SPEAKER 1: I'm very
happy here to welcome,
and an honor for me to
welcome Hariharan [? G. ?]
Let's give him a
round of applause.
We have had the pleasure here of
hosting other musicians, but no
one as exceptional as him.
And it's my honor again to
welcome him for this event.
HARIHARAN: Do you normally
say that to everyone?
SPEAKER 1: No, I normally
don't say that to everybody.
He's a soul of Indian playback
singing, as most of you know,
right?
A lot of ghazals he's
composed, and sung,
and produced more than
30 albums of ghazals,
which is an incredible feat.
He's sung in number of
Indian language films.
Hindi, Kannada, Tamil-- his
mother tongue-- Malayalam,
and lots of others.
So we're going to
talk about how it
is to be versatile across
multiple languages soon.
So without further
ado, let's get started
and ask him some questions.
So I'm going to go back
in history a little bit.
HARIHARAN: All righty.
SPEAKER 1: We're thrilled
to have you here.
And the history goes back
and says, when I look at it,
you learned from your parents.
Carnatic music, right?
HARIHARAN: Right.
SPEAKER 1: Your mother
was your first guru.
How was it learning
from a parent?
Because as a parent, when
I try to teach a kid,
I know how difficult it is.
HARIHARAN: Well, see basically,
since the day I was born,
I'm always listening to music.
Like somebody is learning,
or somebody's performing,
or something is being
played in the house.
Just 24 and 7, music
was on in the house.
So learning music, it was
more like an osmosis process.
Pick up certain things.
And then she thought
that I could sing,
so sometimes she used
to say, OK, learn this.
And as I grew up, there was
problems in learning also.
Because I'd say, no,
I'll sing it this way.
She said, you can't
sing it this way.
I said, why?
Because this is carnatic,
this is classical music.
This is how it should be sung.
I couldn't understand it then.
But then, it was a beautiful
relationship we had,
and it still continues.
SPEAKER 1: Good.
And I like the osmosis
example, because we all
learn from our surroundings by
osmosis from music around us,
whether it be music
or other fields.
HARIHARAN: And my parents,
they are carnatic musicians.
My father's normal.
But they used to be keen
listeners of Hindustani, also.
So I've been exposed to
Hindustani classical music,
which I trained later under
Ustad Ghulam [? Mustafa ?]
from my childhood.
SPEAKER 1: What has been the
influence and the learning
from your Hindustani
classical guru?
HARIHARAN: Influence, it's
my stable diet, I would say.
Because a I'll sing khyal.
Khyal is a genre where you
have an [? untrained ?]
and a [? stay. ?] Khyal, as
the word goes, imagination.
It is about imagining phrases
of scale, of a [? raga. ?]
And you can go for hours just
building that [? raga. ?]
So it's a good way of
becoming imaginative.
You can add your phrases.
And there comes a
point when you keep
doing this khyal
[? gaiki. ?] You need not
think that you have
to imagine now,
and you have to come up with
a phrase, the phrase happens.
Still we don't know how it
happens, but it happens.
Like, a phrase which you've
never sung in your life
from a certain
scale, it pops out.
And you think, OK,
how did it come out?
So that is--
SPEAKER 1: The creative process.
HARIHARAN: The
creative process, yeah.
SPEAKER 1: And now I hear your
son actually is also a singer.
And I'm going to get to the
other side of now as a parent,
working and being a guru to
your son, how does that--
HARIHARAN: Well, my elder one,
actually, he's not basically
a singer.
He's more of a composer
and a programmer.
He just blew my head one day.
I mean, he's an economics
graduate from LSE.
And then suddenly,
after finishing,
I thought he'll be
joining a corporate house,
and he'll start working.
He says, dad, I
need three months.
I want a break.
I said, OK, take three months.
So after three months,
the fourth month comes,
and he's still on a break.
So I ask him, OK, what
are you going to do?
So he turns around and he
says, dad, I want to do music.
I said, music?
