Students Mediate Culture in the Context of Globalization

 In his Annual Review of Anthropology article “Culture, Globalization, Mediation” William Mazzarella argues that processes of mediation are especially fertile ground for anthropological study in the context of globalization.  What sorts of mediation especially interest Mazzarella?  How is globalization affecting our cultural understandings and those of other groups around the world through processes of mediation?  

[Dr Patrick Moore, 2011]

Remote and ‘primitive’ communities were the subjects of study for the scholars who first developed the anthropological discipline.  As anthropologists soon found out, there were a limited number of communities that could be found without having been looked upon by the anthropological gaze.  William Mazzarella reminds us that, in the context of globalization, topics of anthropological interest are not dwindling but rather they are expanding infinitely as technology continues to provide us more processes of mediation.  Within the context of globalization Dr. Moore asked the students of Anthropology 378 to consider Mazzarella’s insights into processes of mediation and to provide examples of the impacts of globalization.  If my readers will recall I considered the impact of YouTube and the Internet, coupled with an advertising campaign titled "I am Canadian" , in constructing a sense of national identity among Canadian diasporas[1].  When I reviewed the responses of my fellow students I realized that even within a directed framework (a response to one article) students saw the possibility for very different directions of ethnographic interest, confirming Mazzarella’s idea that processes of mediation are especially fertile ground for anthropological study.  To illustrate this point I will engage the insights made by two of my classmates, Amanda Kay[2] and Gloria Wong[3]. 

             

Wong identified some of Mazzarella’s insights in regards to media, that it is both “reflexive and reifying” in nature (346) and that processes of mediation allow for both “self-distancing and self-recognition” (357).  Following these insights on the contributions of media and processes of mediation toward identity-making, Wong provided the example of the widely used social network, Facebook.  Wong is certainly not the first scholar to observe the interesting processes of mediation that occur via facebook (Lahlou 2008[4]; Licoppe and Smoreda 2005[5]) and she will surely not be the last.  She aptly applies Mazzarella’s notions of reflexivity and self-distancing vs. self-recognition to the mediation sphere of facebook, “this social network has percolated into the lives many and affected the way many people see themselves and individuals around them”.  Kay considers the relevance of scholastic concerns toward processes of mediation in the context of increased technological exchange.  Kay, using a Mazzarellian framework, concludes that “media is at its basic level, a more complex form of communication and its ability to convey ideas universally has increased the amount of information which is circulated immensely however, it still produces the same effect: information exchange”.  Kay, too, brings Facebook into her discussion, but for a different purpose.  While Wong uses Facebook to discuss individual identity making, Kay considers the ability of Facebook as a forum to mediate and facilitate discussions on these issues.  In the context of globalization Kay reminds her readers of a quote that circulated on Facebook:

Your car is German, your vodka is Russian, your pizza is Italian, your kebab is Turkish, your democracy is Greek, your coffee is Brazilian, your movies are American, your tea is Tamil, your shirt is Indian, your oil is Saudi, your electronics are Chinese, your numbers are Arabic , your letters are Latin, and you complain that your neighbour is…an immigrant?

This quote and Kay’s observation of it, remind us of the complex flows of identity, culture and technology in the context of increasing globalization.  Even within the frame of a response to an article, students are able to consider the diverse opportunities for anthropological research.  Processes of mediation continue to become more visible and more fascinating grounds for ethnographic interest.

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[1] http://ethnoblography2011.blogspot.com/2011/02/my-name-is-joe-and-i-am-canadian.html

[2] http://mediaculture-amandak1.blogspot.com/2011/02/globalization-and-cultural-relativism.html

[3] http://wgloria.wordpress.com/2011/01/22/exchange-and-circulation-representing-and-reflecting-on-ourselves-through-media/

[4] Lahlou, Saadi   2008   Identity, Social Status, Privacy and Face-Keeping in Digital Society. Social Science Information 47(3):299-330.

[5] Licoppe, Christian, and Zbigniew Smoreda  2005  Are Social Networks Technologically Embedded? How Networks are Changing Today with Changes in Communication Technology. Social Networks 27(4):317-335.

