 You were actually, I think, one of the first people we were introduced to in terms of Indian classical music. And so that being our introduction, as you saw our reactions, it was kind of just like a punch to the face of like, whoa! So that was quite, quite impressive. But how are you holding up during the quarantine? Yeah, actually, yeah, it's tough to, it's mentally more challenging, I guess, to accept it, start with. And, you know, we are a family of three-hour-11-year-old child who was supposed to go to the sixth standard in school. So he was looking forward to it, things that were coming up. So all that is suspended and we don't know for how long. So that becomes challenging. I mean, he hasn't seen another kid of his age in the longest time. So that comes really lonely and he's stuck with us. We're trying to be 11 years old as much as possible in parts. But as we are also in our own thing and sometimes there's labour of work, some things which are piled up, some things that we can do online like long-distance calls and meetings like that. So he sometimes is a little lonely and, you know, all that. And I think the uncertainty is what is mentally more challenging to handle, to be very honest. Yeah, absolutely. Especially being a kid and not being able to be with other kids your age, it's so difficult. But yeah, I'm here with my, but he's five months old. So he's not really playing with anybody else right now except for us. But yeah, like I was saying, you were actually one of the first people we were introduced to in terms of Indian classical music. And so we really appreciate you and your talent that you have. I think the first question I had after we watched it was just how. And so can you answer that for me? Because how will it take you back, I think, around a little more than 30 years? Because one of the very essential things is, I think, I mean, according to me would be to start very early for different reasons. One is this is this is not an external instrument. This is an internal instrument that you can't see. So when you're dealing with your voice, when you're dealing with an external instrument, somebody can see if your fingering is wrong, if your techniques are wrong. If you're putting your fingers in the wrong place in the wrong order in the wrong sequence, someone externally can see that. But in a voice, if you're projecting your voice in a way which is limiting the possibility that will only happen 10 years later. You know, the complexities of the notes that we sing, the octaves that we sing at least two and a half to three octaves that we sing with a natural voice with no different chest register, head register, nothing like that. It's just one voice, just the control of breathing at what is what is most important. And all these functionings are happening internally that somebody from outside cannot really see and you can't check it for yourself. So if it starts very early, then your voice gets into the grid in the right way in the right time. So once the grid is right, once the placement of your voice and the sources are taken care of, then the possibilities are more. I wouldn't say limitless, because you know, that's a very abstract idea for me, I would think. But yeah, much more, I would say the limitations are lesser possibilities will expand. So that's one thing we'll have to start very, very early for the techniques to be right. Secondly, it's easier for a kid to listen to the teacher. As we grow up, we have our own questions, we have our own doubts, we have our own things that, okay, I've been told to practice the same ascending and descending maybe 500 times. Then as an adult, we first ask, why not 300 times? Why is 500 times such a magic word? What's wrong with 300 times? So the thing is, but the shine and the clarity and the perfection that you will attain if you do it 500 times, you will only get to know that if you have done 500 times. So it's easier to make a child do things the way the teacher wants and something that makes sure that the child, if the child has the right talent and potential, he or she gets to the right place to explore. Because the imaginative and the creative layer is added later. First is a bad grind, I would say. For at least 10 years, 8 to 10 years, I would say, it's absolutely unquestionable trust on your teacher and a bad grind. So once you've got those techniques right, once you've got those fundamentals right, then you can forget about them because they've been taken care of by them. And then you can think about the creativity and use those techniques as in when they are required because music at the end of the day is about emotion, is about the story that you're trying to say. It's about the dynamics that you want to explore, which in the process expresses a certain kind of an emotion. But if you think about the techniques, you will never be able to perform soulfully with all your emotions expressed in the right way. So the techniques have to be learned and then forgotten about basically. So you have to basically put them in a deeper layer and not consciously think of them anymore. So what you're consciously doing, you're actually concentrating on the emotional aspect of music. And the techniques are there to support you whenever you want them to do whatever you want. Dang, you're a teacher, aren't you? Dang, it's very, it's