anybody said, it was for me." However, as Kapur would later explain, it was common for Asians in Birmingham to "[pick up] things from the black kids 'cus they're living together. So you hear reggae in schools and in the streets, but you also hear traditional Indian music as well." Kapur took part of his stage name from Super Cat or the "Wild Apache", a Jamaican reggae musician who is also of Indian descent, and who was Kapur's musical idol. Kapur developed his own musical style in 1990, when he visited a cousin's recording studio in Birmingham to record "Move Over India", featuring his own lyrics, dance beats and tabla. The musician modelled the song on the popular "Shank I Sheck" riddim and wrote lyrics around the theme of translation, with the song providing "rudimentary lessons in Punjabi and patois". Although he did not intend to release the song, he changed his mind when his friends enjoyed it and pressed a few private copies for himself, local pirate station PRCL and nearby reggae shops. An official release followed on Sure Delight Records, and it reached number one in Britain's reggae and bhangra charts, where it stayed for six weeks. The song was also popular in Jamaica, sold over 500,000 copies on the Indian subcontinent and was heavily bootlegged in Canada. Kapur credits the single for helping solidify young Asian aesthetic, combining Asian, white and black fashions. "Move Over India" and Apache Indian's subsequent singles saw him fuse Indian bhangra and Jamaican reggae, earning him the media title The Originator of Bhangra-Muffin, a combination of the words bhangra and raggamuffin, although the singer did not care for the term. Bhangra had become popular in the UK in the mid-1980s and was, according to Timothy D. Taylor, the first music to "develop a strong Anglo-Asian identity", particularly, argued Brooke Wentz of Vibe, when young practitioners began introducing influences of hip hop to make bhangra more dancebale than the original, folk-based form, with Apache Indian proving innovative for introducing reggae to the genre. Apache Indian explained he initially received criticism from the Indian community, who saw him, as he described it, as a "traitor to the community" for working in reggae, a genre that saw as "violent and drug-related", but that attitudes change when he expressed his Indian pride. Similarly, he said "the black community felt I was using reggae to make a