











A place to clear my head, and yours












After years of wanting to do so, I finally laid my hands on The Dark Knight Returns by Frank Miller. A fantastic re-imagining of the Batman mythos in the late Eighties, this graphic novel probably made sure that the Caped Crusader would never again be thought of as anything other than what he is- a haunted, troubled psychopath who is ultimately scarier than the myriad bizarre villains he fights. I don’t think the current version of the Batman movie franchise would have been possible without this brilliant piece of work. But you al probably already knew that. Along with Alan Moore’s peerless Watchmen, what totally impressed me about The Dark Knight (and to be fair unsettled the pants off me) is how so much of the politics of the book is so hyper-relevant right now. Both the books came out in the Eighties, bang in the middle of the deeply divisive and paranoid reigns of Ronald Reagan and George Bush Sr. in the
There are some unforgettable images in the book, like the intrusive TV media that makes it it’s business to pry everywhere. In the many violent clashes between the savage old Batman (Bruce Wayne’s pushing 60) and his adversaries, the TV and its vacuous talking heads reducing everything to talking points, jostling for that breaking news story. I was reminded of our own illustrious media coverage of the Mumbai attacks. The city slickers aren’t spared either. There’s one obnoxious minor character, an ad executive, who keeps cropping up throughout the narrative, doing and saying some heinous things and then saying he’s not to blame. Who’s to blame then? Why, the government, other people, minorities, everyone else. Again compare that to the urban protestors in many of our cities who’ve been threatening not to pay taxes and urging the government to bomb
Nor are the politicians spared either. There’s the caricature
But the scariest are the superheroes themselves. While the Batman is consumed with rage
and frustration and acts like the creepy control freak vigilante he is, Superman has bought his peace with the repressive government by becoming a weapon of war, albeit one with a conscience. Alan Moore investigates a similar theme- and in many ways does it better- in The Watchmen, but here Miller is dealing with real, mainstream comic book heroes, which makes the book pretty cutting edge.
Finally there are some unforgettable images- of the Joker coming out of catatonia (a series of six panels where he sees the Batman on a TV screen, his expression changing from a bland, dead expression to the murderous grin we all know so well), of an aged Batman almost suffering from a cardiac arrest, of a nightmarish nuclear strike and finally a plane crashing into a skyscraper. Spooky.
Connoisseur’s Phrasebook
The first five single malts (Sober)
So you start off with your head placed squarely on your shoulder. You gamely sip the first whisky, then the second, then the third….Oops you’re occasionally forgetting not to swallow the whisky. Hmm…
Malt 1: A dignified taste with a soft nose like a stately garden in a soft haze; but dark flavours bloom abundant on the palate, with a sticky, salty end.
Malt 2: A hard nose, medium bodied, but a rich smoky taste with malty, peaty fruity notes and more than a hint of a sea breeze; full bodied, with rich citrus aromas and a long, gentle, lingering, complex, hard to define minty end.
Malt 3: Hints of cherry pie mingle with sharp notes of citrus and melon. A potentially overwhelming grassiness is subdued by a little grape stalk. Pear skin lingers, gives it a balanced, playful ending.
Malt 4: On the nose, yellow fruit is pleasantly plump, and precedes a delicate peat-smoke. Mingled tones of ginger and geranium create a spicy palette, rounded out with a smooth vanilla finish.
Malt 5: Sherry-sweet nose with a good bouquet; a hint of wood and vanilla; full bodied and round with a complex, patience-yielding palate and a long, lingering finish.
The next five (Drunk)…
So, by the time you’d gotten to the long, lingering finish of Malt number 5, you’re well on your way to that woozy, heady feeling. Maybe your spirits are up and you feel like you’re floating down the Scottish Highlands to the sound of celestial bagpipes. Ah, bagpipes, there’s something mournful about them, isn’t there? Reminds you of your ex girlfriend? Sigh…
