
If that isn't magical, I don't know what is. Stay tuned for what hopefully will be a more eventful year here at Hadji.
Oh, and welcome back to the country, SM.
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It was bound to happen. The glitz of globalization provides its own culturalThe call center is the new go-to stereotype about India, and India, unfortunately, seems to have embraced it whole-heartedly. What at first might have been an interesting observation about India's middle class has transformed into a trite source of humor about Indians trying their hardest to mimic the West. Jokes about fake names and accents from the American media can sometimes be disturbing, and I can't help but be reminded of the colonial Babu figure, the Indian who tried his hardest to be British, only to turn into a source of comedy because of his hopeless inability to overcome his inherent Indianness. Hollywood has produced it's equivalent to Bollywood's outsourcing comedies with the new film The Other End of The Line, starring some dude from Desperate Housewives and Shriya Saran, one of the Tamil film industries most successful actresses. The film deals with an Indian call center worker who travels to America to find her true love and escape her oppressive parents and blah blah blah blah. I doubt the movie's going to do that well, honestly, so I don't think we have much to worry about, but still...
cliches. The call center is the most widely shared temptation among the
chroniclers of new India," said S. Prasannarajan, editor-at-large of the popular
English-language magazine India Today. "For the metaphor hunters of Indian
popular culture and fiction, the call center has replaced the old snake charmer.

"And it is permitted to be said such things as, 'well you know that Mr. Obama is a Muslim.' Well the correct answer is he is not a Muslim. He is a Christian. He's always been a Christian. But the really right answer is: what if he is? Is there something wrong with being Muslim in this country? The answer's no. That's not America. Is there something wrong with some seven-year-old Muslim-American kid believing that he or she could be president?"Finally, someone has publicly made this point! And people will hear! Colin Powell just may be influential enough for both Republicans and Democrats to think twice about this statement.

The portrait of Salman Rushdie (which I can't find online so now you have to go to the exhibit!) is dramatically lit, almost lampooning his intense, fatwa-garnering persona. A sense of peace radiates from him though, and it's a great example of Avedon's ability to capture the soul of his subjects.
Overall, fans of Avedon's early, much revered fashion photography for Harper's Bazaar may be disappointed, for this show is focused solely on the intervening years, when he grew as a photographer and developed an interest in politics and war. Perhaps the most striking, and harrowing, juxtaposition of photographs is the grinning "most decorated soldier" in Vietnam with the large closeup of the disfigured face of a Vietnamese woman who survived a napalm bombing attack.
Avedon's famous biennial-election marking portfolio of the 69 most important figures of the Washington establishment of 1976 is also on display. Titled "The Family," it is perhaps the best display of his minimalist, revealing portraiture style, with a number of familiar faces to boot(Ralph Nader, Bush Sr., Donald Rumsfeld).
His last assignment for the New Yorker, which was left unfinished due to his 2004 death from a brain hemmorrhage, was a chronicle of the US during the months leading up to that year's presidential election. Selected photographs from that collection, "On Democracy" are definitely worth checking out, both for Avedon's rare forays into color photography and for the relevance to this year's election.
Ultimately, the show has great selections from Avedon's career. In particular, I think the Vietnam-era photos and his various portraits of protestors and politicans alike will be of interest to everyone.