very wise. Thank you. One of the things that was very evident, the very first reaction we ever had of listening and watching you sing. We're obviously extreme novices when it comes to Indian music or Eastern music. I have an understanding of music purely from a Western mindset in terms of choral music or orchestral music or even just band music. And they have similarities, but they also have extraordinary differences. One of the things that I immediately picked up on was, and I said this in our reaction, was the amount of hours of training that you had to have gone through in order to have done something. Don't be faceted, just the breathing alone. I truly, I don't, when we react, we're really based on being genuine and how we react. We won't say something unless we really believe it. And I remember when I heard you sing and my daughters were with us during that reaction, who are both singers. One Alexis specifically wants to have her career is singing. She's, I got a pre-boy, she wants to sing. I have never heard, this is going to sound over grand, but I mean this. I've never heard a, until I've heard you, I have never heard a human being do with the human voice. What you are capable of doing with the human voice at every level in terms of diaphragmatic breathing to the control that you have with your tonality to the pitch perfect to the scales you can do without getting into a head voice. And then you add to that what I'm beginning to learn about Raga and this improvisational style that I only know like jazz and western music. Yes. It truly, truly is an extraordinary thing to behold. And it's one of the questions we had was how much, because training is obviously critical, crucial. As you said, it needs to start young. How much do you see this is a result where you presently are now with this artistry you can do? How much of that is innate God given gifting that you have? And how much of it do you think, and I don't know that you can delineate this, how much of it is the training per se? Yes, it does. But as you rightly said, it's difficult for me to say that because, you know, I am a result or any musician for that matter is a result of the process which is a perfect marriage of these two, which is great marriage of what you're born with and what you've done with that gift. And of course, your circumstances, your environment, your influences, your teachers, their impact on your life, everything put together. So it's very difficult for the student like I am. It's very difficult for me to say that what had a greater impact in my music. But I would say that along with the musical gift, another gift is also a frame of mind. That is also very, very important gift. Why I'm saying this because I've seen talented youngsters who are born with fantastic voices. So that's genuinely the most relevant gift that we can talk about. But what happens if your commitment and any grind is very tedious on your system, on your mind, it starts from your mind because that's where the fatigue starts. And then that reflects in what you're doing. So that fatigue with a lot of talented gifted youngsters, I've seen this, that they're extremely gifted. But the perseverance, the commitment, the constant tussle that you have to do with yourself to continue with that stringent routine of yours and discipline of yours for years. And this is not weeks and months we're talking about. And these are years which are very, very crucial in terms of you want to enjoy life at that time. You want to do things, you want to go out, be with friends, go to movies and have nightouts and do party and do all sorts of things. And late nights and laugh your heart out and scream. But that's the time when the most crucial things happen in your life. So it's also making a choice to kind of separating yourself from whatever is so tempting for that age and to commit yourself to something which you have to believe without seeing the result that eventually it will give you the result. So that persistence itself is also a gift. So that mindset is also a gift. Of course music is the gift, but for you to bring that shine that you want is also a gift that has to come with the gift of music and voice for a musician to actually go to that point. Because let's say you've enjoyed your life till you're 20 and then you're ready to do that, take that grind or take that path. But it doesn't have the same result. So what you can do from the age of 10 to 20, you can't do from the age of 20 to 30, though mathematically these are 10 years. But because it's the most formative years, your system, your body, your mind learns the most in those years. So you have to teach your mind, you have to teach your voice, you have to teach your mindset, you have to teach your brain to concentrate on different things to multitask. At the same time think of the words, the tempo, the beat, the notes, the pitch, the perfection, the presentation, the ease. And last but never the least, the aesthetics, the dynamics, the emotions. So you have to teach everything to yourself in those 10 to 15 years. And if you're not ready to do that at that time, then your brain has learned so much otherwise that for you to undo a lot of that and to again re-learn a lot of basics and fundamentals to become the musician that you want to become, becomes difficult if it's late. And also I will, sorry, but