278 notes to pages 252–268
The percentage of “likes” from Namibia would rise to 52.5 percent and the “likes” from other
African countries to 18.8 percent (with more than half of the latter, or 6,620 “likes,” coming
from Egypt, which is also somewhat strange).
- If we exclude India’s and Serbia’s “likes” from the total of EES’s “likes,” the percentage
from continental Europe, excluding Germany, would fall to 5.4 percent; the “likes” from
Germany would rise to 8.6 percent. - EES has also created a fan page (http://www.megaphone-ghazzies.com) whose tagline
reads, “This is where EES fans & community meet to show their support,” and which has
been used to coordinate support from German fans, encouraging them to hand out leaflets
and send requests to radio stations to get EES’s songs on playlists.
coda- In a similar vein, Cassis Kilian (2012: 330), in her analysis of two Nigerian remakes of
Hollywood movies, speaks about the remake’s “oscillating” between projection and transfor-
mation, reenactment and modification of the foreign film. - Interestingly, V. S. Naipaul (2012: preface), whose novel The Mimic Men is often quoted
in postcolonial studies, suggests a frequent misreading of his book’s title: “The title gave
trouble when the book was published. I should have been more careful. People thought ‘the
mimic men’ was a way of saying ‘the mimics’ and this gave rise to a certain way of writing
about the novel, in which colonial people became mimics. In fact, the matter here is more
serious: colonial people, with their disturbed inner life, are mimicking the condition of men.”