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APPLAUSE | 0:00:08 | 0:00:10 | |
My very dear friends, | 0:00:55 | 0:00:58 | |
this is something that didn't happen to me before. | 0:00:58 | 0:01:03 | |
This is the first time that I am 80, and I'm very embarrassed at the same time. | 0:01:03 | 0:01:10 | |
I don't know whether to be happy or unhappy. | 0:01:10 | 0:01:14 | |
But this spiritual journey through music | 0:01:14 | 0:01:18 | |
is the only thing that I feel important in my life. | 0:01:18 | 0:01:23 | |
My earliest memory is going to the ghats in the evenings, | 0:01:54 | 0:01:59 | |
and spending hours there, you know. | 0:01:59 | 0:02:02 | |
Someone is to be with me to see that I don't go and jump in the Ganges or get lost! | 0:02:02 | 0:02:09 | |
The heart is such magic with the shehnai playing, | 0:02:20 | 0:02:24 | |
and all the temples, | 0:02:24 | 0:02:26 | |
and they're enacting the Ramayana or some other mythological story. | 0:02:26 | 0:02:32 | |
Everything is going on there - children are being born. | 0:02:32 | 0:02:36 | |
In the distance, you have the Burning Ghat. | 0:02:36 | 0:02:40 | |
You have the whole world there. | 0:02:40 | 0:02:42 | |
As much as I remember of my mother, | 0:03:21 | 0:03:24 | |
it's not a very happy memory that I have. | 0:03:24 | 0:03:27 | |
I felt she was so lonely | 0:03:27 | 0:03:30 | |
and she used to work very hard | 0:03:30 | 0:03:32 | |
to give education to my three elder brothers who were going to college and school. | 0:03:32 | 0:03:37 | |
Taking care of me all by herself. | 0:03:37 | 0:03:40 | |
And, automatically, I felt... | 0:03:40 | 0:03:44 | |
I won't say anger, | 0:03:44 | 0:03:46 | |
but sort of...a hostile feeling towards my father | 0:03:46 | 0:03:51 | |
because he was never there. Either he was in Calcutta practising law or he was in London. | 0:03:51 | 0:03:58 | |
The first time I saw him, | 0:04:00 | 0:04:02 | |
I was eight in Benares. | 0:04:02 | 0:04:05 | |
And he came hardly for two weeks - | 0:04:05 | 0:04:08 | |
much less, maybe - | 0:04:08 | 0:04:10 | |
and stayed in a hotel. | 0:04:10 | 0:04:13 | |
He looked so different. | 0:04:13 | 0:04:15 | |
He was very fair in colour and dressed immaculate Western dress. | 0:04:15 | 0:04:20 | |
To me, he seemed like a sahib. | 0:04:20 | 0:04:23 | |
He was coming back to India, actually. | 0:04:25 | 0:04:28 | |
He got a very good offer. He might have taken it and we were hoping he would. | 0:04:28 | 0:04:33 | |
But somehow, on the way, in London, he died. | 0:04:33 | 0:04:38 | |
My mother - she was my greatest friend, really. | 0:06:01 | 0:06:05 | |
At that time period of... until about ten or so. | 0:06:05 | 0:06:09 | |
She would tell me all the stories. | 0:06:09 | 0:06:12 | |
Not only fairy tales, but also historical stories. | 0:06:12 | 0:06:16 | |
She was in Rajasthan for many years. | 0:06:16 | 0:06:19 | |
She told me about all the wonderful kings, brave kings who fought against invasions. | 0:06:19 | 0:06:26 | |
Then she would tell me about the stars and the moon... | 0:06:27 | 0:06:31 | |
with whatever knowledge she had. It wasn't very scientific maybe, | 0:06:31 | 0:06:36 | |
but she knew all the names of the different ones. | 0:06:36 | 0:06:41 | |
Being born in a Brahman family | 0:07:32 | 0:07:35 | |
and being raised in Benares, | 0:07:35 | 0:07:38 | |
which has so much of a religious aura, | 0:07:38 | 0:07:41 | |
I was - without trying to know or be - a very religious person, | 0:07:41 | 0:07:47 | |
I was brought up in the atmosphere. | 0:07:47 | 0:07:50 | |
And especially...gods like Siva or Krishna... | 0:07:50 | 0:07:56 | |
I mean, to us... | 0:07:56 | 0:07:58 | |
especially Krishna... | 0:07:58 | 0:08:01 | |
they're like persons who are still there. | 0:08:01 | 0:08:04 | |
We talk about Krishna, write songs about him, sing about him... | 0:08:04 | 0:08:08 | |
He is there in every art form - dance or music... | 0:08:08 | 0:08:13 | |
