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http://www.mas160.com

Felipee play "Arnie Versus Ghandi" Me&You (TM Juke+Robert Luis), bhangra dance @ +160.

Title: Arnie Versus Ghandi
Artist: Me&You
Album: Music For Birthdays
Label: Rebtuz
Style: bhangra drum & Bass

+160 Drum & Bass Suite, EVERY tuesday night @ Bahrein, Lavalle 345, Buenos Aires, ARGENTINA.

http://www.myspace.com/plus160

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for the uninitiated~
Many South Asian DJs, especially in America, have mixed Bhangra music with drum & bass, house, reggae, and hip-hop to add a different flavor to Bhangra. These remixes continued to gain popularity as the nineties came to an end.

Of particular note among remix artists is Bally Sagoo, a Punjabi-Sikh, Anglo-Indian raised in Birmingham, England. Sagoo described his music as "a bit of tablas, a bit of the Indian sound. But bring on the bass lines, bring on the funky-drummer beat, bring on the James Brown samples", to Time magazine in 1997. He was recently signed by Sony as the flagship artist for a new . The most popular of these is Daler Mehndi, a Punjabi singer from India, and his music, known as "Bhangra Pop". Mehndi has become a major name not just in Punjab, but also all over India, with tracks such as Bolo Ta Ra Ra and Ho Jayegee Balle Balle. He has made the sound of Bhangra-pop a craze amongst many non-Punjabis in India, selling many millions of albums. Perhaps his most impressive accomplishment is the selling of 250,000 albums in Kerela, a state in the South of India where Punjabi is not spoken.

Although it sounds like a musical form that would follow the original Bhangra, post-Bhangra most specifically refers to a similar musical form with a greater emphasis on inter-dance-genre dialogues. In this way, post-Bhangra has an element of remixing and fusing Black and Asian styles of dance that is not as prevalent in traditional Bhangra. According to Sanjay Sharma, "just as Bhangra has been in constant dialogue with other (black) dance genres, post-Bhangra carries this through more incisively and intentionally."[20] At the same time though, post-Bhangra contains the same components of racial and cultural affirmation that have been seen in Bhangra before it. In fact, with a larger focus on the dance fusion style and post-Bhangra "[operating] musically more in terms of other genres, of Ragga, Rap or Jungle music,"it is very easy to see how this music attacks the essentialism that lay at the heart of the British Empire. Indeed, by fusing such starkly contrasting dance genres, post-Bhangra artists subject racial signifiers such as "Asianness" or "Blackness" to immense scrutiny. While these notions of racial and cultural essentialism can produce national pride and a finite sense of identity, they can also be highly detrimental to society at large. Since essentialism claims that people can be categorized according to some definite essence, it often leads to civil disputes and factionalism and places social boundaries between different groups of people, preventing cultural diffusion. On the flip side, post-Bhangra offers these displaced Asians in the UK an avenue for expressing their condemnation of the rigid essentialism which questions their participation in a black-dominated music scene in the first place. Not only this, but Asian artists address the issue that they too have faced social difficulties in the UK and that their music is truly authentic.

http://en.wikipedia.org/wiki/Bhangra