A controversial Indian politician from the ruling Bharatiya Janata Party (BJP), has called the Taj Mahal a 'blot on Indian culture' built by 'traitors'.
Sangeet Som, a lawmaker in the northern state of Uttar Pradesh, was addressing supporters in the city of Meerut.
The remarks, which come weeks after the famous mausoleum was excluded from an Uttar Pradesh tourism booklet, have sparked shock and outrage online.
The phrase 'Taj Mahal' was trending on Twitter on Monday.
'Many people were pained to see that the Taj Mahal was removed from the list of [historical places in the UP tourism booklet],' Mr Som said on Sunday.
'Is this history that the person who built the Taj Mahal imprisoned his father?
'Do you call it a history when the one who built the Taj targeted many Hindus in Uttar Pradesh and Hindustan?
'If this is history, then it is very unfortunate and we will change this history, I guarantee you.'
Shah Jahan, the Muslim Mughal emperor who built the Taj Mahal in memory of his favourite wife in 1643, did not imprison his father. He was imprisoned by his son Aurangzeb until his death.
Mr Som has a history of controversial statements. He has previously been charged with stoking tensions during Hindu-Muslim violence in Muzzafarnagar which killed 62 people in 2013.
Nalin Kohli, a spokesperson for the BJP, distanced the party from Mr Som's comments, though he stopped short of condemning them.
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'That is his individual view,' the NDTV news channel quoted Mr Kohli as saying.
'Taj Mahal is an important part of our history. It's part of incredible India.
'What happened in history cannot be erased but at least it can be well-written history.'
On social media many Indians have leapt to the defence of the iconic monument.
'Anyone who calls the Taj Mahal a 'blot on Indian culture' has very clearly lost the plot', tweeted journalist Vikram Chandra to his 2.8 million Twitter followers.
Ramesh Srivats, who is well-known in India for his wry Twitter observations, said Sangeet Som 'must be against marbles, having lost his'.
A few, however, echoed Mr Som's words in lending their support to his remarks.
The Taj Mahal has occasionally been a contentious symbol for some Hindus.
Hindu nationalist Yogi Adityanath, the chief minister of Uttar Pradesh, said in June the Taj Mahal 'did not reflect Indian culture'.
By Chris Bell, UGC and Social News team.
Taj Mahal in 2005 | |
| Background information | |
|---|---|
| Birth name | Henry Saint Clair Fredericks |
| Born | May 17, 1942 (age 77) Harlem, New York, U.S. |
| Genres | |
| Occupation(s) | |
| Instruments |
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| Years active | 1964–present |
| Labels | |
| Associated acts | |
| Website | Tajblues.com |
Henry Saint Clair Fredericks (born May 17, 1942), who uses the stage name Taj Mahal, is an American blues musician, a singer-songwriter and film composer who plays the guitar, piano, banjo, harmonica, and many other instruments.[1] He often incorporates elements of world music into his works and has done much to reshape the definition and scope of blues music over the course of his more than 50-year career by fusing it with nontraditional forms, including sounds from the Caribbean, Africa, and the South Pacific.[2]
Born Henry Saint Clair Fredericks, Jr. on May 17, 1942, in Harlem, New York, Mahal grew up in Springfield, Massachusetts. He was raised in a musical environment; his mother was a member of a local gospel choir and his father was an Afro-Caribbean jazz arranger and piano player. His family owned a shortwave radio which received music broadcasts from around the world, exposing him at an early age to world music.[3] Early in childhood he recognized the stark differences between the popular music of his day and the music that was played in his home. He also became interested in jazz, enjoying the works of musicians such as Charles Mingus, Thelonious Monk and Milt Jackson.[4] His parents came of age during the Harlem Renaissance, instilling in their son a sense of pride in his Caribbean and African ancestry through their stories.[5]
Because his father was a musician, his house was frequently the host of other musicians from the Caribbean, Africa, and the U.S. His father, Henry Saint Clair Fredericks Sr., was called 'The Genius' by Ella Fitzgerald before starting his family.[6] Early on, Henry Jr. developed an interest in African music, which he studied assiduously as a young man. His parents also encouraged him to pursue music, starting him out with classical piano lessons. He also studied the clarinet, trombone and harmonica.[7] When Mahal was eleven his father was killed in an accident at his own construction company, crushed by a tractor when it flipped over. This was an extremely traumatic experience for the boy.[6]
Mahal's mother later remarried. His stepfather owned a guitar which Taj began using at age 13 or 14, receiving his first lessons from a new neighbor from North Carolina of his own age who played acoustic blues guitar.[7] His name was Lynwood Perry, the nephew of the famous bluesman Arthur 'Big Boy' Crudup. In high school Mahal sang in a doo-wop group.[6]
