it’s become more interest-based (ie gaming, how-to, music, politics, etc.)
How do you feel the original algorithm has changed, and what do you miss most about that time?
I don’t remember talking about algorithms back in 2010 to 2012. People watched their favorite Youtubers because their homepage included their subscriptions first and foremost, and then if your subscriptions hadn’t posted anything new, you would typically check the most popular page. Then trending became a thing and now you have algorithms generating your timeline based on a bunch of data. I think it’s forced creators to think externally and hanging onto identities i.e. what are my interests? Am I a gamer? Am I a streamer?
We parodied your music video for “Nice Guys” for our orchestra music camp skit back in high school. If Chester, Ryan, and you, had to recreate “Nice Guys” today, would you focus on the concept of self-love for the current generation? We also really loved “Shed a Tear.”
I definitely think self-love would be a very nice theme. Recreating it would be nice, actually. I think it’s hard to get three people to all be in the same room again, especially after leading different lives. But “Nice Guys” was something special for each one of us, and Chester See deserves a lot of credit because of his musical talent. It’s made me realize today the impact of music. I really enjoy the expression of music because it forces you to be more artistic, versus just saying what’s on your mind. Like poetry, or hearing harmonies.
You’ve worked with many individuals and groups in the past including, A-Trak, Chester See, David Choi, Globetrotters, Iyaz, Jamie Chung, Jeremy Lin, Ryan Higa, Wong Fu Productions, and more. If you could create content with any group of individuals who would be your dream collaborators?
At this stage in my life, I really enjoy coming back and rekindling those creative connections and checking in with previous friends or acquaintances. Doing a video with Ryan Higa, Jeremy Lin, Chester See, David Choi, Wong Fu, Jamie Chung, those would all be very fun. But the first step would be to just see how they’re doing. So that’s the closest thing to a best case scenario for me. I’m not trying to force any collaborations at the moment (haha!). Unless it’s convenient.
As an NBA fan you expressed you would like to talk more about basketball on Ryan’s “Off the Pill Podcast.” How do you feel watching sports and has playing sports helped you become more in tune with yourself?
After going through a lot of physical adversity after my car accident, reconnecting with sports has been really helpful. I played basketball for a while and I’d like to get back into soccer. I wanted to talk about basketball on Ryan’s podcast because I was still dipping my toes into Internet content/social media and didn’t want to talk too much about myself at the time.
As a content creator how do you balance not letting validation get to your head and authentically connecting with your audience?
We all seek validation. It’s innate, but it’s about where you seek it. Nowadays I remember to validate myself first, by starting with my mind and body. After a while, you can get a sense of when you need validation versus being totally unconscious of it. Sometimes that sense of validation is important, so we know to check in with our parents, or see if a friend needs positive feedback. To connect with the audience, that’s like number five in my priority list (haha!). Having an audience can be scary; you definitely want to be in tune with yourself first.
How do you deal with comments consisting of “I miss the old KevJumba?”
As live streaming has become a new form of content now, how have you enjoyed live streaming on Twitch for the Head In The Clouds Festival both in 2021 and 2022? We really enjoyed seeing Ylona Garcia sing “Nice Guys!”
It’s fun, I enjoy live streaming and I really appreciate 88rising and Amazon Music for inviting me both years to be the host for their livestream.
What was the decision behind putting your family in your videos?
I put my Dad in my videos accidentally; we were on a ski trip. I think people responded really positively in the comments, and then I just sat down had a conversation with him on camera, and it became a hit. After that he just became his own character. I think I tend to come alive more when I am interacting with someone on camera.
We really liked seeing you upload videos to Team Jumba. Is the mission still to donate earnings to a charity that viewers suggest?
At the moment, no. The Supply, which was the charity I donated to before, has since shut down. I also don’t make much money on YouTube anymore, since I was inactive on my channel for a while, so that format from 2009 will be difficult to replicate.
We really enjoyed the ‘KevJumba and Zooty Extended Play,’ specifically the track “With You in the Clouds” featuring fuslie. How has Valorant inspired your music as well as other forms of content creation?
The album was really experimental. I find the personal connections I made in gaming to be the most enlivening. “With You in the Clouds” was inspired by TenZ and, since he’s such a legendary figure in the pro FPS community, we had to do a worthy tribute. I think paying tribute to the things you like is a really great way to think about content creation.
How do you feel your childhood experiences in Houston, and playing soccer, have shaped you to chase your dreams of acting? How have you enjoyed acting in comparison to YouTube?
I love acting. It’s a wondrous lens at which to see your relationship with others. I find that in studying acting, you are often really studying the human experience or the mind. It’s like learning psychology but you are on your feet, or you are reading great theater. Playing soccer and growing up in Houston don’t really contribute directly to why I enjoy acting, but I very much enjoy coming from Houston and thriving in soccer. It made me commit to something and seeing how consistently “showing up” can really ground your childhood and prove to be valuable, later in life.
How do you feel we can uplift each other across the Asian diaspora and unify to create ripple effects of representation?
I think listening is probably the best thing you can do. Just genuinely hearing about something, or someone, helps you really invest in them during that time that you are there. So I think that’s probably the first step.
What made you go back to school and finish your degree at the University of Houston in Psychology?
No one reason in particular. I was also studying acting at the time back in 2017-2018 when I completed the degree, so it was just testing my limits and seeing what I could balance. I finished it online.
What are your upcoming plans?