stories... | 0:08:13 | 0:08:15 | |
and if you go to Mathura, | 0:08:15 | 0:08:18 | |
you will have that feeling that he is somewhere there talking, that you know...Krishna was here. | 0:08:18 | 0:08:25 | |
And that's what it has been with me - this very nearness feeling to Krishna. | 0:08:25 | 0:08:31 | |
Anything I saw, like silent films, and later on, talkies, and theatre, | 0:09:16 | 0:09:22 | |
whatever, you know... | 0:09:22 | 0:09:24 | |
I used to enact it in front of a mirror. | 0:09:24 | 0:09:29 | |
Sometimes be the hero and the villain, or the villain...or heroine also... | 0:09:29 | 0:09:36 | |
When I started performing, I was already a dancer as well as a musician. | 0:10:03 | 0:10:09 | |
Dance has always fascinated me. | 0:10:10 | 0:10:13 | |
My school days in Benares came to an end when I was nine. | 0:10:41 | 0:10:45 | |
And my brother, Uday - | 0:10:45 | 0:10:48 | |
we called him Dada - | 0:10:48 | 0:10:50 | |
took me into his dance troupe. | 0:10:50 | 0:10:53 | |
What happened - he had a partner who was French. | 0:11:04 | 0:11:08 | |
Her name was Simone Barbier | 0:11:08 | 0:11:11 | |
She was a pianist. Beautiful pianist. | 0:11:11 | 0:11:14 | |
He was in love with her. He taught her dancing. She left piano. | 0:11:14 | 0:11:19 | |
A name was given - Simkie. | 0:11:19 | 0:11:22 | |
"Bizarres instruments!" | 0:11:29 | 0:11:31 | |
We can imagine 1932... | 0:11:35 | 0:11:39 | |
Wow! | 0:11:39 | 0:11:41 | |
Simkie... | 0:11:42 | 0:11:45 | |
He was such a wonderful dancer, | 0:11:51 | 0:11:54 | |
and he was just...not sexy, but he was beautiful! | 0:11:54 | 0:12:00 | |
That's me! | 0:12:04 | 0:12:07 | |
THEY CHEER | 0:12:07 | 0:12:10 | |
It was too much for me from Benares to Bombay - | 0:12:18 | 0:12:22 | |
Bombay was something which I couldn't believe. I would get fever all the time with the excitement. | 0:12:22 | 0:12:29 | |
And from there, on the boat... | 0:12:30 | 0:12:33 | |
SS Ganges. I still remember the boat. | 0:12:33 | 0:12:37 | |
And... | 0:12:37 | 0:12:39 | |
coming to Brindisi, and from there by train to Venice. | 0:12:39 | 0:12:43 | |
The San Marco's Place with all the pigeons. | 0:12:43 | 0:12:47 | |
And then the train journey. | 0:12:47 | 0:12:50 | |
And it was very cold and I had never experienced such cold weather. | 0:12:50 | 0:12:56 | |
Everything was so exciting. | 0:12:56 | 0:12:58 | |
And finally, Paris - | 0:12:58 | 0:13:01 | |
art centre of the world. | 0:13:01 | 0:13:03 | |
Segovia lived a few houses away from us. He used to come sometimes. I used to sit on his lap. | 0:13:06 | 0:13:12 | |
And he loved Indian music. | 0:13:12 | 0:13:15 | |
He played for us one or two days. | 0:13:15 | 0:13:18 | |
So I was so fortunate in hearing the best of classical music, | 0:13:18 | 0:13:24 | |
whether Jascha Heifetz or Kreisler, or going to Toscanini's conducting, | 0:13:24 | 0:13:30 | |
or Paderewski's piano. | 0:13:30 | 0:13:32 | |
Chaliapin singing basso with chandeliers shaking almost. | 0:13:32 | 0:13:37 | |
So that one side, | 0:13:37 | 0:13:40 | |
then all the French accordion music... | 0:13:40 | 0:13:43 | |
Georges Milton, at that time, was very famous... | 0:13:43 | 0:13:47 | |
HE SINGS IN FRENCH | 0:13:47 | 0:13:50 | |
Then I had a lot of discs. | 0:13:50 | 0:13:54 | |
The song I remember so well... | 0:13:54 | 0:13:57 | |
# I love you so much Why don't you feel it? | 0:13:58 | 0:14:03 | |
# I love you so much | 0:14:03 | 0:14:06 | |
# Why don't you feel it? | 0:14:06 | 0:14:08 | |
# I love you so much | 0:14:08 | 0:14:11 | |
# My eyes reveal it | 0:14:11 | 0:14:13 | |
# It's a wonder you don't feel it | 0:14:13 | 0:14:17 | |
# It's a wonder you don't feel it | 0:14:17 | 0:14:20 | |
# I love you so much... # | 0:14:20 | 0:14:23 | |
It goes on like that. And I used to love that - I'd play it again and again and again! | 0:14:23 | 0:14:28 | |
BIG BAND MUSIC | 0:14:29 | 0:14:33 | |
Going to America with the group in those days... | 0:14:37 | 0:14:42 | |
