Carnatic music

And they were supposed to serve the gods.

And the last big ticket celebrity Devadasi was MS Subbalakshmi, who was the biggest Carnatic vocal singer we got to know about.

Thank you, Nidish, for introducing the Devadasis with the Kshatriya Padam.

For me, the Kshatriya Padams are very, very special because, as you know, my work has been a lot on the kind of interrogating and celebrating the aesthetics of the erotic within Indian culture.

Metro Boomin was born in 1993, influential record producer who helped to define the modern trap sound by crafting tracks for icons like Future, Migos, and 21 Savage.

M.S. Subbulakshmi was born in 1916, Indian vocalist who became a cultural icon as being the first musician ever to be awarded the Bharat Ratna, which is India's highest civilian honor, for her masterful Carnatic classical singing.

Winston Grennan was born in 1944, Jamaican session drummer who is widely credited with inventing the influential one drop drumbeat that helped to define the rhythm of rocksteady and reggae music.

Charisma AKA Luna was born in 1974.

For me, I think culturally what is so dynamic about the coming together of these different cultures is essentially the clash, the clash of ideologies and styles.

So as you talked about in Bollywood, having music, uh, one of the things I think is really cool about the, about my film is the soundtrack, where we not only have a very cool, edgy synth, piano, cello kinda soundtrack, but we also included mridangam, veena, sitar, bansuri, and other, and Hindustani and Carnatic voices, making this new kind of mix that, uh- That I'd never heard before.

And I have to give huge props to my composer, Forrest Gray, for being able to navigate that cultural cohesion and to sing.

Yeah, I really-- I dig-- I don't, I don't know if he also did the music in the trailer.

which was originally, a lot of it was originally recorded in Mumbai in 2009, but it wasn't completely finished.

And so he's brought together an ensemble of musicians, Carnatic singer Vijay Prakash, who we just heard for a second.

Rakesh Charasia and Basarai, Sabir Khan and Sarangi, Ranjit Bharat and Keys across the album and Niladri Kumar and Sita.

I had the joy of seeing Charles Lloyd this summer at Montreux Jazz Festival.

And which is three bars of four, four bars of three.

It's a Carnatic core wife phrase.

And, you know, Ranjit Sir used it all the time.

He also has a composition that begins with this and grows into its own thing.

"What is the steamer's name?" asked Mr. Fogg.

"The Carnatic." "Ought she not to have gone yesterday?" "Yes, sir; but they had to repair one of her boilers, and so her departure was postponed till tomorrow." "Thank you," returned Mr.

Fogg, descending mathematically to the saloon.

Passepartout clasped the pilot's hand and shook it heartily in his delight, exclaiming, "Pilot, you are the best of good fellows!" The pilot probably does not know to this day why his responses won him this enthusiastic greeting.

He remounted the bridge, and guided the steamer through the flotilla of junks, tankas, and fishing boats which crowd the harbour of Hong Kong.

At one o'clock the Rangoon was at the quay, and the passengers were going ashore.

Chance had strangely favoured Phileas Fogg, for had not the Carnatic been forced to lie over for repairing her boilers, she would have left on the 6th of November, and the passengers for Japan would have been obliged to await for a week the sailing of the next steamer.

Mr. Fogg was, it is true, twenty-four hours behind his time; but this could not seriously imperil the remainder of his tour.

It's kind of funny because the Carnatic music world also reveres its older composers in a certain way, and particularly non-living composers, I think.

When I say that it's people who've composed material that gets performed again by other individuals is what I'm going to refer to as what they are calling compositions.

Because actually, like I mentioned, a lot of a traditional concert is improvised, like anywhere from like 30 to 60% of the concert is improvised, which is a huge chunk of material.

But at the same time, as an oral tradition, I think in some ways the practitioners are rightly protective of pre-composed material too, because that is what gets passed down.

And say, I, for example, I think I'm the 10th or 11th generation descendant in the Guru Sishya tradition.

So this is not like birth lineage, but this is my teachers, teachers, teachers, teachers, teacher, going back several generations, is one of the greatest composers of Carnatic music, Sri Muthuswami Dixitark.

And interestingly, our versions of some of his compositions are different from the mainstream ones.

And so if I went to my guru's guru, who isn't living anymore, but if I spoke to her, she would defend her versions by saying that we've received them in this lineage and we have to protect them.