Of course he's learned the
[? ragas ?] from my guru,
and things like that.
Kind of OK.
But I've never seen him
perceive into music like.
And then says, dad, do you
remember about five years back,
you gave me a laptop.
I said, yeah, it still works.
Yes, it works, and he came out
and played some production.
He's been producing music.
So I said, man, it's nice
what you've been doing,
but you remember, I'm your dad.
I can't just say that
you take up music,
because I should feel secure
that you're taking up music.
So I give you a one and a
half years, and impress me.
Do something which when I
can say, OK, now you do this.
And he's done it.
He's done two films after
that, he's done two films.
He's coming up
with an electronic
based Indian classical album.
It's a fusion between
Indian classical music
and electronic music.
EDM, as you call it.
So he's coming up with that.
So wish him best luck.
SPEAKER 1: Since
you mention fusion,
I'm going to sort
of talk a little bit
about that genre of music
that you pioneered with--
HARIHARAN: Me and
Leslie, Leslie Lewis.
SPEAKER 1: Leslie Lewis
pioneered with in Mumbai.
And putting together
Indian and Western music
together, and created
this group called
Colonial Cousins, which has
been sort of, in my opinion,
been impactful in crossing
the effort for the youth
to pick up.
So what is that experience like?
Putting together two
different genres?
HARIHARAN: Again,
it is something
like the Indian talking Marathi
and suddenly going to Canada
and going into English.
When you talk, converse.
We are multilingual, I
would say, as a country.
And everybody speaks
English in India.
And everybody speaks
English in the countries
which was colonized.
So the word Colonial
Cousins came about
that there's fusion
in such countries.
It's a positive thing.
And I've heard my grandmother,
and they sing "Twinkle Twinkle
Little Star" in [? Draga. ?]
[NON-ENGLISH SINGING]
(SINGING)Twinkle,
twinkle, little star,
how I wonder what you are.
So that's how Colonial Cousins
was [? regard, ?] basically.
[NON-ENGLISH SINGING]
(SINGING) The
darkness coming round,
and everybody fighting
with your brothers.
Everybody wants control
to keep us locked in, hey,
please release us.
So come down and help us,
save all the little ones.
They need a teacher, and you
are the only one we can rely on
to build a better world.
Well, that's what you're in.
Well, that's for everyone.
[NON-ENGLISH SINGING]
[APPLAUSE]
Thank you.
SPEAKER 1: So fusion
music, particularly
for youngsters growing up
here, should be very ideal.
Because they grow up with
an Indian heritage at home,
and outside in America,
they're looking
at Western music and influence.
HARIHARAN: Yeah.
SPEAKER 1: So what
advice would you
have for either budding
musicians in this audience,
or--
HARIHARAN: I think
if it's Indian music,
there are a lot of great
artists who are visiting here,
and some people have workshops,
and teachers, and things like.
I think, get exposed to them,
and that's the best way.
Feel free.
Any kind of music
which gives you peace
is good music, basically.
It's not about genres.
And the world, as we know, is
becoming a very small place.
I mean, there's so much
interaction between things.
I've started something
called as Urdu blues.
It's in Urdu.
But what does a person talk
about when he's singing blues?
It's about his life,
his love, his beloved,
his high points in life,
happiness, low points in life.
Same thing we do in Urdu.
So the Navarasa, all the
emotions of the human being,
are same in each
and every country,
in each and every human.
And we're so identically same,
similar, the whole world.
I think any kind of
music is-- you can just
walk across and say,
wow, this is that.
It is so simple.
And I think through
Google we can learn a lot.
[LAUGHTER]
We just may get all the
information easily accessed.
SPEAKER 1: Yeah.
And wbat advice in
terms of training,
should people, budding musicians
who want to practice in this
or play in the genre?
HARIHARAN: There's no
shortcut in learning music.
There are exercises for
instrumentalists, as well as
for vocalists.
And you've got to keep doing it.
Because playing music, singing
music, is basically discipline,
hard work.