All the Little Ladies

If you have been living in Vancouver (I cannot speak for the rest of the world) since 2008 then you have no doubt heard the dance-pop-R&B song “Single Ladies (Put a Ring on It)” by Beyoncé Knowles.  The music video[1] and dance routine associated with the song started the “first major dance craze” of the millennium and of the internet age[2].  Countless YouTube videos circulated individuals’ own attempts at dancing the ‘Single Ladies’ dance or coming up with their own version of it.  Actor Tom Hanks aptly described the upbeat song as being highly “infectious” and declared it his favourite song of the year[3].  Other (male) celebrities loved the song so much that they donned the (lady) leotards and danced around Beyoncé in a well-received Saturday Night Live parody video[4].

One reuse of “Single Ladies” featured seven-year-old girls performing the song at a dance recital[5] and its appearance on YouTube opened the floor for some very heated debates.

How do we determine whether the reuse of media will be considered acceptable or unacceptable?  There is no rulebook written on the subject, no formula a person can follow to avoid sparking controversy.  People must consider the specific socio-cultural context of their remediation and its implications, and if they do not then many others certainly will.  While there are many factors that can contribute to an unacceptable remix – such as power dynamics, race, reinterpretation, recorded vs. live performance – for the sake of brevity here I will focus on one instance where age plays a major role.

A group of seven-year-old girls dance onto the stage of their recital to the sounds of “Single Ladies” and begin their dance routine.  The dance routine is different than Beyoncé’s and so are the outfits.  The girls’ costumes resemble lingerie and their dance moves (while performed with great skill) resemble those of a Burlesque show.  David Novak provides valuable insight into the subject of remediation.  He has observed that appropriation is a “creative act” (42[6]).  Well, the girls are “creative”; they’re doing different dance moves and wearing different costumes.  Novak says, “remediation also makes contemporary cosmopolitan subjects” (41).  In the discourse surrounding this video, we see a newly emerging cosmopolitan subject: the little girl who can wear lingerie onstage and is immune to criticism because it is, as one of the girls’ parents described it, her “dance outfit”[7].  So what is it about this video that has so many people offended?  As I have said, there is no set formula a person can follow to avoid being deemed unacceptable, but in this case, might I suggest the following formula:

Minors + Lingerie + Sexually Suggestive Dance Moves = Controversy

In the SNL parody, Justin Timberlake and Andy Samberg join Beyoncé, clad in black leotards, in dancing her original dance routine(Watch the full routine here).  Beyoncé objects, “this song is called ‘Single Ladies’ so I imagined the dancers would be strong beautiful women”.  These last three words are key: strong beautiful women.  In the dance recital version of this song, the subjects are not strong beautiful women but unaware children.  While many criticisms have been launched in the direction of these children (words have appeared in the comments such as ‘whore’, ‘slutty’) can they really be faulted for a reinterpretation that would have been initiated by an adult choreographer and was applauded by their adult caregivers?  Certain elements of Beyoncé’s original video are directly translated, such as the talent and enjoyment demonstrated by the girls.  The girls’ young age and lack of awareness has resulted in their reinterpretation being deemed unacceptable by many people.  These ‘single ladies’ are not yet fully developed social beings capable of demonstrating the same agency employed by others who have danced “Single Ladies”. 

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[1] http://www.youtube.com/watch?v=4m1EFMoRFvY

[2] http://en.wikipedia.org/wiki/Single_Ladies_%28Put_a_Ring_on_It%29

[3] http://www.youtube.com/watch?v=h33ApIwU2eI

[4] http://www.youtube.com/watch?v=LBC7pilGoPc&feature=related

[5] http://www.youtube.com/watch?v=ir8BO4-7DkM

[6] Novak, David  2010  Cosmopolitanism, Remediation, and the Ghost World of Bollywood.  Cultural Anthropology 25(1):40-72.

[7] http://www.youtube.com/watch?v=wMF4KDJm5ms&feature=related

Persepolis

Have you ever watched a film with the distinct feeling the filmmakers were actively trying to communicate something more than just entertainment?  Watching Persepolis, the 2007 film based on the novel of the same name, provided me such an experience.  Marjane Satrapi’s autobiographical graphic novel engages the reader with a personal insight into the history of the Islamic Revolution in Iran through the use of powerful linguistic and visual techniques.  These techniques, when translated into film, produce new levels of experiencing Satrapi’s story that can be understood through a variety of theoretical frameworks.  Gordon Gray[1] provides us with an excellent basis for understanding of the theoretical frameworks that are used to discuss films and also to make them.  For the purpose of this discussion I will utilize a feminist framework (though there are many others that apply) to examine the film version of Persepolis.