I haven't... No, please. I've gone through the training bit. So the training also, you know, in Indian music system and when I'm saying Indian music system, especially in the context of training, I would like to mention one thing that for this, we have very unique disciplines coming from the northern part of India and southern part of India. We call it Hindustani and Karnataka music, you might know. So the training systems are very different. The Karnataka training system is systematic, it's bound, it's structured much more than our system. The Hindustani system is very subjective. Because it's not composition-based, it's creativity-based. So when it comes to creativity, it naturally becomes, because creativity cannot be objective creativity. It has to be subjective creativity. Your imagination is your imagination, not mine. So that is why the training process is also very subjective. And a guru or a performer or a teacher, he or she devises his own universe and elements that he wants to teach his or her students. So his training system would be of a certain kind. Why Gharana is so important in Hindustani system? Gharana is nothing but a family. So there's a biological family, there's a musical family. So a Gharana is a family bound by music. And the head of the family that Gharana has devised a certain style of singing for which he or she teaches certain elements. So teaching system is also very different. So you might hear music from, I belong to the Patiala Kasool Gharana. In this time and era, it's difficult to say that I only follow that one system because I get to hear so many different kinds of music. And I'm sure my mind is observing some of it even when I'm not conscious of it. So the influences of which might show in my music. But at the time when Gharanas were made, then communication and travelling was not that easy, even within our country. So the Gharanas were much stricter in their own system. But now if you, even now if you hear somebody singing from a Gawaliya Gharana or somebody singing from let's say Jaipur Gharana. So their unfolding of their style of music will be very different. But there are certain commonalities, certain differences. So as far as training process is concerned, I think I've been blessed by such a scientific analytical training process that was devised predominantly by my father's guru and who's also my guru, Guru Gantakash Koshchi. And my father of course, who has been my primary teacher, my parents, my mother and my father. So this training system itself is also a great, I would say an instrument which gives me, which empowers me with the technical brilliance that is otherwise very difficult to attain just by copying. So certain basic rules have to be learned and practiced for eventually to attain certain ease within the very complex movements. So as an artist, I think you would agree that what impresses the audience first is the ease of an artist. Absolutely. My father has a very, very simple way of saying that he says that we can have musical laborers and we have artists. So putting a lot of effort in making something is labor and the effort shows the difficulty shows the in your face and your expression in your body language. What shows is that you're doing something very difficult. That's not artistry. Artistry is when you're doing something hugely difficult and complex, but it's not showing in your body language, in your voice. What people see is you enjoy doing that and that's what attracts the audience because in the audience I really can't expect in hundreds and thousands of people, everyone to understand what complexity is undoing. But what they will understand and what they will, what will be the connection between the audience and the singer is the happiness, is the enjoyment. That makes a lot of sense. We interviewed and got to watch Ustad Jizakir Hussein in a concert. One of the first questions we had for him, that I had for him, I asked him, I said it looked like you're not even thinking when you're doing these complicated things on the tabla. It just looks like you're just kind of freely doing it, but it's the most insane thing I've ever heard. So I 100% agree it's the effortlessness, even in acting like Irfan Khan is just effortless in his acting and you're just so impressive that way. But I did want to ask, I know you started training from a really early age, probably two years old around that, but when did you know? As soon as I could talk and I could make sound with my voice, I think my parents were just waiting for that time. When did you know that you wanted to dedicate your life to music or was that always a foregone conclusion for you? I never knew it just happened. It just happened spontaneously. And it was so organic that as if the decision was made beforehand, like before anything could have been decided. And that is why it might sound a little heavy for the age group that we belong to, but I always say that I didn't choose music. I think music chose me before I had the power of choosing anything for myself or even my family. I believe that every life is born with a very unique special purpose. Sometimes it takes time for the purpose to reveal, but in my case, I've been very, very lucky that the purpose brought me to, I mean, put things into context. I never had to do anything. So it wasn't my decision or my