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Over the centuries, poets have reminded us of the values we are in danger of forgetting as a society. The ideas of liberty, equality, fraternity and justice — the very values enshrined in our Constitution — have endured over centuries in the Bhakti tradition. The Bhakti poets always challenged the ideologies of their times that attempted to force the belief that people were not equal.

In this show, we explore the histories of these ideas in Bhakti poetry, and how they find resonance in the values underpinning the Constitution of a modern republic.

We take you on a listening experience to Pandharpur with the songs of Namdev and Tukaram, to Benares with the poetry of Kabir and Ravidas, to Rajasthan in the rapture of Meera’s devotion, and to northern Karnataka where sharanas sing the vachanas. But first, we visit post-Independence Bombay where the expression of these ideas find an avenue in the film music of the times.

Bhakti Republic is hosted by Amit Basole, faculty in Economics at Azim Premji University, where he also heads the Centre for Sustainable Employment. Basole has also hosted Yun Hota Toh Kya Hota - The World of Ghalib for Radio Azim Premji University.

CREDITS:

Akshay Ramuhalli, Bijoy Venugopal, Bruce Lee Mani, Narayan Krishnaswamy, Prashant Vasudevan, Riju R Krishna, Seema Seth, Shraddha Gautam, Supriya Joshi and Velu Shankar

Acknowledgements:

A special thanks to Atif Anwar, Omkar Deshmukh, Seema Hussain, S Pranesh (students at Azim Premji University)

“The Good Ol’ Grateful Deadcast,” the official Grateful Dead podcast, is a series devoted to exploring the music and mythology behind one of the most enduring, progressive, and influential bands in the history of recorded music. The podcast’s tagline is “For The Committed And The Curious,” as episodes will invite new fans to explore the band’s enormous mythology in digestible chunks and enlighten life-long Dead Heads about corners of the band’s history they never knew existed. No topic will be off limits on “The Good Ol’ Grateful Deadcast” as hosts Rich Mahan and Jesse Jarnow explore the band’s outrageous history, innovations, and impact from 1965 to today.

慢摇 (downtempo)虽然的确是一种音乐曲风，但是绝非土嗨理解的那样，土嗨把所有电音都叫慢摇。慢摇实际上是指downtempo，最好是翻译为缓拍，是电子音乐的曲风之一，而一开始一些鼻祖级别的电音爱好者把downtempo翻译成慢摇，也算是个近义词，不算错误。最早有慢摇这个词的时候，是指 downtempo的中文翻译，那时候这个词不土嗨，后来被土嗨彻底扭曲了这个词的意思。土嗨把各种电音都叫成了慢摇，才变成了一个错误叫法。现在我们可以看到网上所谓的慢摇，其实根本已经没有任何界定了，土嗨们已经把任何电音都叫成慢摇了(因为他们都是听土嗨音乐的，所以大多时候是把土嗨音乐错误叫成慢摇)。但慢摇仅仅只是downtempo的中文翻译，是一种很接近chill-out的电子音乐的曲风分支。而之所以说慢摇是错误叫法，是因为土嗨现在已经把所有电音，无规则地全部都错误叫成慢摇了，无一正确理解慢摇的真正意思。其实downtempo不过是一个非常冷门的曲风，所以土嗨们把任何电音都错误叫成了慢摇，也没有出现什么人来纠正他们。