there were a lot of people who were rather doubtful whether we would have success, | 0:14:42 | 0:14:48 | |
but because of Dada's charisma and the well-presented show in the American way of publicity... | 0:14:48 | 0:14:55 | |
and the best theatre in Broadway. | 0:14:55 | 0:14:59 | |
What a success! For five, six years, we were on top of the world. | 0:14:59 | 0:15:04 | |
It came..."God On The Stage!" | 0:15:15 | 0:15:19 | |
The Sunday Times... The New York Times... | 0:15:19 | 0:15:22 | |
superstar in those days. | 0:15:22 | 0:15:25 | |
We never had a superstar like that. Not just in your own city or own country, but world over. | 0:15:25 | 0:15:33 | |
When we went to Hollywood... | 0:15:43 | 0:15:47 | |
he was mad for the cinema stars. | 0:15:47 | 0:15:51 | |
Jean Harlow...! He went straight and got their autographs. | 0:15:51 | 0:15:55 | |
-Jean Harlow... -Jean Harlow. I was in love with her! | 0:15:55 | 0:16:00 | |
Marie Dressler used to be the old actress. | 0:16:03 | 0:16:07 | |
She wanted to adopt me! | 0:16:07 | 0:16:09 | |
She was so much in love with me... I was 13½, going 14. | 0:16:09 | 0:16:14 | |
Marie Dressler wanted to... | 0:16:14 | 0:16:16 | |
We were at her home, big party - Clark Gable, Joan Crawford, Greta Garbo - they were all there. | 0:16:16 | 0:16:24 | |
And when she proposed that, | 0:16:25 | 0:16:28 | |
my brother... I saw them discussing something and my brother was there saying no. | 0:16:28 | 0:16:34 | |
And he called the other brother. They all said no. | 0:16:34 | 0:16:38 | |
And I was so angry...! I was crying. I said, "I want to be adopted by her! | 0:16:38 | 0:16:44 | |
"I want to stay in Hollywood! | 0:16:44 | 0:16:47 | |
"I want to become a film star!" | 0:16:47 | 0:16:49 | |
And they wouldn't let me. What a sad thing! | 0:16:49 | 0:16:54 | |
SCAT MUSIC | 0:16:54 | 0:16:58 | |
SITAR MUSIC | 0:17:03 | 0:17:07 | |
I loved dancing and I think I would have been a good dancer. | 0:17:49 | 0:17:54 | |
I was 15, 16 when I composed a piece myself, | 0:17:54 | 0:18:00 | |
completely choreographed it - a solo dance. | 0:18:00 | 0:18:03 | |
I used a lot of footwork | 0:18:03 | 0:18:06 | |
which in those days was very much associated with erotic type of words | 0:18:06 | 0:18:12 | |
and dancing girls, you know. | 0:18:12 | 0:18:15 | |
But Baba - that is my guru... | 0:18:15 | 0:18:19 | |
He was always giving me a little... | 0:18:19 | 0:18:22 | |
"This is not the way... | 0:18:22 | 0:18:25 | |
"This is not the life to learn seriously. | 0:18:25 | 0:18:29 | |
"You are like a butterfly. | 0:18:29 | 0:18:31 | |
"You do this, you do that, you run around girls... | 0:18:31 | 0:18:35 | |
"I mean, you are not serious in anything. | 0:18:35 | 0:18:39 | |
"And you have so much talent, | 0:18:39 | 0:18:41 | |
"and I will teach you... I would LOVE to teach you... | 0:18:41 | 0:18:45 | |
"but only if you leave everything and come to me. I'll teach you." | 0:18:45 | 0:18:51 | |
This went directly in my head and stayed there. | 0:18:51 | 0:18:54 | |
It was haunting me. And I was having much more fun all around. | 0:18:54 | 0:18:59 | |
I was going through such turmoil in my mind, | 0:18:59 | 0:19:04 | |
and gradually, I decided that, "No, I'll have to work and learn from him." | 0:19:04 | 0:19:11 | |
The way... I was attracted to him as... | 0:19:12 | 0:19:16 | |
I mean, I had only seen Pablo Casals or Kreisler at that stage... | 0:19:16 | 0:19:22 | |
I never had any idea of Indian musicians. He was the first one. | 0:19:22 | 0:19:28 | |
He was, to me, like a Himalaya. | 0:19:28 | 0:19:30 | |
Taking a guru was the biggest decision of my life. | 0:19:56 | 0:20:01 | |
It demanded absolute surrender - | 0:20:01 | 0:20:04 | |
years of fanatic dedication and discipline. | 0:20:04 | 0:20:08 | |
I stayed with Baba more than seven years. | 0:20:09 | 0:20:13 | |
He was a tyrant, absolutely, | 0:20:13 | 0:20:16 | |