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For some time Mahal thought of pursuing farming over music. He had developed a passion for farming that nearly rivaled his love of music—coming to work on a farm first at age 16. It was a dairy farm in Palmer, Massachusetts, not far from Springfield. By age nineteen he had become farm foreman, getting up a bit after 4:00 a.m. and running the place. 'I milked anywhere between thirty-five and seventy cows a day. I clipped udders. I grew corn. I grew Tennessee redtop clover. Alfalfa.'[8] Mahal believes in growing one's own food, saying, 'You have a whole generation of kids who think everything comes out of a box and a can, and they don't know you can grow most of your food.' Because of his personal support of the family farm, Mahal regularly performs at Farm Aid concerts.[8]
Taj Mahal, his stage name, came to him in dreams about Gandhi, India, and social tolerance. He started using it in 1959[9] or 1961[6]—around the same time he began attending the University of Massachusetts. Despite having attended a vocational agriculture school, becoming a member of the National FFA Organization, and majoring in animal husbandry and minoring in veterinary science and agronomy, Mahal decided to take the route of music instead of farming. In college he led a rhythm and blues band called Taj Mahal & The Elektras and, before heading for the U.S. West Coast, he was also part of a duo with Jessie Lee Kincaid.[6]
In 1964 he moved to Santa Monica, California, and formed Rising Sons with fellow blues rock musician Ry Cooder and Jessie Lee Kincaid, landing a record deal with Columbia Records soon after. The group was one of the first interracial bands of the period, which likely made them commercially unviable.[10] An album was never released (though a single was) and the band soon broke up, though Legacy Records did release The Rising Sons Featuring Taj Mahal and Ry Cooder in 1992 with material from that period. During this time Mahal was working with others, musicians like Howlin' Wolf, Buddy Guy, Lightnin' Hopkins, and Muddy Waters.[7] Mahal stayed with Columbia after the Rising Sons to begin his solo career, releasing the self-titled Taj Mahal in 1968, The Natch'l Blues in 1969, and Giant Step/De Old Folks at Home with Kiowa session musician Jesse Ed Davis from Oklahoma, who played guitar and piano (also in 1969).[11] During this time he and Cooder worked with the Rolling Stones, with whom he has performed at various times throughout his career.[12] In 1968, he performed in the film The Rolling Stones Rock and Roll Circus. He recorded a total of twelve albums for Columbia from the late 1960s into the 1970s. His work of the 1970s was especially important, in that his releases began incorporating West Indian and Caribbean music, jazz and reggae into the mix. After effects trial. In 1972, he acted in and wrote the film score for the movie Sounder, which starred Cicely Tyson.[12] He reprised his role and returned as composer in the sequel, Part 2, Sounder.[13]
In 1976 Mahal left Columbia and signed with Warner Bros. Records, recording three albums for them. One of these was another film score for 1977's Brothers; the album shares the same name. After his time with Warner Bros., he struggled to find another record contract, this being the era of heavy metal and disco music.
Stalled in his career, he decided to move to Kauai, Hawaii in 1981 and soon formed the Hula Blues Band. Originally just a group of guys getting together for fishing and a good time, the band soon began performing regularly and touring.[14] He remained somewhat concealed from most eyes while working out of Hawaii throughout most of the 1980s before recording Taj in 1988 for Gramavision.[12] This started a comeback of sorts for him, recording both for Gramavision and Hannibal Records during this time.
In the 1990s he was on the Private Music label, releasing albums full of blues, pop, R&B and rock. He did collaborative works both with Eric Clapton and Etta James.[12]
In 1998, in collaboration with renowned songwriter David Forman, producer Rick Chertoff and musicians Cyndi Lauper, Willie Nile, Joan Osborne, Rob Hyman, Garth Hudson and Levon Helm of the Band, and the Chieftains, he performed on the Americana album Largo based on the music of Antonín Dvořák.
In 1997 he won Best Contemporary Blues Album for Señor Blues at the Grammy Awards, followed by another Grammy for Shoutin' in Key in 2000.[15] He performed the theme song to the children's television show Peep and the Big Wide World, which began broadcast in 2004.
In 2002, Mahal appeared on the Red Hot Organization's compilation album Red Hot and Riot in tribute to Nigerian afrobeat musician Fela Kuti. The Paul Heck produced album was widely acclaimed, and all proceeds from the record were donated to AIDS charities.