parents decision or whatever it is. And it's not something that otherwise would have happened in my family because I have a younger brother who's more than 10 years younger than me. He doesn't sing. He's not a singer. So it's not like a given thing that anybody in the family would have become a singer. So that's not a decision. But in my case, I never had a hobby. I always wanted to sing as my pastime. So everything was around music. I enjoyed singing more than anything else. Even as a child, this is funny, but I would like to mention this because I think it makes sense when you talk about childhood. Because we don't have conscious memories of all the things. My name is, I mean, it is a little long for a very small child to remember with the spelling and everything. So my mother was trying before I was admitted into a school or a preschool, something like that. She was trying to teach me the spelling of my name. And of course, I was not being able to remember it because it's just long. So she made a song. And that's how I learned the spelling of my name. So she made K-A-U-S-H-I-G-K-I-K-Koshiki. So that's how I learned the name. That's awesome. Even my name and spelling of it, I learned through music. That's awesome. I love that. Now, one of the things I've noticed about, even as you've just been expressing yourself, it's my understanding that you have a master's degree in philosophy. I do, yes. And what I've discovered, even as you've been talking and as well as the limited exposure we've had in the music, one of the differences obviously than just scale and modality between Eastern and Western music, is that in Western music, there seems to be an accentuation, rightly so, on discipline and rehearsal and performance and the aesthetic of enjoying it on an artistic level. But I'd love to know, is one of the reasons you pursued a master's degree in philosophy because what I see is that Indian musicians, whether it's a tabla player or a singer, have this really holistic approach to artistry that really incorporates humanities and philosophy and spirituality. So, does it, for you, did philosophy just kind of just go hand in hand with your artistry? Yeah, it did. And that's why I wanted to do my master's because my father was dead against me studying any further because he was thinking that a lot of time has been given to education because I was studying seriously, simply because I loved the subject. So, I was studying really seriously. So, he was thinking that, you know, it's time, I'm borrowing time from music and doing other things that I would never need that degree. I mean, I'm not becoming a professor or doing something like that. So, he was thinking that as simple as you're just wasting time studying too much, why do you need to study philosophy and why do you need to do your graduations and your bachelor's and master's and why do you want to go to the best possible university to study? Because they have semester system, which means that much more pressure, that much, you know, time given for study, so all that. But I think it's very weird that how Indian music and Indian philosophy and Indian spirituality, not religion, spirituality, is very, very, very closely bonded. Yeah. Because, you know, you have the piece of music that you have reviewed and given feedback to is a very fast-paced portion of a performance. But if you listen to the longer presentation of an Indian drug, you will know that the ratio of slower movement is to faster movement is perhaps five is to one time wise. If a performance is of 40 minutes, 10 minutes will be faster movements. So the first 10 to 15, 20 minutes will be very, very, very slow. And that is what gives us the power to go fast. So people think that the faster movements are the more difficult ones. But the most difficult one, the part that is most difficult in an Indian music performance is the slower movement is where it starts. I'll tell you, the most difficult note that I personally have ever sung in a performance is the first sa of a performance. So you always think that first sa will shake, you will be out of breath. There'll be something, there'll be something in your voice which will distort it. So the first sa is so important. Why? Because it's the root. It's from where music is going to blossom. And spiritually thinking, I think the most magical moment in a performance is the absolute silence, the moment before you start singing. Because that's kind of the womb of the entire performance. That's where it all comes out of. Because in Indian music, in Indian classical music, to be very specific, we have preparation but we don't have rehearsals. There's a slight difference. Interesting. Yeah. So I think, I mean, of course, this is not my mother tongue, but I think there's a slight difference in how we understand rehearsal and how we understand preparation. I'm prepared for the performance, but I couldn't have rehearsed because I don't know what I'm going to sing on stage. Well, yeah, for Hindustani music, 100% compared to Karnataka music, correct? So it's 98% spontaneous and creative. Why I'm preserving 2% because we have two and two lines, four lines of a composition. That's all is composed. Everything else is on the spot, impromptu. And trust me, there are mistakes. There are approximations sometimes, but that's human. That's natural. That's how