“Persepolis gives us the sheer pleasure of narrative, rarely found in modern cinema or indeed fiction: a gripping story of what it is like to grow from a lonely imaginative child into an adult, and to find this internal tumult matched by geo-political upheaval”[2].  It is important to note here that while Marjane Satrapi is Iranian and the nucleus of the story is her struggle with her identity amidst the social and political changes from 1978 to 1994, the film is French and was banned in Iran.  Therefore the views communicated in the film should not be seen as representative or indicative of a movement in Iranian film but rather as a specific product of Satrapi’s experience. 

Dr. Lina Khatib of Stanford University was interviewed on the significance of Persepolis (you can listen to her interview here http://www.filmeducation.org/persepolis/lina-khatib2.mp3).  Khatib says, “Satrapi’s film Persepolis also tackles problems faced by women in Iran…highlight[ing] this issue quite well and in this sense it is part of this movement toward addressing issues that are normally considered unspeakable in Iranian society”.  While the film’s production was disassociated from Iranian government, it is based on a reality of women’s experience.  Gray writes, “since the 1970s, feminist…theories…have put the politics of representation front and center” (71).  Satrapi uses a technique commonly used by filmmakers to engage in subtle social criticism; she offers the majority of social criticism through a child’s perspective, one that is traditionally perceived as being unbiased and uncorrupted (Khatib).  Satrapi uses this technique as one method, among many, to criticize certain problematic aspects of society.  Satrapi’s young Marji is highly opinionated and observant about the gender imbalances in Iran during her upbringing.  The author’s feminist framework is abundantly clear in the novel and the film maintains the feminist integrity.

One useful way to begin examining the feminist values of a film is to consider The Bechdel Test, which asks the following three questions[3]:

1.     Are there two or more women in the movie who have names?

2.     Do they talk to each other?

3.     Do they talk to each other about something other than a man?

(Watch the Video Here - Your favourite movies might fail the test)

Persepolis provides three female characters that demonstrate significant feminist ideals.  In addition to the main character, Marji, her overtly independent feminist role models, Mother and Grandmother, may also delight the viewer.  While the mother and grandmother characters are not named, this is not unusual considering the story is told from the perspective of their daughter/granddaughter (respectively).  The three women talk to each other consistently throughout the film, and the subject matter of their conversation ranges from family matters, music and social life, and significant political insight.

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[1] Gray, Gordon    2010    Film Theory. In Cinema: A Visual Anthropology, Pp.35-73. Oxford, New York: Berg.

[2] Bradshaw, Peter. “Persepolis.” 25 Apr. 2008. http://www.guardian.co.uk/film/2008/apr/25/animation.drama (21 Mar. 2011).

[3] feministfrequency, “The Bechdel Test for Women in Movies.” 7 Dec. 2009.http://www.youtube.com/watch?v=bLF6sAAMb4s (21 Mar. 2011).

Communities Make Radio, Radio Makes Communities

            The indigenous groups of Australia and Canada represent two groups of people that have historically been displaced by British colonialism and efforts at cultural assimilation.  Australian and Canadian aboriginals not only were but also in many cases still are victim to institutions that endanger their traditional values.  These descriptions, while not inaccurate, are not particularly productive.  Much of the discourse surrounding the history of relations between the settlers and the settled emphasizes the abuses and the apologies, but not the advances.  A particular area of interest for examining communities in Australia and Canada is the radio stations that they produce.  These radio stations respond to the communities they serve, but also serve to create communities that can strengthen indigenous community bonds and to create new collaborative atmospheres with non-indigenous community members in the process.

            To illustrate this point, I call the reader’s attention to two radio stations: The Top End Aboriginal Bush Broadcasting Association (TEABBA) in Northern Territory, Australia, and CBQM, which broadcasts from Fort McPherson in the Northwest Territories, Canada.  There are many similarities between TEABBA and CBQM: both are located in northern territories and seek to connect remote communities, both broadcast country music, and both are maintained by collaborative aboriginal efforts.  Departing from these more obvious similarities, it is in the creation of and maintenance of radio stations, that TEABBA and CBQM both create new communities of productive collaboration that move past the complex histories of interaction. 