and I was always frightened of him. | 0:20:16 | 0:20:19 | |
Now I thank God for bringing me to Baba. | 0:20:22 | 0:20:26 | |
What he gave me is all my life. | 0:20:28 | 0:20:31 | |
'The grand old man of Indian music, | 0:20:55 | 0:20:58 | |
'Allaudin remains the uncrowned king of my heart, | 0:20:58 | 0:21:02 | |
'a versatile musician | 0:21:02 | 0:21:05 | |
'playing practically ALL instruments. | 0:21:05 | 0:21:08 | |
'Under the stern discipline of the master, | 0:21:08 | 0:21:12 | |
'his children and his pupils became the famous musicians they are today.' | 0:21:12 | 0:21:17 | |
Those years in Maihar with Baba were so wonderful, | 0:21:18 | 0:21:23 | |
along with his son Ali Akbar | 0:21:23 | 0:21:26 | |
and his daughter Annapurna whom I married in 1941, | 0:21:26 | 0:21:32 | |
and we had a son Shubho. | 0:21:32 | 0:21:35 | |
It was difficult for me, you can imagine, | 0:21:38 | 0:21:42 | |
after years of good living in five-star hotels | 0:21:42 | 0:21:46 | |
and all the pleasure and fun in life, | 0:21:46 | 0:21:50 | |
and I was 18. | 0:21:50 | 0:21:53 | |
So to be, all of a sudden in a place like that, | 0:21:54 | 0:21:58 | |
where there's nothing, nothing. | 0:21:58 | 0:22:00 | |
There was no cinema, no entertainment, | 0:22:00 | 0:22:04 | |
nothing that you could waste your time. | 0:22:04 | 0:22:07 | |
I had just a room to myself, next house to Baba's, | 0:22:07 | 0:22:12 | |
an ordinary bed made of coconut coir, I think - very thin, you know. | 0:22:12 | 0:22:18 | |
But the fact that I had tremendous fire in me, | 0:22:18 | 0:22:22 | |
I went through all that. | 0:22:22 | 0:22:25 | |
INAUDIBLE CONVERSATION | 0:22:32 | 0:22:35 | |
He was continuously saying things | 0:22:36 | 0:22:39 | |
relating to music and religion at the same time. | 0:22:39 | 0:22:43 | |
And he used to say all the time that music is not for entertainment. | 0:22:44 | 0:22:49 | |
It's not to make money. | 0:22:49 | 0:22:52 | |
We HAVE to do it, we have to live, | 0:22:52 | 0:22:54 | |
but it is not meant for that. It is meant for worshipping. | 0:22:54 | 0:22:59 | |
Singers have an advantage because they can sing beautiful songs | 0:22:59 | 0:23:04 | |
composed on Siva or Krishna or Devi... | 0:23:04 | 0:23:09 | |
..but we...don't have that advantage. | 0:23:11 | 0:23:14 | |
It's just mere sound...only, | 0:23:14 | 0:23:17 | |
but to create that, you had to go within and think of...and train yourself, | 0:23:17 | 0:23:24 | |
and that only can come with a lot of humility. | 0:23:24 | 0:23:29 | |
If you have ego, you are saying, "Look what I can do - the speed and this," | 0:23:29 | 0:23:35 | |
and playing for...you know, continuous praising from the public. | 0:23:35 | 0:23:41 | |
That is a different music. That's for entertainment. | 0:23:41 | 0:23:45 | |
As they say in the West, playing for the gallery. | 0:23:45 | 0:23:50 | |
But what I'm talking about is something else. | 0:23:50 | 0:23:54 | |
It's more the introvert. | 0:23:54 | 0:23:56 | |
You don't know what you are doing yourself. | 0:23:56 | 0:24:00 | |
You're not planning to go to the next note. It flows. | 0:24:00 | 0:24:05 | |
The raga and you become one. | 0:24:05 | 0:24:07 | |
It is a state of mind which is unbelievable. | 0:25:09 | 0:25:13 | |
It's so beautiful. | 0:25:13 | 0:25:15 | |
It's an ecstasy that cannot be explained. | 0:25:15 | 0:25:20 | |
Often, tears come to my eyes or... | 0:25:20 | 0:25:24 | |
It is a beautiful pain, | 0:25:24 | 0:25:27 | |
which makes you so sad, | 0:25:27 | 0:25:30 | |
but that sadness has such beauty in it, | 0:25:30 | 0:25:33 | |
it's also like a happiness at the same time, you know? | 0:25:33 | 0:25:38 | |
And that truly, I think, | 0:25:38 | 0:25:40 | |
is the real spirit of music. | 0:25:40 | 0:25:44 | |
He had finished the film. He showed me the rushes. | 0:25:53 | 0:25:58 | |
The moment I saw the rushes, which were very rough, | 0:25:58 | 0:26:02 | |
I knew it was a great film. | 0:26:02 | 0:26:05 | |
