- I lost my interest in singing in that song...
..when I heard one Bengali band was singing like that.
And they were singing 'jhing-da-di-ting-jhing'...
..without understanding the meaning of it.
So I said (to myself), "Stop. Find some other song!"
- Bengali band. Fusion band? - Yeah.
- I'm less critical of fusion Efforts. I know, I accept your point.
I can totally see what you mean when you say...
..don't skim on the surface of these traditions and...
..make pretty songs out of them.
Some of it need not be without that intensity of feeling.
It may not be with great depth but...
..it's also dynamic.
It's trying to work with new, contemporary...
- Yeah. These are justifications from the mind.
But I am living the tradition, right?
There's a difference.
I live the tradition.
I take the songs as my life.
I take the songs not as songs. I take the spoken truth.
And most of the singers, even Prahalad ji...
..for him, it's the guru himself who is speaking through the song.
We live the tradition.
And this, the new, this, that, music, adding...
..these are all justifications of the superficial mind.
The mind, or the ear, that looks for pleasures of new sound.
We sing the song from necessity.
Pure necessity.
But you just take any of these half...
..not even half! Not even baked!
These people are singing Baul songs with guitar, without knowing...
Hanabana-hanabana — what?!
Go, and sit, and learn first!
It's not all about this stupid, impermanent, emotional flow.
These songs are not that.
We don't have copyright. I don't keep copyright of Baul songs.
But Baul song has its own dignity.
When you take a guitar and you don't know how to play the guitar...
..you cannot play it in this way.
You have to know how to play the guitar.
So know how to sing these songs.
There's no problem— you can sing the songs.
Know how to sing these songs.
And then you sing.
Sing it the way you feel like.
But, with awareness.
I'm talking about these pullaara.
'Pullaara' means these 'young guys'.
Unbaked, young...
..not mature enough people who try to do fusion in bands.
And also the traditional artists...
..who don't know the depth of what they are singing...
..and the value of what they have...
..they also go and dance like lizards dancing on the stage.
Looks horrible! Terrible!
I hate to see that!
I totally hate to see that!
And this is my opinion.
It's like everybody has democracy of saying...
"Anything & everything goes!" I have democracy to speak this.
It's my right to speak it.
I'm passionate about my tradition.
I'm passionate about my gurus.
I'm passionate about how they protected their knowledge.
I'm passionate about how they suffered.
I'm passionate about how they kept...
..the way they gave it to me.
I'm passionate about every moment I spent with them.
I cannot see somebody murdering them.
For me, my songs are my gurus...
..those moments I lived with them.
I cannot see somebody dancing without knowing what they are.
But I will take the responsibility.
If that person comes to me, and says...
"Will you tell me what it is? Will you show me?"
I am ready.
I will take the responsibility of even feeding him or her, at my home.
I will look after.
I take the responsibility of what I am speaking.
I am not criticising blindly.
And I am not blind.
I don't think there are many practitioners who are as open as me.
I'm very open to everything.
But with awareness.
I have to speak in this way because I'm...
..my interest is very different.
My interest is more than a musician.
My interest is also to create good Baul practitioners, as students.
So, to dedicate myself to build a school...
..where I will teach them with whatever I know I have received from my masters.
And I take the responsibilty of my tradition.
I take the responsibility of my learning, and whatever I was given.
So my approach will be very different.
It's very normal.
Sahaj. (Simple.)
Give back, give back.
There is so much debt we have to our masters.



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