Taj Mahal contributed to Olmecha Supreme's 2006 album 'hedfoneresonance'.[16] The Wellington-based group led by Mahal's son Imon Starr (Ahmen Mahal) also featured Deva Mahal on vocals.[17]
Mahal partnered up with Keb' Mo' to release a joint album TajMo on May 5, 2017.[18] The album has some guest appearances by Bonnie Raitt, Joe Walsh, Sheila E., and Lizz Wright, and has six original compositions and five covers, from artists and bands like John Mayer and The Who.[19]
In June 2017, Mahal appeared in the award-winning documentary film The American Epic Sessions, directed by Bernard MacMahon, recording Charley Patton's 'High Water Everywhere'[20] on the first electrical sound recording system from the 1920s.[21] Mahal appeared throughout the accompanying documentary series American Epic, commenting on the 1920s rural recording artists who had a profound influence on American music and on him personally.[22]
Mahal leads with his thumb and middle finger when fingerpicking, rather than with his index finger as the majority of guitar players do. 'I play with a flatpick,' he says, 'when I do a lot of blues leads.'[7] Early in his musical career Mahal studied the various styles of his favorite blues singers, including musicians like Jimmy Reed, Son House, Sleepy John Estes, Big Mama Thornton, Howlin' Wolf, Mississippi John Hurt, and Sonny Terry. He describes his hanging out at clubs like Club 47 in Massachusetts and Ash Grove in Los Angeles as 'basic building blocks in the development of his music.'[23] Considered to be a scholar of blues music, his studies of ethnomusicology at the University of Massachusetts Amherst would come to introduce him further to the folk music of the Caribbean and West Africa. Over time he incorporated more and more African roots music into his musical palette, embracing elements of reggae, calypso,[11] jazz, zydeco, R&B, gospel music, and the country blues—each of which having 'served as the foundation of his unique sound.'[3] According to The Rough Guide to Rock, 'It has been said that Taj Mahal was one of the first major artists, if not the very first one, to pursue the possibilities of world music. Even the blues he was playing in the early 70s – Recycling The Blues & Other Related Stuff (1972), Mo' Roots (1974) – showed an aptitude for spicing the mix with flavours that always kept him a yard or so distant from being an out-and-out blues performer.'[11] Concerning his voice, author David Evans writes that Mahal has 'an extraordinary voice that ranges from gruff and gritty to smooth and sultry.'[1]
Taj Mahal believes that his 1999 album Kulanjan, which features him playing with the kora master of Mali's Griot tradition Toumani Diabate, 'embodies his musical and cultural spirit arriving full circle.' To him it was an experience that allowed him to reconnect with his African heritage, striking him with a sense of coming home.[4] He even changed his name to Dadi Kouyate, the first jali name, to drive this point home.[24] Speaking of the experience and demonstrating the breadth of his eclecticism, he has said:
The microphones are listening in on a conversation between a 350-year-old orphan and its long-lost birth parents. I've got so much other music to play. But the point is that after recording with these Africans, basically if I don't play guitar for the rest of my life, that's fine with me..With Kulanjan, I think that Afro-Americans have the opportunity to not only see the instruments and the musicians, but they also see more about their culture and recognize the faces, the walks, the hands, the voices, and the sounds that are not the blues. Afro-American audiences had their eyes really opened for the first time. This was exciting for them to make this connection and pay a little more attention to this music than before.[4]
Taj Mahal has said he prefers to do outdoor performances, saying: 'The music was designed for people to move, and it's a bit difficult after a while to have people sitting like they're watching television. That's why I like to play outdoor festivals-because people will just dance. Theatre audiences need to ask themselves: 'What the hell is going on? We're asking these musicians to come and perform and then we sit there and draw all the energy out of the air.' That's why after a while I need a rest. It's too much of a drain. Often I don't allow that. I just play to the goddess of music-and I know she's dancing.'[5]
Mahal has been quoted as saying, 'Eighty-one percent of the kids listening to rap were not black kids. Once there was a tremendous amount of money involved in it .. they totally moved it over to a material side. It just went off to a terrible direction. ..You can listen to my music from front to back, and you don't ever hear me moaning and crying about how bad you done treated me. I think that style of blues and that type of tone was something that happened as a result of many white people feeling very, very guilty about what went down.'[25]
Taj Mahal has received three Grammy Awards (ten nominations) over his career.[1]
On February 8, 2006 Taj Mahal was designated the official Blues Artist of the Commonwealth of Massachusetts.[28]
In March 2006, Taj Mahal, along with his sister, the late Carole Fredericks, received the Foreign Language Advocacy Award from the Northeast Conference on the Teaching of Foreign Languages in recognition of their commitment to shine a spotlight on the vast potential of music to foster genuine intercultural communication.[29]
On May 22, 2011, Taj Mahal received an honorary Doctor of Humanities degree from Wofford College in Spartanburg, South Carolina. He also made brief remarks and performed three songs. A video of the performance can be found online.[30]
In 2014, Taj Mahal received the Americana Music Association's Lifetime Achievement award.
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