Nothing like that has been made in India before. | 0:26:05 | 0:26:09 | |
He was very dejected | 0:26:09 | 0:26:12 | |
because all his finance was finished. | 0:26:12 | 0:26:16 | |
He didn't know how to bring it out. | 0:26:16 | 0:26:18 | |
When I saw it, I said immediately that I had a tune, like a theme music. | 0:26:18 | 0:26:26 | |
HE SINGS A MELODY | 0:26:26 | 0:26:29 | |
MUSIC PLAYS ON FILM | 0:26:34 | 0:26:37 | |
This came to me like this... | 0:26:48 | 0:26:51 | |
and I sang to him and he was overjoyed, | 0:26:51 | 0:26:54 | |
and that's why it became the theme music which flowed with different things. | 0:26:54 | 0:27:01 | |
I played the sitar also. And there are a lot of different sequences, | 0:27:01 | 0:27:06 | |
but with few instruments. I did it in hardly eight hours - looking at the film, | 0:27:06 | 0:27:13 | |
stopping, timing it and then, the second time, just doing it with a few musicians, | 0:27:13 | 0:27:20 | |
making them write some pieces, | 0:27:20 | 0:27:23 | |
and it turned out to be so fantastic. | 0:27:23 | 0:27:26 | |
SORROWFUL MUSIC | 0:27:57 | 0:28:00 | |
MUSIC DROWNS SPEECH | 0:28:01 | 0:28:05 | |
MAN WAILS | 0:28:29 | 0:28:32 | |
It was in that period that I met a few diplomats in Delhi - | 0:28:37 | 0:28:42 | |
you know, the Belgian, the French, and the other embassies - | 0:28:42 | 0:28:47 | |
and some of them were very interested in music. | 0:28:47 | 0:28:51 | |
They came to my concert and they were very impressed. | 0:28:51 | 0:28:56 | |
But at that time, | 0:28:56 | 0:28:58 | |
unfortunately all our musicians - almost every one of them barring a few here and there - | 0:28:58 | 0:29:05 | |
they had no proper education in English, | 0:29:05 | 0:29:09 | |
and they couldn't explain, | 0:29:09 | 0:29:12 | |
so I, with my childhood experience and all that, | 0:29:12 | 0:29:17 | |
I had a great advantage. | 0:29:17 | 0:29:19 | |
COMMENTARY IN RUSSIAN | 0:29:22 | 0:29:25 | |
That was their cultural delegation | 0:29:28 | 0:29:31 | |
which Pandit Nehru sent in '54 | 0:29:31 | 0:29:33 | |
in Eastern Europe. | 0:29:33 | 0:29:36 | |
We played all over Soviet Russia. | 0:29:45 | 0:29:48 | |
We had Bolshoi Theatre and Kremlin Theatre | 0:29:48 | 0:29:52 | |
but I had the major section, | 0:29:52 | 0:29:55 | |
almost playing 20 minutes. | 0:29:55 | 0:29:58 | |
RUSSIAN COMMENTARY | 0:30:23 | 0:30:27 | |
I took the whole responsibility on myself, you know, | 0:30:29 | 0:30:34 | |
concerning Indian music and the West... | 0:30:34 | 0:30:37 | |
because I had felt that I could do it. | 0:30:37 | 0:30:40 | |
All the encouragement that I had from the group in Delhi | 0:30:40 | 0:30:45 | |
who told me to go out and tell them about Indian music | 0:30:45 | 0:30:49 | |
made me go, go, go and not stop. | 0:30:49 | 0:30:52 | |
We've invited one of India's foremost musicians, Ravi Shankar, | 0:30:52 | 0:30:57 | |
to discuss the music of his country, to play it for us, and to explain its characteristics. | 0:30:57 | 0:31:04 | |
The raga is very hard to explain to the Western listener | 0:31:04 | 0:31:09 | |
because it is neither a scale nor a mood as many people think, | 0:31:09 | 0:31:14 | |
though it was based on both. | 0:31:14 | 0:31:16 | |
Like the major and the minor, we have 72 parent scales, as it is known, which is known as mela... | 0:31:16 | 0:31:24 | |
'They didn't have any idea | 0:31:24 | 0:31:26 | |
'that Indian music is as classical as you can think of Western music being classical.' | 0:31:26 | 0:31:33 | |
And then of course, a raga is not a written-down thing. | 0:31:33 | 0:31:37 | |
First, I have to tell them ours is not written-down, it's an oral tradition, | 0:31:37 | 0:31:44 | |
so a raga is just a cluster of notes | 0:31:44 | 0:31:47 | |
where you give life to the raga, which you learn from the guru, of course - breathe life into it. | 0:31:47 | 0:31:55 | |
Then the use of microtones... Little... Sometimes microtones are not used directly, | 0:31:55 | 0:32:02 | |