            CBQM was the subject of a feature-length documentary by Dennis Allen[1](Watch it here).  CBQM appears as an integral contributor in the Fort McPherson community.  The radio station, run by community members, invites the town RCMP officer, the town minister, and all of the other residents of Fort McPherson into an involved community space.  In the Australian context, Daniel Fisher writes, “the work of Aboriginal radio is an exercise in cultural brokerage and intracultural connection” (288)[2].  This comment applies equally to the processes of radio production in northern Canada.  CBQM provides a space where community members can discuss all matter of topics from wolf sightings, nighttime egg vandalism, weather and music.  In addition to providing community members with a forum to discuss more trivial aspects of daily life and interaction, CBQM also creates new possibilities for interactions.  For example, the radio station instigated community participation in bingo.  Concerns about equal access to the radio were answered by one radio announcer who said, “If you want to go on CBQM then just phone the Board of Directors and they’ll give you the keys”. 

            Another beneficial aspect of radio in the context of the internet age is that radio stations are available online (CBQM Online).  Technology enables radio to further strengthen community bonds by way of reaching out to diasporic community members, and to individuals who are not members of the community but who share concerns in the issues expressed on the radio.  Radio has the ability to create a new environment of equal access, which serves to reflect, strengthen, and build communities.

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[1] Allen, Dennis    2010    CBQM National Film Board of Canada   < http://www.nfb.ca/film/cbqm/ >

[2] Fisher, Daniel   2009   Mediating Kinship: Country, Family, and Radio in Northern Australia.  Cultural Anthropology 24(2): 280-312.

My Name is Joe, and I Am Canadian

           In recent decades there has been a lot of talk about globalization.  While some anthropological discourse has suggested globalization means the end of traditional, legitimate, or otherwise “good” anthropology, there are others who recognize the opportunities globalization presents towards revitalizing the discipline (Mazzarella 2004:348).  William Mazzarella describes ‘mediation’ as “the processes by which a given social dispensation produces and reproduces itself in and through a particular set of media” (2004:346).  Mazzarella discusses the various modes of self-representation employed by communities through media and thereafter how these communities then reflect on various representations of themselves.  Ultimately, Mazzarella engages the reader with a discussion of how processes of mediation both participate in- and are involved in the creation of specific social practices and how groups become self-conscious of their cultural practices and their media representations.

            I would like to apply Mazzarella’s considerations to the various constructions of Canadian national identity.  The Canadian population consists of an eclectic mix of ethnic, religious, and various backgrounds.  Not only is this country quite young but considering its scattered composition, many Canadians feel at a loss for a sense of national identity.  The question of a Canadian national identity is one that has many people stumped; not only by Canadians living in the country but also by Canadian expatriates living elsewhere.  Considering the modern day context of technology-aided international information flow and the various forms of media that people have at their disposal for self-representation, we now have new resources with which to represent ourselves and with which to be self-conscious of these representations.  Several years ago the Canadian brewing company Molson began a very successful advertising campaign that relied on representing Canadian cultural stereotypes in a context of reclamation and pride.  As a young Canadian living in Vietnam at the time of one such ad’s release, I recall feeling a heightened sense of Canadian identity and pride that I had not experienced before the presence of the internet and YouTube.   

             The commercial featured a young Canadian man, Joe, who asserts his Canadian identity in contrast to the various points of contention between Canadians and Americans, for which Canadians are endlessly mocked.  The video ended with the line, “My name is Joe, and I am Canadian!”  The line was short, memorable, and effective.  This advertisement made its way, via YouTube, throughout the Canadian expatriates in Hanoi, Vietnam and bolstered a sense of community and pride, renewing their attachment to Canada.

            Globalization does not put an end to good anthropology but rather provides new and fascinating arenas by which to examine social processes in communities.  The diasporic presence of one nation’s population across the globe paired with increasingly available technologies creates the opportunity for new forms of cultural mediation.  

References

Mazzarella, William

2004            Culture, Globalization, Mediation. Annual Review of Anthropology 33:345-367.

Vinko

2006            I Am Canadian. 22 May 2006. http://www.youtube.com/watch?v=BRI-A3vakVg (Accessed 8 Feb. 2011).

Colour Me Happy! Graffiti Art and Crime Reduction in the City of Vancouver

            In April 2002 the City of Vancouver implemented the Graffiti Management Program (GMP) to address the increasing occurrence of what some would refer to as ‘vandalism’ and others would refer to as ‘artistic expression’.  I read an article in the Georgia Straight that revealed the entire GMP program had been cut by the City Council in a recent vote with the justification that it would save the city hundreds of thousands of dollars.  The flip side?  Both financially and socially, cutting the GMP may end up costing the city more in the long run.