And that same hard work
becomes your muscle memory.
And it seems as if
it is spontaneous.
It is spontaneous, but it is
because of all this buildup,
all this work, the
brilliance comes suddenly.
So it's hard work, basically.
And learning music is very good,
because you know the grammar,
you know what you're doing.
And when you do
something wrong, you
know how to rectify yourself.
Otherwise, it's like a
wild goose chase, you know?
All your life you've been
singing a phrase wrongly,
and you feel, wow, there's
something I'm doing amazingly.
And some people are born
with-- they can sense pitch.
Some people are tone deaf.
If you're tone dear, it's very
difficult to be a musician.
Because
[SINGING DIFFERENT PITCHES]
What do you do?
I mean, you can't
do a damn thing.
Or if you don't have
rhythm sense, basically.
So obviously, a person
who's interested in music
and who will go towards
it is someone who
has got both these qualities.
And learning music
is very important.
Practicing is important.
SPEAKER 1: And it said
that you used to practice
like 13 hours a day.
HARIHARAN: Actually,
It used to be 10 hours,
now it's going to 13 hours.
It's increases, basically.
But practically speaking, yeah.
There was a time when I
kept singing the whole day.
So I've never actually
counted hours, but yeah.
Waking hours, that much.
SPEAKER 1: I think that that's
true for any discipline.
If those of us here in
the technology sector
worked 13 hours a day--
HARIHARAN: Absolutely.
Yeah, yeah, yeah.
SPEAKER 1: We'd do
wonders as well.
Let me take you down through
memory lane to the year 1978.
HARIHARAN: 1978, OK.
SPEAKER 1: You were brought
in by the late Jaidev
for your first Hindi movie
song, in the movie, "Gaman."
HARIHARAN: Lot of people, when
you guys weren't being born.
So yeah.
1977, '78, yeah.
SPEAKER 1: That first song
that got you a nomination
at the national awards.
And another British--
HARIHARAN: It was an Urdu song.
And For a [? salkandin ?]
to sing Urdu was like,
wow, why is he doing that?
How is he doing that?
But again, being born and
brought up in Bombay helped me.
And it was a song called "Ajeeb
Sa neha Mujh Par Guzar gara
yaaron."
Now, you know understand Ajeeb,
and and Guzar gara yaaron.
Sa neha means incident, a
very odd incident took place.
[NON-ENGLISH SPEECH] I got
scared of my own shadow.
Like, my own existence.
That was my first song.
SPEAKER 1: That's
very incredible.
And since it was
your first foray
into Hindi movies, any
special memories about how
that process went, how
working with Jaidev was?
HARIHARAN: Oh, Jaidev,
it was like a friend,
philosopher, guide.
And I was his assistant for the
three or four years after that.
And I remember, it
a small orchestra,
it was not a very big orchestra.
About 20 people orchestra.
In those days, we didn't
have dubbing facilities.
We had to sing at one go.
One, two, three, and
then you just start.
So that time, the
first take was OK.
And then we did one more take
for the safety sake on that.
But I remember
that very clearly,
and it is very interesting.
Very exciting.
SPEAKER 1: It's very
exciting to be in your first.
And then 14 years
later, in 1992,
when [? Marina ?] [? Dram ?]
signed you up for working with
A.R. Rahman on the film
"Roja" with the Tamil song,
Thamizha Thamizha.
What was your experience
moving from Hindi to Tamil?
HARIHARAN: Well, I
never thought that I'm
going to sing in Tamil films.
Not for anything else, I
was engrossed in my ghazals.
And as I said, I used
to compose and perform
ghazals, and things
[? like. ?] Kept
doing Bollywood
numbers, and all that.
Then I met this
young boy, Rahman.
He had come to Bombay
to do a jingle.
So he called me for the
jingle, so I went and met him.
Very quiet.
And he said, I love your
album called Reflections.
I've been listening to it.
So I said, fine.
And then we did the jingle.
I really worked hard on it.