nature is. You can't really expect every leaf of a tree to be same size and dimension. It'll be a boring tree. You would never take a picture of that flower whose petals are exactly same size. Yes. So it's true. So that one moment of silence before you start your performance, that is what is spiritual, that is what is very, very important in music and in the creative process that you are entering into. So that's a moment of prayer, if you may want to call it. That's a moment of meditation, if you want to call it. That's a moment of truth, if you want to call it. That's a moment of purity, if you want to call it. And then this is from a spiritual point of view. And practically thinking our music, the most important note of our music is the Sa. So Sa is where the entire music, the process starts from, and in the end of the music with all the fast, slow tempos, complexities, notes, up and down, all sorts of charisma that you want to show in a performance, you come back and end your performance in the Sa. So the entire process is very cyclic. Similarly, our rhythm cycle is also cyclic, it's not linear. So you've spoken to Sa Ji, I'm sure he has mentioned this, that even if it's a 10 beat cycle, a 16 beat cycle, a 6 beat cycle, you always come back to one. And how beautifully you create that anticipation for that one to come is the most beautiful process in our music. So that principle of one in terms of melody and rhythm is very similar to Indian spirituality. Because for us, this entire creation starts from Brahma, which is an abstract concept. So Brahma is not a God with number of heads and number of hands and number of weapons and number of, you know, adjectives. Brahma is different, but Brahma is an abstract concept, which, this is a very philosophy student talking, but Brahma is a very abstract concept which cannot be qualified by any adjective. So for me, as a musician, if I try to think of what is the obvious connection, the silence that I was talking about the moment silence before you start is the Brahma for us. It's not qualified by an adjective because it's silence, but it has all the possibilities that will happen after the silence. So it has all the qualities, but you can't really define it with one quality and not the other. So I think this way of philosophy, spirituality and music in Indian context is basically different perspectives of the same theme. I'd like to ask you, I've asked this of everybody we've interviewed because they're all at such a level, but I'd be really interested to see what you say since you're a philosophy student. Do you consider yourself a master at what you do and also do you think, if not, do you think people can be masters? No. No. Why? Because I think if you think that XYZ is a master, I think that's the biggest proof that XYZ thinks of himself or herself as a student that is ready to learn so much more. Gotcha. That makes sense. Being a musician in other people's view is an assurance to me that I'm a good student, which means I have so much more to learn. What do you feel like you have still yet to learn? Everything. Everything. Because you know, how do I put it? There are dimensions that we don't see, but which adds very significant but not tangible layers to your art. I'm not talking about the craft. The craft is different. I'm talking about the art. I'm talking about the origin of my music. I need to evolve there. Not a taan which is in more speed, a sargam, a note combination that is more complex. There's a limit to that because I'm not a machine. I'm a human being. I will have my limits like physical limits, human limits. But because I'm a human, the source can be enhanced to a point which is limitless. So that is why I'm not thinking in terms of the craft. I'm thinking in terms of the art because I'll try to put it in an easier way. You know, we hear the what of music. What I'm singing. I'm singing a composition. I'm singing a sargam. I'm singing a taan. I'm singing a bandish. I'm singing a Vistar. I'm singing Khatka, Alankar, all that. I mean, these are all technical terms of different movements, musical movements. So these are the what of music, but there's a why of music. So there's a limitless possibility of growth in the why. And that is why I consider myself a student that is ready to explore more and more into the why of music. That's beautiful. That's why I'll ever be a master. And it doesn't surprise us that that was your answer. No. Because when I use that, when I use that terminology with the studies that you're saying he not only answered it in a similar fashion, but he forever erased from my mindset the description of an artist as being a master because from his vantage point, he said he doesn't consider what he does with the tablet to be something he can master as if it was his slave. He considers it a partnership where the tablet itself allows him to participate in the artistry together. So it's not a surprise that your answer was comparable. And Corgan alluded to this a little while ago that your articulations are not only so intelligent and insightful, but they truly are seemingly from the heart of a teacher. And I'm wondering, like for example, I know you have the nonprofit charitable trust that you have, the soul voice aspiration. I'd love for you to talk about that a little bit, especially in light of the fact. Do you