Malt 6: I'm on a salty cliff made of honey and bagpipes, the mint is wrestling the sultanas and oak, I think the sherry's winning.
Malt 7: A squishy buttery nose with a hint of marmalade and ex-girlfriends, with a firm, chocolate follow-through, and a toasty, sad finish. She doesn't love me after all.
Malt 8: A ferocious nose, I hear trumpets and a bar fight, followed by a skip through fields of toast and fudge.
Malt 9: A weepy nose. Sweet cherry blossoms are gliding down the moonbeams; the full-bodied chickpeas are dueling high up in the air in a long and lengthy battle to the bitter end.
Malt 10: Oh woe is me. One more dram please.
You Poet
You poet of unremembered night who are also the soul, the breeze, the tumbling of lights from railroad steel to bop licks are gone.
You poet of coronets, blowing hard and soft into a night heavy with heat or supple with rain and mud-splattered shoes are gone.
You poet of drunken yells, bells and sleepless spells of crying out loud for the sheer solace of unprovoked joy and love are gone.
You poet of shivering thighs, slapping holy pubic hair to moan in the gently rolling breasts of ceaseless sighs are gone.
You poet with visions of the snake and the ghosts of bums hurrying through lands of memory, words, boasts, stories, songs and children are gone.
You poet giving voice to the unknown distractions of moving moving, never stopping to find hypnosis in television sets and tax returns and bonds of money and gore are gone.
You poet of ghostly horses, saints and cons, sweet snatches, St Teresa bums, mumbling Dharma chanting woodsman poets, beatific dogs and movement are gone.
You poet I dream of in wild longings of desperate kisses I never had, the friends I never yelled “Fuck You” at, the madman who’s always fading from my memory, the song I should’ve followed to an end, the preacher I never flung a book at, the chronicler of a nation of the mind where all freedom resides in words, thoughts, desire and despair, but kindness too, are gone.
You poet, wizard of words, typing lines of distilled riffs cutting through sky blue domes and forgotten desolate tomes are gone.
Ah woe.
- For Jack Kerouac, New Delhi, September 12, 2008
Vampire Weekend- Vampire Weekend
Imagine a Wes Anderson film, say The Darjeeling Limited. Now take the artifice and detail of that movie and turn it into music. It will probably sound like Vampire Weekend, 2008’s biggest phenomenon. The New York foursome make music that many call “Indie Afro-Pop”- the band itself calls it “Upper West Side Soweto” like true Frat brats- and yet this is a misleading term. Vampire Weekend’s songs are primarily meticulously crafted pop songs with irresistible melodies and smart, quirky lyrics.
The Africana touch is there- in the infectious beat of songs like Mansard Roof or the clean guitar lines Cape Cod Kwassa Kwassa or Oxford Comma. But important as these elements are, the much hyped African link is but one of several equally important influences. Principal among these are the ringing Indie guitars on ditties like A-Punk and Campus and a fondness for designing elaborate soundscapes over simple songs. Add to that the complexity of their shifts in pace and rhythm and occasional swooning string and flute arrangements-Mansard Roof, The Kids Don’t Stand a Chance- and you get a post-modern baroque pop band par excellence. On the affecting love song Bryn, they take an Irish refrain, and marry it to African beats to great effect. As singer and guitar player Ezra Koenig confessed in Spin magazine about critics leveling charges of cultural appropriation against them, “…that debate has already happened. We’re in a context that’s coming after instances of people actually stealing from each other.” Yes they pay as much attention to their music as to post colonial theory, pore over gestalt and zeitgeist and the paintings of Jean-Michel Basquiat, but all that preciousness does not rob their music of authenticity.
Then there are the lyrics. Maybe no other band in recent times has evoked university life as cheekily as Vampire Weekend does on the album. It is true that the university they are talking about is the


Here's another bit of music I heard recently and have fallen in love with it. The review in another form will appear shortly in BT More. Here's the unedited version.
Johnny Greenwood- There will be Blood