It bounced.
But the only thing which came
out of it was he called me
three months later
for the song in "Roja"
[NON-ENGLISH SPEECH] So that's
how I started working with him,
and we worked a lot together.
An amazing musician and
human being to work with.
Very humble.
And for him, it was
like block building.
We used to sing the
composition the way it is,
and then keep improvising.
And it was like always an
experience to work with him,
I would say.
Good experience.
SPEAKER 1: And you have a number
of fantastic music produced
with A. R. Rahman.
HARIHARAN: Oh, yeah.
SPEAKER 1: What has his
been sort of influence
on your career over the years?
As a collaboration, what do
you see has moved or changed
your career than--
HARIHARAN: I always felt that
I started my career in '77.
Through the '80s,
I was doing songs,
but not to the extent of
like a Roja or a Bombay.
I think I was preserved
for the '90s, you know?
Rather than saying,
look at it, I mean,
you can either look at it
saying that, man, '80s,
I struggled and struggled,
and you no like.
And it's not that, I
was preserved for '90s.
I'm still there in front of
you, and you all come to see me.
Thank you so much.
[APPLAUSE]
SPEAKER 1: So you've sung
songs in multiple languages.
Hindi, Tamil, Marathi,
Malayalam, Kannada, and a few
more.
The list goes on.
Do you speak all
these languages?
HARIHARAN: No, no, no.
SPEAKER 1: So how do you manage
to put a perfect rendition
in a language that
you don't speak,
without accents, is that you
sound like a native speaker?
HARIHARAN: Yeah.
Of course I have goofed
up, but it has not
come out in the public.
We all goof up.
I mean, you know.
That's the beauty of music.
The composer and the lyrics
writer, they sit down together
and make a song.
So obviously, each
song, each word
is translated musically
to its emotional content.
The way it should be said.
In what context it
comes in the lang.
So to speak the language is
difficult, to sing a language
is easier.
Because you get the
meter to sing it,
you get the expressions
of the words.
And obviously, when your
pitching is perfect,
the power, the emotion
of each word comes out.
That's art.
So when you have these three--
and, of course, you sit there
and you go through the lines,
say, 30, 40 times and learn it,
you can sing it.
SPEAKER 1: So it's
different, because you're
singing the emotions
rather than just the words.
HARIHARAN: Exactly.
That helps you.
SPEAKER 1: And the emotion
stands in language.
That's what I guess
you're saying.
HARIHARAN: Yeah.
And it's like it's like
working the other way.
SPEAKER 1: Again, another
thing with languages.
You had two National
Award songs.
One in Hindi, with
"Mere Dushman Mere Bhai"
in the movie "Border," right?
And then the second one was
in the Marathi movie "Jogwa."
HARIHARAN: "Jogwa."
SPEAKER 1: Right.
How are these two
different kinds
of songs in two different
languages, spread across 15, 20
years probably,
what in your mind
was sort of exceptional
about these songs?
HARIHARAN: Both the songs had
a lot of emotional content,
and it was placed in a very
beautiful point in the film.
So film music is
not music per se.
How the song has been shot,
who's singing the song,
and what context it comes in
the film is very important.
That also makes
or breaks a song.
Like [? Tu ?] [? Hide. ?] I
mean, the way it has been shot,
and the point it has been
shot, it became the highlight
of the movie.
And it's still the
highlight of all the songs
which I've sung in my career.
So these are two, three--
like, "Mere Dushman Mere Bhai,"
it's about how
useless and senseless
is this war and killing.
And it's a beautiful
lyrics, and the way
that Anu has composed it.
The same goes to Jogwa, also.
It's all said and
done, you know?
You say that people
like rhythm, they
like to dance, everything, fine.
But if some melody's there and
the words touches your soul,
that's a song that stays, man.
It just stays.
You will forget all the songs
you've heard, you enjoyed.
But these kind of songs,
it gives you a tug.