also, do you teach in addition to what you do with your performing? Do you teach? I don't, not as yet. And that's a very practical problem of time, of time management, because it's not easy to be a professional traveling musician and with the family, with a small child. And the practical demands of lives are too much. And with kids, I mean, you will know that with kids, the father being away is still a little manageable, but the mother being away becomes a very touchy thing in different phases of their lives. So when I'm home, I try to be there for home, not just being at home, but busy otherwise. So for that, when I'm traveling, I'm anyway absent. I find my best. We all try with the huge burden of mother's guilt. We all try to be there as much as possible for everything. But when I'm not there, I'm not there. It's just as simple as that. But when I'm there, if I try and because teaching is also for me, it's like a, you know, I learned from my father. I didn't go to a teacher once a week, paid him a fee. So it was not a functioning for me. It was like a mode of life for me. So if I teach, I can't go into the functional processing of teaching. You know what I mean? That's once a week, I give you a lesson, you prepare that, come back next week. And in between, you might have lost a lot of time practicing it the wrong way, which means another two weeks will be gone undoing that. I can't leave my students that it's a huge responsibility for me. And at the moment, I don't have the time to take that responsibility into my shoulders. I already have too much on the place. I would love to eventually I would love to teach a couple of students, maybe a very small number, a handful of students. Why, you know, because I often see on social media and my meals and everywhere where people try to communicate with me, they send me music, their own singing, which are mere copy pasted versions of what I sing in a performance. And what I fear is that if they keep on copying me and trying to replicate that, their identity of who they are coming across in their music will never be a possibility. They will stop on that. And some of them are so talented that I'll feel very, very bad if they don't get their own expression. And if help them to find their own expression. So that is a very kind of an inner compulsion that I've been feeling lately. So I don't know what the selection process can be. And I'll have to be very, very strict in selecting only very, very handful of music students or musicians, so to say. But that is something that, because I'm not too sure how much time that will demand. I'm not just getting into being a little safe, I would say honestly, because I don't know how demanding that can be. Sure, understandable. I find that's pretty similar with all artists, especially at the beginning, when you're training a lot, like if you're training with somebody like yourself, or like in acting. We talked about this with Nawaz, like when you're training and you're young, you try to emulate your favorite actors. And so like he once said he did something similar to like an Al Pacino scene, but he did it as Al Pacino. Or was that you or him, Rick? It was actually both of us. We had a commonality we joked about. We had both done the exact same thing with Al Pacino. Before you actually find your own voice, you try to emulate the people that you look up to until you get a little older and wiser and find your own voice in whatever artist you're performing. But yeah, so I find that's pretty similar. But this has been incredibly insightful. But I want to kind of almost finish it up with almost a rapid fire for a bunch of almost silly questions. Sometimes there's not really, yeah. So just answer as best you can. But first one is Coffee or Chai? Chai, of course. Black Tea, Darjeeling, second flush. Go ahead. No, no, no. You go. Okay, gotcha. Favorite Indian instrument? Sarangi. Which one's that? Sarangi is the one which you put it like that and play with the book. We've seen you in a video playing it, right? Yes, you'll find them in my videos. I just love the sound of that instrument. If you look up in the YouTube, you'll find somebody called Murad Ali Khan. He's incredible, he's incredible. Just listen to him. And he's so soulful. That's one thing I really, really, it touches me because technically brilliant, very fast, very complex. Amazing. But something that you cannot have unless you are born with it, unless you're gifted with it is the soul. And I find that a lot in Murad Ali Khan Sahib's Sarangi. So Sarangi is one of my very, very favorite instruments. How many instruments can you play? I can play the harmonium and I can play the tabla while I sing because I was taught to play the tabla and sing with it. So basically I can play the tabla. I can play everything that is played on a tabla when I sing while I'm singing. So I can play the tabla, the cycles and everything because it's basic, it's not like wow tabla playing, but basic. But I can keep the tempo and keep the cycle going and while I sing. Who's your favorite American singer? Phil and Dionne at one point of time after Titanic, of course, I've been the entire generation to stop her. And then I tell it and Katy Perry. I just love their voices. Love Katy. Favorite thing about making music? Peace and honesty because I don't think I can be as pure and honest