He’s been called India’s Donald Trump: a media-savvy right-wing populist who is unafraid of upsetting everyone from the ruling elite to religious minorities as he rails against corruption.
And after returning to parliament following a 15-year absence, Subramanian Swamy says he won’t temper his shoot-from-the-hip style that has made him one of India‘s most popular if divisive politicians.
“The country’s mood has changed, like in America,” said the 76-year-old.
“You know Donald Trump—I would never have thought that a politician in the US could even get out of the first round (of the presidential primaries) with the kind of bluntness that he has shown.
“But people now want to know the truth and I have established that what I say I mean, I mean what I say.
“People come up to me in airplanes and other places and they want to shake hands, take a selfie and say that we like you very much because you tell us the truth.”
A Harvard alumni, Swamy first entered parliament as an elected member of the lower house, the Lok Sabha, in 1977 and had a stint as law minister from 1990-91.
After a lengthy absence from Delhi’s corridors of power, he was nominated to the upper house, the Rajya Sabha, last month with the backing of Hindu nationalist Prime Minister Narendra Modi.
It gives him a new platform to flay the likes of opposition leader Rahul Gandhi, whom he has ridiculed as an idiot, and tell central bank chief Raghuram Rajan to “go back to Chicago” where he was a finance professor.
While raucous debate is a regular feature of India‘s parliament, personal insults are meant to be off limits but the quick-witted Swamy often manages to outsmart the speaker.
“Everyone knows buddhu (a Hindi word meaning idiot) is codeword for Rahul Gandhi but it escaped expunging as the speaker didn’t know what I was saying,” he joked.
His similarly irreverent social media posts have brought him 2.64 million Twitter followers, more than four times Gandhi’s following.
But supporters say Swamy is more than just a parliamentary wag and point to his track record of helping expose top-level corruption.
His dogged campaigning over the corrupt allocation of telecoms licences a decade ago helped put one government minister behind bars.
More recently, he has been asking awkward questions over a controversial deal to purchase military helicopters from the Italian company Agusta.
Swamy has also filed a private criminal complaint accusing Gandhi and his mother Sonia—president of the main opposition Congress party—of misappropriating property belonging to a now-defunct newspaper.
Both fiercely deny Swamy’s allegations, saying the claims are evidence that Modi and his allies are pursuing a vicious vendetta against them.
Swamy’s critics say that many of his accusations fail to stand up and the supposedly fearless Swamy is soft on the current government.
Although Swamy used to head his own party, he joined Modi’s Bharatiya Janata Party in 2013, a year before it won power.
They also accuse him of stirring religious tensions in a country with a gory history of communal violence, notably by urging the construction of a Hindu temple at a site also claimed by Muslims in the city of Ayodhya.
He has argued that Muslims—who account for around 14 percent of the population—should be stripped of their right to vote unless they acknowledge their Hindu ancestry.
“Those minorities who stay with us, they may have complete freedom to follow their religion but culturally they should be like us,” he said
Writing in The Hindustan Times, the author Manu Joseph said Swamy’s hardline towards Muslims and the Gandhi family—who epitomise India’s traditional elite—mean he is “surely the Trump of India”.
Both men had benefited from the feeling “that political correctness has become despotic and stifling”, Joseph argued.
“In Trump and Swamy and others of their type, people find an outlet,” he added.
Some observers say Swamy’s confrontational style will backfire for the government, which needs to start mending bridges if it wants to get key policies through parliament.
Such arguments cut little ice with Swamy who is dismissive of what he calls a glorified “debating club” in the world’s largest democracy.
“Should I forget about corruption so that you can pass some bills? Don’t be silly,” Swamy said.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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