SPEAKER 1: So you're
saying it's the lyrics
and the melody bring
out the emotions
before the musician does,
that reaches the heart.
And that's why it stays.
HARIHARAN: Again, I would
say, what makes a singer?
Songs.
You need songs to be a singer.
So I mean, these two songs,
I've been lucky to get them.
And I've sung it to
the best of my ability.
That's very important.
So what is the song, what
the content of the song?
That's very important.
What is-- la, la, la,
[? gonna get? ?] [LAUGHTER]
So it's a teamwork, I would say.
It is basically a teamwork.
SPEAKER 1: So let me shift
to a little bit of ghazals.
HARIHARAN: Ghazals.
SPEAKER 1: You have
been singing ghazals
that goes how, from
what I understand,
A. R. Rahman found
you, or got interested.
He has been following your
ghazals even before he signed
you up for the first song.
How do you find this
genre of ghazals
has influenced your later
music in films, in fusion?
What's the connection there?
HARIHARAN: So basically,
ghazal means to talk,
a conversation
with your beloved.
So when you sing a ghazal,
if I sing a ghazal,
each one should feel that I'm
singing it for you, or for her.
It has to have the
personal touch.
And you can reach to
each one in the room
only when you're conversing, and
you're not throwing the words.
You're conversing
it to somebody.
So conversational element in
ghazals is-- it sets it apart.
That's why you never
shout a ghazal.
You never belt out a
ghazal, we just say it.
We just-- [NON-ENGLISH SINGING]
[APPLAUSE]
And there is no
drama in the singing.
There's no drama.
[NON-ENGLISH SINGING]
[APPLAUSE]
In contrast to this, you're
singing for a hero in a film,
right?
So the hero is dramatic.
Hero has to be dramatic lately.
[NON-ENGLISH SINGING]
So you're throwing
your voice here.
Because most of
the girls are deaf.
[LAUGHTER]
[? Checks ?] apart.
That's why the girls
also sing loud, you know?
So these are two
contrasting-- yeah.
SPEAKER 1: But again, they're
referring two different types
of people in conversations.
HARIHARAN: Absolutely.
SPEAKER 1: And now a lot of
conversations are the same,
starting to happen on the web.
Use of technology.
HARIHARAN: Yeah.
SPEAKER 1: And
we're sitting here,
so I cannot just sort of not
ask you a technology question.
HARIHARAN: Like again,
the nuances of music, it
can go across to the
people because you
have sensitive microphones.
If the microphone was not
there, you had to sing louder.
So the louder you sing,
the small nuances,
you can't produce it.
The dynamics are less.
It is more of one
volume, basically.
So there, it has helped music.
SPEAKER 1: So it has helped
there, but a lot of us
know that it has also
helped in distribution,
and reaching out to your fans.
But more curious question
is, how has it helped you
in the creation process?
In the olden days,
you probably sat with
[? dubla, ?] and sitar,
and harmonium, and so on.
Now they sit with computers,
and mixers, and synthesizers.
Has it changed the process of--
HARIHARAN: Well, yeah.
I mean, you listen
to a groove, and you
listen to some kind of
harmony, and we work out
a kind of sequences.
I can compose on them.
It's basically a
starting point you need.
Like, you want to compose
something on [? rakido. ?]
So this is starting point.
So that way we use this
also, the modern technology.
SPEAKER 1: OK.
You have a large
presence on social media.
Twitter and Facebook, you have
more than two million people
who like you.
And I'm sure a lot more people
like you in real life in India,
so that's impressive.
You've also started
recently, you
announced a new application.
HARIHARAN: Yeah.
SPEAKER 1: Sing with Hari.
HARIHARAN: Sing with Hari.
SPEAKER 1: Can you tell
us some more about that?
HARIHARAN: Yeah.
It's an application,
very simple.
You can download
it in your phones.
And I sing, then you got
to listen to me carefully,
and sing the way I sing.
And I've explained
certain difficult parts
of the song, and all that.
So you learn it,
you can sing it,
and then you can make
a video with me also.
