By Gregory D. Booth
Starting within the Nineteen Thirties, males and a handful of ladies got here from India's many communities-Marathi, Parsi, Goan, North Indian, and lots of others--to Mumbai to paintings in an that constituted within the phrases of a few, "the unique fusion music." They labored as composers, arrangers, assistants, and studio performers in a single of the main targeted renowned tune and renowned movie cultures on this planet. this day, the songs performed through Mumbai's studio musicians are identified all through India and the Indian diaspora lower than the preferred identify "Bollywood," however the musicians themselves stay, of their personal phrases, "behind the curtain"--the nameless and unseen performers of 1 of the world's so much celebrated well known song genres. Now, Gregory D. sales space bargains a compelling account of the Bollywood movie track from the viewpoint of the musicians who either skilled and formed its historical past. In a unprecedented insider's examine the method of musical construction from the overdue Nineteen Forties to the mid Nineteen Nineties, sooner than the arrival of electronic recording applied sciences, sales space explains who those unknown musicians have been and the way they got here to affix the movie track undefined. at the foundation of a desirable set of first-hand money owed from the musicians themselves, he unearths how the day by day conditions of expertise and finance formed either the songs and the careers in their author and performers. sales space additionally unfolds the technological, cultural, and commercial advancements that resulted in the big studio orchestras of the 1960s-90s in addition to the standards which finally resulted in their death in modern India. that includes an intensive spouse web site with video interviews with the musicians themselves, backstage is a robust, ground-level view of this globally very important track undefined.
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Extra info for Behind the Curtain: Making Music in Mumbai's Film Studios
Especially in English, this sometimes leads to a rapid shifting between singular and plural constructions. When speaking in English, Indians routinely use two numbers that are speciﬁc to Hindi and the Indian system of counting. ” One lakh is a one followed by ﬁve zeroes (or one hundred thousand); one crore is a one followed by seven zeroes (or ten million). , ten lakh, or one million; two and a half crore, or twenty-ﬁve million), the same principle applies, but as can be seen, these constructions cut across the system used in the West, which are based on thousands and millions.
In the United States it extends into the sheet-music industry, which published music for the accompaniment of silent ﬁlms. The record industry, however, has had a much longer-lasting and widely distributed set of relationships to cinema around the world. In this chapter I brieﬂy examine the interaction between music (and more distinctively, song) and ﬁlm in India. In the particularly intense and symbiotic relationships between popular ﬁlm and popular music that developed, the careers of the musicians whose stories appear in this book were made possible.
An additional factor in the matter of dates is musicians’ tendency to refer to speciﬁc ﬁlms as time markers. In many cases, however, and especially in the case of songs, recording sessions (which is what musicians most consistently remember) sometimes occurred well before a ﬁlm was ﬁnally released. The only consistently veriﬁable date in the Hindi cinema, however, is that on which a ﬁlm’s censor certiﬁcate was issued (which happened immediately prior to its release). These are the dates reported in Singh’s Encyclopedia of Hindi Film Songs and those that I use in all circumstances.