but with little... | 0:32:02 | 0:32:05 | |
HE SINGS WITH SUBTLE VARIATIONS IN NOTES | 0:32:05 | 0:32:09 | |
We never use staccato. | 0:32:21 | 0:32:23 | |
HE SINGS SEPARATE NOTES | 0:32:23 | 0:32:26 | |
This is not Indian music. | 0:32:27 | 0:32:30 | |
It's always rounded. It's not cornered, you know? | 0:32:30 | 0:32:34 | |
That is a very important thing. | 0:32:34 | 0:32:36 | |
And then give feeling to it. | 0:32:36 | 0:32:39 | |
I was lucky also being the first person there, and the right people being there. | 0:34:03 | 0:34:10 | |
Yehudi Menuhin was the greatest name that I can think of in the classical world. | 0:34:10 | 0:34:16 | |
-RAVI SINGS -I'll do this... -Yes, the ta-da-ra-dun. -Pa-pa-papum...ah! | 0:34:16 | 0:34:22 | |
He got so much interested in it. | 0:34:32 | 0:34:35 | |
That was a unique quality in him - | 0:34:35 | 0:34:38 | |
his love and respect for other art forms, other cultures, other religions. | 0:34:38 | 0:34:44 | |
RHYTHMIC PERCUSSION | 0:35:10 | 0:35:13 | |
We have to remember that this was the time that Ravi should meet people like Leary and Burroughs | 0:35:26 | 0:35:34 | |
and Ginsberg and all these people that were the arbiters of a new kind of culture. | 0:35:34 | 0:35:40 | |
The point was that there was a cultural shift. | 0:35:49 | 0:35:53 | |
It was like a sea change. It was a profound change | 0:35:53 | 0:35:57 | |
in the way Western culture saw itself in relationship to the world, | 0:35:57 | 0:36:02 | |
in relationship to its own history, | 0:36:02 | 0:36:05 | |
and also in terms of its own responsibilities. | 0:36:05 | 0:36:09 | |
Ravi was somehow... When that door opened, | 0:36:09 | 0:36:12 | |
he was already there. | 0:36:12 | 0:36:15 | |
SITAR MUSIC PLAYS | 0:36:16 | 0:36:19 | |
Everything was happening together, | 0:36:46 | 0:36:48 | |
and they were giving all these mantras to the young people. | 0:36:48 | 0:36:54 | |
"Take hashish, take LSD, take this. | 0:36:54 | 0:36:56 | |
"This is how you can meet God. In India, everyone does it," | 0:36:56 | 0:37:01 | |
and that's not true at THAT time. | 0:37:01 | 0:37:03 | |
They created Haight Ashbury, | 0:37:09 | 0:37:13 | |
and the whole works - Kamasutra, Tantra, Tibetan Hole In The Head, Siddharta - | 0:37:13 | 0:37:21 | |
these were only the few things they read, | 0:37:21 | 0:37:25 | |
and they were thinking they knew everything. | 0:37:25 | 0:37:29 | |
You know, playing guitar... for hours, stoned. | 0:37:29 | 0:37:34 | |
"What are you doing?" "I'm discovering new music, | 0:37:34 | 0:37:38 | |
"writing stupid lines, my own thing. Painting, just like that." | 0:37:38 | 0:37:45 | |
But, on the other hand, I liked them | 0:37:45 | 0:37:48 | |
because, at that period, that innocence was there. | 0:37:48 | 0:37:53 | |
THEY SING ALONG WITH MUSIC | 0:37:53 | 0:37:56 | |
-Now, once more. "Jai jai Guru Deva...?" -"Jai Sri..." | 0:38:03 | 0:38:07 | |
"..Jai Sri Guru Deva Jai jai Guru Deva." | 0:38:07 | 0:38:10 | |
It is in praise of the guru. | 0:38:10 | 0:38:13 | |
'And then I met them for the first time, the Beatles. And, believe me, I had no idea who they were... | 0:38:13 | 0:38:20 | |
'I'd vaguely heard they were very popular.' | 0:38:20 | 0:38:24 | |
It was George who really attracted me, in the sense that he was so... | 0:38:25 | 0:38:31 | |
interested in Indian music, philosophy... | 0:38:31 | 0:38:36 | |
He had come to a few of my concerts, heard me in the Royal Festival Hall and different places, | 0:38:36 | 0:38:43 | |
and he had all my records, and he had been so much interested in sitar. | 0:38:43 | 0:38:50 | |
I told him very frankly | 0:38:50 | 0:38:52 | |
that it's not like guitar - that if you have a lot of talent, you just learn a few chords | 0:38:52 | 0:39:00 | |
and, if you have enough talent, you can go on your own, write your songs - which is fantastic - | 0:39:00 | 0:39:07 | |
but it's like classical guitar or anything like violin or cello, | 0:39:07 | 0:39:12 | |
