Word: khans
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Dates: during 1970-1979
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...gleaming black slate lobby floor sloshed the contents of his bucket: a bouillabaisse of river muck and the carcasses of fish, a rat and a bird. The Fox, mysterious Scarlet Pimpernel of pollution, had struck again. His note explained all. A long doggerel rewrite of Coleridge's Kubla Khan, it ended with the lines: "We have begged you for mercy, and our hearts are sad, our brother./So I leave you with this greeting, Sir, from one slob to another! [signed] Fox." A grim fox's visage was drawn...
...facilitate the entrance of American aid into the country. This aid, part of a pact with the Pakistanis which John Foster Dulles had conceived in 1953 as an anti-Russian coalition, had the effect of strengthening the military and hastening the 1958 coup d'etat by Ayub Khan...
During the "gat" phase when the raga is set to a sixteen-beat rhythmic time cycle, and during the speeding climax of the "thala," there appears to be a heightened intensification-rather than a confusion-of the raga's mood, as Mirza and Khan seem to mysteriously coalesce in a musical vision of sheer symmetry...
...raga's path seems to change on the first beat of each cycle, which acts as a convergence point for the interplay of the two instrumentalists. Mirza sometimes suggests a rhythm in his strumming, picking right hand (the lute-like sitar is played vaguely like a guitar) which Khan then develops more fully during the coming cycle...
...other times, Khan pursues a new, syncopated tempo, while Mirza takes the first note as a starting point for "bending the pitch" of the next interval, to be played in "meend," a technique similar to the "blueing" of notes in jazz. "The beauty of the sitar lies in pulling the notes from one fret to another," according to Mirza. The drawn-out sounds create the strange, modal, wailing effect which western ears find so intriguing...