Just experimenting on YouTube for now. Making videos with my own effort.
Your first video was uploaded back in 2007 and was titled ‘Backyard,’ where you are dancing to a song called “Watch Me” by Little Brother, off of the “The Minstrel Show.” We also really enjoyed your video with Ryan Higa titled “Best Crew vs Poreotics.” Are you still dancing these days?
Yes. The body does what the body wants.
Lastly, what do you hope individuals take away from this interview with Brown Girl Magazine?
Nothing in particular. I try to let my mind flow when I answer questions. I may have jumped to conclusions before fully investing in some of the questions, so I apologize. If you are reading, I thank you for your time and patience. I also thank Brown Girl Magazine for putting together a vast array of questions that allow my mind to stretch and work out a bit. I hope you find a stronger connection to your own truths, and I hope I did not disturb those in any way. Regards.
February 7, 2023February 7, 2023 4min readBy Sneha Challa
Photo credit: @golibtolibov
In July 2022, Sania Khan’s life was ruthlessly taken from her by her ex-husband. Sania was a young, vibrant South Asian woman – a creator and photographer who had the courage to step out of an abusive marriage, even in the face of community norms that discourage women from speaking out. While this tragedy seemed to stir a consciousness in the South Asian diaspora that we can no longer justify the status quo, it is far from the only such incident. Just months later in December of 2022, Harpreet Kaur Gill was stabbed to death by her husband in Vancouver. While the most extreme cases like those of Sania Khan and Harpreet Kaur Gill are highlighted by mainstream media, a small body of research provides evidence that intimate partner violence experiences are equally, if not more, prevalent in South Asian communities than the general population in the US or Canada. That’s why we need to do more as a community and throw light South Asians and intimate partner violence.
Despite the identification and investigation of these norms in South Asia, there’s so much we still don’t know about diaspora communities, especially in relation to South Asians and intimate partner violence. In the US, South Asians have become one of the fastest-growing populations, but we remain unaware of how the stresses of raising a family in a different culture, and the weight of growing up between two worlds, affect these norms, expectations, and experiences among South Asian immigrants, the second generation and beyond.
In this article, we’ll take a deeper look at how these norms are enacted to influence intimate relationship dynamics, discuss the recent rise in intimate partner violence, and explore the work that researchers, policymakers, and program implementers can do to address violence in South Asian diaspora communities.
Social Norms and Violence in South Asian Diaspora Communities
Why does it take catastrophic events to serve as a call to action? For one, the “model minority myth” continues to portray South Asians in America (who originate from Bangladesh, Bhutan, India, the Maldives, Nepal, Pakistan, and Sri Lanka) as a healthy and wealthy group. As a child of Indian immigrants, I always thought this was just a frustrating trope that lived rent-free in my head next to the eternal question, “Log kya kahenge?” (What will people say?) However, I have realized that this constant worry is not just an innocent preoccupation. It’s the result of a dangerous spiral beginning with the portrayal of South Asians as a model minority and the need to maintain that well-to-do image. This only reinforces the traditional gender norms that overlook men’s perpetration of violence and encourage women’s silence, crippling any efforts to understand the scope of the problem and draw attention and resources to address it.
The Impacts of COVID-19 on Intimate Partner Violence
Prior to the start of the COVID-19 pandemic, the frequently-uttered phrase among researchers, practitioners, and advocates alike was “one in three” — one in three women ages 15-49 experiences physical and/or sexual violence inflicted by an intimate partner in their lifetime. Under the cover of the COVID-19 pandemic however, rates of violence against women rose dramatically, prompting UN Women to call for recognition of this “Shadow Pandemic.” During the height of the pandemic, the social isolation that came with lockdowns and quarantine procedures to curb the spread of disease made home a more dangerous place for an increasing number of women. As communities seek to rebuild, the inequities in access to and use of potentially lifesaving services have deepened. Now more than ever, it is critical that we shine a light on the many intersections of our society to prevent South Asian women’s experiences of intimate partner violence from being pushed even further into the shadows.
First and foremost, to better understand South Asians and intimate partner violence, we need better data disaggregated by racial/ethnic group. Since the 1980 Census, only those of Indian origin have had a fill-in bubble.All other South Asian groups have to write something in, decreasing their participation. South Asian communities in the US are not a monolith and they are certainly not all of Indian origin. This perception, fed by our lack of data, likely privileges the Indian community in America and limits the visibility of other South Asian communities.
More accurate information will help us better understand where the need is greatest. We can make a stronger case for more equitable resource allocation, improve South Asian language materials for survivors, and enhance provider training programs, accounting for the specific cultural implications of disclosing and seeking treatment for violence in South Asian communities. Public health researchers should increase efforts to understand the prevalence of experiences of violence, the environmental factors that make South Asian women in America vulnerable to experiences of intimate partner violence, and how it impacts their health.
While outstanding organizations such as Narika in California and Sakhi in New York are leading the charge in raising awareness, running active helplines, and providing support, they cannot be the sole safe space for survivors. While the system’s failure to protect Sania is not an isolated incident, it has served as a wake-up call.
All South Asian women in America should be able to be healthy and safe and lead lives free from violence, coercion, or abandonment. To achieve this, we need better data, more research, culturally-tailored resources, and appropriate legislative action that will allow for prevention, screening, and treatment efforts to finally take root.
January 1, 2023January 1, 2023 7min readBy Brown boy
Wyatt Feegrado
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!