            In the United States, the majority of graffiti creators are between the ages of 12 and 30 with the majority being younger than 18 (Kan 20).  Half of the individuals producing graffiti art are from “white middle- and upper-middle-class families” (Kan 20).  Koon-Hwee Kan emphasizes that for young adolescents it is very confusing to form opinions on ‘graffiti art’ versus ‘graffiti vandalism’ due to the contradictory messages they receive about graffiti (22).  This point is certainly applicable in such a diversely populated area as Vancouver.  Considering all of the subcultures producing and consuming art in Vancouver, what role does graffiti play?  Should graffiti be categorized under the genre of ‘Art’ or ‘Crime’ in Vancouver? 

            For the period of 2002-2003 in Vancouver, the city budget for the “Education and Prevention” of Graffiti, including the Mural Program, Education, and Outreach/Promotion programs was $127,534 (Khan 13).  In comparison, the budget allocated to the “Removal from Private Property” sector was $385,967 (Khan 13).  In her extensive report on Vancouver’s GMP Amna Khan discussed an area of pro-graffiti literature most salient to my discussion here.  Khan calls it the “normative approach, claiming graffiti contributes to the development of modern day society because it is the only form of communication for many individuals and groups who have no other outlet to express themselves” (17).  Considering the eclectic atmosphere in Vancouver, the diverse population and the wide disparities in wealth, the City would be wise to allocate more funds to the Mural and Education programs and less funds and energy on the graffiti eradication approach.  Complete eradication programs require consistent monitoring and timely removals and they are therefore quite costly and not altogether efficient (42).   

Pacific Street Mural created by the Restart Program

            Vince Dumoulin was presented with the choice to delve further into Vancouver’s crime scene or to participate in GMP Restart Program; he chose the latter (Lupick 1).  Restart is a “restorative-justice program started in 2004 by Vancouver Police Department officers Valerie Spicer and Elizabeth miller and since run by volunteers” (1).  Dumoulin was one of many youths in Vancouver who, having already garnered himself a criminal record, was given a chance to be involved in the legal community collaborative creation of graffiti art.  When youths were discovered in the streets of Vancouver ‘vandalizing’, instead of giving them a ticket this program gave them paint brushes and spray cans and a chance to participate in mural programs.  Dumoulin, who has been working with the City of Vancouver for the past seven years, explained that there were many benefits of this program.  The participants have fun, their involvement in other forms of vandalism and criminal acts decrease, and the occurrences of graffiti in the mural’s surrounding areas drastically decreased as well.  Dumoulin explains that this is due to the fact that artists will respect the artwork of others and therefore will not vandalize it.  But let’s backtrack there, in this case not only are illegal instances of graffiti in Vancouver decreasing as a result of this program, but so too are these youths involvement in other criminal acts?  In this way we see that not only is the Restart Mural Program a legitimate artistic outlet, it also decreases unwanted graffiti and prevents the other acts of crime that its participants may have otherwise been involved in.

            It is unfortunate that the City of Vancouver should have made these budget cuts based on purely direct financial reasoning without examining the social ramifications.  Not only does cooperatively allowing graffiti artists a legitimate outlet for expression, it decreases illegal graffiti and other graffiti acts.

References

Kan, Koon-Hwee

2001            Adolescents and Graffiti.  Art Education 54(1):18-23.

Khan, Amna

2004            An Evaluation of the Graffiti Management Program At the City of Vancouver. Unpublished MS, Masters of Public Administration, University of Victoria.

Lupick, Travis

2010            Vancouver Graffiti Gone Wild. http://www.straight.com/article-324713/vancouver/graffiti-gone-wild?page=0%2C0 (accessed Feb 5, 2011).