I come and I pop out of the
screen and say, sing a song,
sing with me.
And then you send it to us,
then we evaluate and tell you
how good it is, and you know.
I wanted to reach out to people
who would benefit from learning
certain things from me.
And once we start this, then I
will take up a section of it.
I will be teaching techniques
of singing, basically.
Just get the interested
people, and then
I'll start telling them the
grammar of music, how to do
the [? az, ?] things like that.
Sing with Hari.
You want to sing with Hari?
SPEAKER 1: So when
can our people get--
HARIHARAN: It's being
released in the month of July.
SPEAKER 1: For those of you,
when it's released in July,
you'll be announcing it.
Or June, you said, right,
HARIHARAN: Right, June.
SPEAKER 1: So please let's
download it, and play with it,
and get-- in fact, you can
get the link, they can--
SPEAKER 2: Play the video.
SPEAKER 1: All right,
we can play the video.
[VIDEO PLAYBACK]
[NON-ENGLISH SPEECH]
[SINGING]
-You got it?
HARIHARAN: You got it?
-Have you ever thought
of getting a mohawk?
-Yeah?
-Mohawk.
-Oh, it has tail.
-I think it look good.
Just my opinion, sorry.
-Start singing.
[NON-ENGLISH SINGING]
[PHONE RINGS]
-Commitment, commitment.
Everybody wants commitment!
I mean, what's with
this-- forget it.
-How do you [? grow ?]
up with commitment?
Go.
[NON-ENGLISH SINGING]
-Learn the art of singing
with Maestro Hariharan.
Your place, your time,
your convenience.
-Mohawk.
[END PLAYBACK]
SPEAKER 1: So now
that you also see
your sons and the next
generation singing,
do you see the
difference between how
you and this generation sang,
and how the children are
picking up music?
Is it more fusion,
is it more classical?
What do you see as the future?
HARIHARAN: Well, I must
tell the new generation,
the kids, they're
very intelligent kids.
I mean, the kind of speed
at which they pick up things
is-- [? I'm ?] up for
a mud tree, basically.
But we had an advantage.
We didn't have anything
to distract us.
There was no idiot box.
When I was a kid, I used
to play, or I used to sing.
That's it, two entertainments.
No going out and
eating, no [INAUDIBLE]
But this gets us
into so many things.
They have knowledge, but
sometimes it is superficial.
They're very happy with
just going 15% into it.
And that is why you
don't get depth.
I'm talking of
musicians, basically.
They are very, very intelligent.
The kids who do the full course,
like if you have learned piano,
or if you have
to-- if they do it
for a proper six,
eight years, the same
happens to Indian
classical music.
Because if you do
it, then they shine.
Otherwise it is like that
half knowledge thing.
And the window today is
so small for a musician.
Is very frightening.
Gone are the days when you
can sing for 30, 40 years.
[NON-ENGLISH SPEECH]
Somebody else is coming.
So the stress on the
kids are also a lot.
So it's tough.
Only some survive.
SPEAKER 1: It's tough, but
the message that you told us
earlier is, hard work.
HARIHARAN: Absolutely.
SPEAKER 1: Still required.
Persistence.
HARIHARAN: It's always required.
SPEAKER 1: That's
always required, right?
And the distractions just
make it more difficult.
HARIHARAN: Yeah, and
just get into it.
Get into the subject.
Become a part of the subject.
Just the swallow it.
Eat it.
SPEAKER 1: Is there any
tips you have for just
having a melodious voice?
I mean, you have a
God-given melodious voice,
but you've perfected
it through--
[INTERPOSING VOICES]
SPEAKER 1: Or just taking
care of your voice.
Is there any tips?
HARIHARAN: Well, don't
do anything silly.
I mean, be normal.
Like, today I was having
lunch, and a friend of ours,
he asked me, you
have a concert, Hari,
so would you take any care
about what you're eating?
I said, nothing.
You're eating this,
I'm eating this.