you have to give many years and many hours to work hard on it. | 0:39:12 | 0:39:17 | |
HE SINGS THE INSTRUMENTAL PHRASING | 0:39:17 | 0:39:20 | |
'He did develop a lot, musically, by listening all the time to the chords, by thinking about it, | 0:39:42 | 0:39:49 | |
'and as much as I could give him through talking to him about music. | 0:39:49 | 0:39:54 | |
'And he has become one of the dearest persons in my life | 0:39:54 | 0:39:59 | |
'and I really love him like my son.' | 0:39:59 | 0:40:04 | |
And he considers me as a father. But we are at the same time great friends. A lot of fun! | 0:40:04 | 0:40:11 | |
TABLA JOINS IN | 0:40:13 | 0:40:16 | |
TEMPO ACCELERATES | 0:40:46 | 0:40:50 | |
I was discovered, you know, by the young generation...all over the world...and became a superstar. | 0:41:24 | 0:41:31 | |
It was strange! | 0:41:31 | 0:41:34 | |
If I were young, younger than I was - because I was already 47, 48 - | 0:41:34 | 0:41:40 | |
I'm sure I would have lost my mind. | 0:41:40 | 0:41:43 | |
But having worked... | 0:41:43 | 0:41:46 | |
All the ten years in Europe had created a wonderful audience for our music. | 0:41:46 | 0:41:52 | |
That was very helpful for me to keep my head straight. | 0:41:52 | 0:41:57 | |
I mean, the first one was all right, Monterey - | 0:41:57 | 0:42:01 | |
in spite of drugs, which I was always talking against, and protesting - | 0:42:01 | 0:42:07 | |
but I saw how quickly it was going on changing... | 0:42:07 | 0:42:11 | |
And with the experience I had in Woodstock, I knew that this... this is not going to work. | 0:42:11 | 0:42:18 | |
MEDITATIONAL CHANT BEGINS | 0:43:00 | 0:43:02 | |
Sometimes it worries me, this "globalisation", as they call it, Americanisation, whatever, | 0:44:16 | 0:44:23 | |
and I feel it might harm the classical or the traditional part. | 0:44:23 | 0:44:29 | |
But...as long as there are artists, still, | 0:44:29 | 0:44:33 | |
who can really touch the heart, the soul of people through the traditional music, | 0:44:33 | 0:44:40 | |
I think it will live. | 0:44:40 | 0:44:43 | |
Ah...no... Because that sound is... | 0:45:02 | 0:45:06 | |
MOUTH-MUSIC | 0:45:06 | 0:45:09 | |
PLAYER COPIES PHRASING | 0:45:09 | 0:45:12 | |
THEY REPEAT IT | 0:45:13 | 0:45:16 | |
"Dah..." THEN, you can. OK? | 0:45:16 | 0:45:18 | |
HE SINGS LYRIC | 0:45:21 | 0:45:23 | |
PLAYER REPEATS MELODY | 0:45:23 | 0:45:26 | |
HE SINGS NEXT LINE | 0:45:27 | 0:45:30 | |
PLAYERS REPEAT IT | 0:45:30 | 0:45:33 | |
WOMAN: His disciples are REALLY like his children to him. | 0:45:36 | 0:45:42 | |
He just dotes on them, he loves them all so much. | 0:45:42 | 0:45:46 | |
They really give him the respect of a guru. But at the same time they just love him like a father. | 0:45:46 | 0:45:52 | |
They eat with him every day when they live with us, | 0:45:52 | 0:45:57 | |
and talk about all kinds of things, personal problems, musical problems. He's very close to his students. | 0:45:57 | 0:46:04 | |
'Being my teacher AND my father was a lot tougher for him than it was for me, | 0:46:05 | 0:46:11 | |
because he's the one who's USED to having many, many students and having them be a certain way with him. | 0:46:11 | 0:46:19 | |
And this relationship where there's so much respect from the student | 0:46:19 | 0:46:23 | |
that he can almost command them to practise all night, or sit for eight hours. And then I come along. | 0:46:23 | 0:46:30 | |
I was eight or nine. He really had to tailor the way he taught me. He COULDN'T get angry. I'd start crying. | 0:46:30 | 0:46:37 | |
So HE had a tough time with that. And then we worked on it together. | 0:46:37 | 0:46:42 | |
For me, it's just beautiful. I've got a father and teacher in one. And that's made me a lot closer to him. | 0:46:42 | 0:46:49 | |
'It's a pity that I didn't start with her SERIOUSLY when she was younger. | 0:46:57 | 0:47:03 | |