Deterritorializing “Jai Ho”

           In 2008 “Slumdog Millionaire” made its debut to the world by way of movie theatres, downloaded files, pirated DVDs, and the many other modes of entertainment consumption.  Along with the popular film came its critically acclaimed soundtrack by Indian composer A. R. Rahman, which has won numerous awards including a Golden Globe, two Grammy Awards, and two Academy Awards (Wikipedia).  One song from the soundtrack that has particularly fascinated me is the Oscar-winning song “Jai Ho” which played at the film’s end to accompany the joyous finale dance number.  At first the song and accompanying dance routine appeared to be a playful homage to Bollywood and to the Musical Film genre, providing a vibrant representation of the resolution and ‘happy ending’ for the film’s main characters.  Since the film’s release, “Jai Ho” has gained a life of its own and has been reinterpreted and reproduced so many times through various media and in different contexts that it is difficult to fully understand the song’s true meaning.

            In an attempt to better understand the relationship between the original and reproductions, I would like to engage the reader in a comparison of the originally released music video for the “Jai Ho” song (see video at http://www.youtube.com/watch?v=vRC4QrUwo9o) and the subsequent reinterpretation of the song by American pop group, The Pussycat Dolls (see video below). If we are to understand music as art and to appreciate “Jai Ho” (and its reproductions) as art, the viewer and listener must consume this artwork with a consideration of the context in which it was produced.

            Walter Benjamin describes the essential element of an artwork as its “aura” and suggests that when art works are reproduced the essence of that “aura” is diluted or lost (1936).  How should we interpret the “aura” of a song?  There are many elements contributing toward a finished musical product (among them are rhythm, timbre, tone, time signature, and melody) but which of these makes up the “aura”?   The original “Jai Ho” music video is composed of an eclectic mixture of these features borrowing elements typical of Pop, Disco, Indian, and other assorted World Music styles.  The music video includes the final dance scene (comprised of a similarly assorted mixture of dance styles) at the train platform interspersed with scenes from throughout the film.  “Jai Ho (You Are My Destiny)” by The Pussycat Dolls also includes a dance scene at a train platform, though the Dolls are dressed a little more provocatively than the cast and crew of “Slumdog Millionaire”.  The Pussycat Doll’s take on “Jai Ho” involves less clothing, no scenes from the movie, a rewrite of the lyrics into English ones that have little or no relation to the original Hindi lyrics, and a change in the apparent meaning of the title from the Hindi “be victorious” to the English “you are my destiny”.  Both the original “Jai Ho” and The Pussycat Dolls’ reinterpretation of it became wildly popular so in either case, the artists were doing something right. 

            I will be the first to admit that I do not think very highly of The Pussycat Dolls and my first response to their take on the song was to roll my eyes.  In the true spirit of unbiased anthropological observation I took another look at “Jai Ho (You are My Destiny)”.  The Dolls are not as scantily clad as I’ve seen them in the past, their dance moves are not as sexually suggestive as they usually are, and regardless of the change in the lyrics and their associations I still have not been able to get either version of the song out of my head for the last week.  Where then can we say the “aura” lies?  Art is subjective, not objective, and so in each work of art there are multiple meanings and “auras” for those who create the artwork and those who consume it.  Cultural production takes place in what Arjun Appadurai calls a “deterritorialized world” (1996:61).  The original work, “Jai Ho”, shows evidence of many different cultural influences.  Considering the “deterritorialized world” in which we live it stands to reason that works of art should be influenced by, created in, and eventually reinterpreted by a plethora of cultural contexts.

References

Appadurai, Arjun

1996            Global Ethnoscapes: Notes and Queries for a Transnational Anthropology. In Modernity at Large: Cultural Dimensions of Globalization, Pp. 48-65. Minneapolis and London: University of Minnesota Press.

ARRahmanVEVO

2009            “Jai Ho (You Are My Destiny).” YouTube. http://www.youtube.com/user/PussycatDollsMusic#p/f/0/Yc5OyXmHD0w(accessed Jan. 22, 2011).

Benjamin, Walter

1936            The Work of Art in the age of Its Technological Reproducibility. In Walter Benjamin: Selected Writings, Volume 3: 1935-1938. Cambridge Mass: Harvard University Press.

Lego Montage Films

2009            “Slumdog Millionare - Official Jai Ho Music Video.” YouTube. http://www.youtube.com/watch?v=vRC4QrUwo9o (accessed Jan. 22, 2011).

Slumdog Millionaire Soundtrack

2008            http://en.wikipedia.org/wiki/Slumdog_Millionaire_%28soundtrack%29