So it's basically normal.
But normally you
avoid oily food,
or you avoid an ice cream
before a concert, definitely.
These things are logical
things, you don't do it.
That's it.
And dust, of course.
You can't have dust.
It just clogs you up.
SPEAKER 1: So you've won
numerous awards, as I said.
You won the National
Award twice,
you've won numerous
state awards.
The Padma Shri was
awarded to you.
Which of these-- either the
awards, or something else,
has, you think, been your
proudest moment so far?
What are you most proud of?
HARIHARAN: Having my gurus,
like my mom, or Ghulam Mustafa.
And Medhi Hassan
was my soul guru.
Rouhani guru.
When they say that
you have sung well
in some concert or something,
that really gives me a high.
Really it gives me a high.
And of course, awards
are like goodies.
It gives you that satisfaction.
Especially when you get the
state award, or a Padma Shri,
or something like.
You feel, OK, the
nation is proud of you,
so behave yourself, and
keep doing what you do best.
[APPLAUSE]
SPEAKER 1: I like that
it wasn't the awards,
but it is the recognition
from your gurus.
HARIHARAN: Yeah.
It's all there, you know.
And in my concerts, I have
kids from the age of 10, 15,
write to 60-, 70-,
80-year-old people.
Which I'm really
happy of, because I
have been successful
in identifying myself,
my music being identified
by all the generations.
And I hope I keep doing that.
That's it.
SPEAKER 1: So for
the coming years,
what should we expect from you?
What should we expect
more of, should
we expect more of Hariharan
the ghazal maestro?
Should we expect more of
Hariharan, the pioneer
of fusion music in India?
Or Hariharan, the melodious
singer of film scores,
or a new facet to this
brilliant diamond?
HARIHARAN: I'm doing a
lot of fusion with my son.
Lot of [? rugtadi, ?]
and lot of singing.
But EDM music.
That's one thing
which is happening.
I'm doing pure classical
Hindustani, which
I've never had the time to do.
Because it requires a lot of
time if you want to do it.
[NON-ENGLISH SPEECH] It's
not possible, basically.
It's a way of life.
Your timetable of the day has to
be different, and things like.
So these two things.
And I will definitely sing
till I'm comfortable singing,
till I like my own singing.
I will stop at the day
I [? can't ?] do it.
But that's important.
You gotta know till
what I can sing.
Has been lovely knowing all of
you, who have been supporting
me all these years.
Who have given me so much love.
And thank you.
SPEAKER 1: And on that note,
can you sing us a few lines?
HARIHARAN: All right.
SPEAKER 1: Of your
favorite song?
HARIHARAN: My favorite song, OK.
[NON-ENGLISH SINGING]
[APPLAUSE]
SPEAKER 1: A last question.
Do you have specific
advice for the use
of our technology
in general that
will help music, that will
help creation of music, that
will help promotion of music,
that will help people to get
music to reach their
hearts, whether it
be Indian or western?
HARIHARAN: You want
my advice for that?
SPEAKER 1: Yes.
HARIHARAN: Wow.
OK.
Why don't you have form a
club of the elite musicians
of the world, from each genre?
A Google club of musicians.
And they're available to
students or institutes
of music for their advice.
And this whole process
happens through them.
And to do that, a student of
music or a connoisseur of music
have to read standards, and
be a member of that society.
Start it.
It will grow like wildfire.
So at least you know that if
a person wants to be a singer
and feels that he's
a singer, he can get
evaluated by the right people.
Rather than the mother,
father, and the cousins.
[NON-ENGLISH SPEECH]
When he comes somewhere
and he sings, you said, so,
why have you come here to sing?
What are you doing here?
[NON-ENGLISH SPEECH] I'm a
very popular singer from--
so at least that doesn't happen.
So I think that should be-- that
should be one of the things.
[APPLAUSE]
SPEAKER 1: So friends, let's
thank Hariharan [? G ?]
for this time he's
spent with us.
Let's give him our applause.