'I think it would have been a different story if we lived in India. But being in California... | 0:47:03 | 0:47:10 | |
'It is a life that...' | 0:47:11 | 0:47:14 | |
'She's along with all her friends, and they are into everything.' | 0:47:14 | 0:47:20 | |
Listening to all sorts of music, seeing films, this, that, TV... There's so much of distraction. | 0:47:20 | 0:47:28 | |
But in spite of all that, she has this versatile mind, | 0:47:28 | 0:47:34 | |
and anything that she wants to do, she can do it. | 0:47:34 | 0:47:38 | |
You know - she changes like a chameleon into different atmospheres | 0:47:38 | 0:47:43 | |
with different dress, different people... | 0:47:43 | 0:47:46 | |
She's a fantastic person. | 0:47:46 | 0:47:50 | |
Well, we had to do something for him, for all that he has given us. | 0:48:04 | 0:48:10 | |
And that's how it all started. | 0:48:10 | 0:48:13 | |
We needed a place to put all his things, all his works... | 0:48:13 | 0:48:17 | |
and...a home. | 0:48:17 | 0:48:20 | |
'My idea for the centre is basically research as well as an archive. | 0:48:34 | 0:48:40 | |
'I do want to help maybe a few students, | 0:48:40 | 0:48:43 | |
'but it will be training in the best thing of the old gurukul system.' | 0:48:43 | 0:48:49 | |
This is the main dining room for all of us. | 0:48:52 | 0:48:57 | |
Sitting room... | 0:49:03 | 0:49:05 | |
This is Sukanya's area. | 0:49:07 | 0:49:09 | |
To keep ALL the saris he has bought for me. Never-ending! | 0:49:09 | 0:49:14 | |
This is the... Next-door is a college, a ladies' college, girls' college. | 0:49:27 | 0:49:34 | |
-So you know he'll be standing here! -Their playground's really beautiful. | 0:49:34 | 0:49:39 | |
Only girls. | 0:49:41 | 0:49:44 | |
This will all... Flowerpots. Flowerpots here. | 0:49:46 | 0:49:52 | |
And this, you can have a fantastic view from here. | 0:49:52 | 0:49:57 | |
I would like to watch a show from here. | 0:49:57 | 0:50:01 | |
And this is MY terrace, to keep an eye on him when he's watching the girls! Ri-ight across. | 0:50:03 | 0:50:10 | |
And this is our piece de resistance, the music room. | 0:50:15 | 0:50:19 | |
And that will be the stage, a small platform area for performance, | 0:50:21 | 0:50:27 | |
people sitting on the floor. | 0:50:27 | 0:50:29 | |
Maybe on the sides, special guests or people with bad legs might have some chairs...all around. | 0:50:29 | 0:50:38 | |
I mean, I wish we had started it at least 10, 15 years earlier! | 0:50:40 | 0:50:45 | |
But with this lady there, I have full faith that, yes, it's going to be done. | 0:50:45 | 0:50:51 | |
It's very much your thing, isn't it? | 0:50:51 | 0:50:54 | |
-Anybody would have done it... -No. -..for him. | 0:50:54 | 0:50:59 | |
You are special. | 0:50:59 | 0:51:02 | |
BIRDSONG | 0:51:11 | 0:51:13 | |
ALAP OF RAGA BEGINS | 0:51:25 | 0:51:30 | |
ANOUSHKA: His health is definitely not the way it was ten years ago. And I wonder how he does it. | 0:53:45 | 0:53:52 | |
He goes into the hospital and will have an angioplasty, then he'll come out and do a show two weeks later. | 0:53:52 | 0:53:59 | |
My mother and I will always be like, "You don't have to do a show. Cancel it." But he won't. He HAS to play. | 0:53:59 | 0:54:06 | |
I'm convinced that performing for people and playing his music is what keeps him alive. | 0:54:06 | 0:54:13 | |
As far as improvisation and ideas... | 0:54:47 | 0:54:51 | |
I mean, I never had it before like this. | 0:54:51 | 0:54:55 | |
It is such a joy and ecstasy. | 0:54:55 | 0:54:58 | |
It is like I'm being sent ideas after ideas. | 0:54:58 | 0:55:04 | |
It comes like a sea wave. | 0:55:04 | 0:55:07 | |
And it is so spontaneous that I'm wondering MYSELF, "Oh, how beautiful it is. I wish I can remember it." | 0:55:07 | 0:55:14 | |
But by that time it's gone and something else is happening. | 0:55:14 | 0:55:19 | |
Subtitles by Subtitling Unit BBC Broadcast - 2002 | 0:58:08 | 0:58:13 | |
E-mail us at [email protected] | 0:58:13 | 0:58:17 |