in any of my other expressions apart from music. Least favorite thing about making music? Selfies. Got you. That's funny. Favorite Hollywood film? Can I say something which is old? Of course. Bridges of Madison County. I've never seen that one. Who's in there? Meryl Streep at Clangstwood. Yeah. Who are they? Very old, but Meryl Streep is, I think my husband is ready to marry her at any given point. Meryl Streep is fantastic. As long as she comes home, I'm happy. Favorite Indian film? Favorite Indian film? Sorry, that was not traffic at all. No worries, that's fine. I don't want to name those Dabang Salman Khan types of movies. No offense, but I don't like them. Among the recent ones, I've liked something which is called Section 375 and one which is Chapak, which is Deepika Padukone, which is on acid attacks. We saw Chapak, it was fantastic. Favorite Indian actor, male or female? Kamala Sen at one point at a time. Ranveer Singh at the moment is incredible. Yes, he is. Favorite Hollywood actor? Meryl Streep, I think. Make sense. Favorite food? Home food and Thai food. And last one, favorite thing to drink? Tea is one of my most favorite things to drink. And apart from that, I think Virgin Mojito. Which one? Virgin Mojito. Mojito? Yeah. Oh, yummy. I love Mojito. I used to be a bartender making Mojitos is fun. So that was it. Thank you so much. Thank you so much for sitting down with us. It's been one, you're incredibly intelligent and well spoken. You could tell you're a philosophy student and also just an intelligent person. With how well you speak. And obviously we know you're, I can say you're a master because I'm not you. I believe you're a master at what you do because you're so talented. But so thank you so much for sitting down with us, Rick. I don't know if you want to say something. Thank you so much. Go ahead, Rick. No, all I wanted to say in closing was for all of you stupid babies out there watching and please visit her website. It is her name. All you have to do is a Google search or just go straight to her website of kushiki chakraborty.com and take a look at things that are on there, especially the nonprofit charitable trust because I hope it makes you happy to know. I read that one of the things that matters most to you is to see the world become more understanding of not just Hindustani music, but all forms of classical music. You even have some things in here that you want to encourage people in all forms of music, including Western. And that passion is so evident in how you express yourself. And I'll tell you the exposure we had with Astaji Zakir Hussein and with yourself have caused us to not only appreciate at a wider level, but want to learn more about Indian artistry and specifically all of this beautiful brand new to us in the past year world of Indian classical music. So thank you. Thank you all that you know the two names that you've been taking in the same breath is the biggest award of my life. Astaji is my God. He's the God of this entire Indian music, this entire human population who are aware of the word Indian music. He's been personally my North Star. I first met him when I was three years old, thanks to my father. And he has been such a father figure and his affection, his guidance, his love has been one of the most treasured blessings of my life. And to be even mentioned in the same breath as him is one of the biggest presents, gifts and awards that I could ever have won in my life. And I'm very, very happy that you're making such an amazing effort and doing this for Indian music is something that as a student of Indian music I would really like to thank you for doing this. Because I think it makes a lot of difference. It's people who don't identify with Indian culture, Indian music, Indian tradition, but they understand you and they follow you and they relate to your way of upbringing, your culture, your way of thinking, your way of looking at life. When you talk about a certain kind of music they relate much more. And that is such a great service done to our music. And I think music is the biggest positive force in this world. Forces are different. They sometimes take us far away from each other. But this is one force which binds us together in such a lovely way that it's a bonding that we all treasure. I'm really thankful as a student of Indian music that you're doing this for our music. Thank you so much. That was really kind of you. And now it is one of my dreams to, once all this coronavirus is over, to see a concert with you and Ustadjee Zakir Hussein. At one time, that would be a dream. Do you ever come to Los Angeles to perform? Yes. I was about to be in Los Angeles on the 16th of May. That's upsetting. I was supposed to have a master class at the UCLA for three days. And you will be very, very surprised that as a young student, I wanted to study at the UCLA. But of course, my father wouldn't allow me to go to the US because it's going away from his discipline and doing nine to ten hours of practice a day. It's a beautiful campus. So I wanted to study there but I was called for a master class and I was like, yeah, finally I go to UCLA. And I wanted to stay in the campus. I told them I don't want to hotel, nothing. I wanted to stay in the campus. You know, I'm there at the UCLA with the dream campus. But yes, fingers crossed. I'm sure all that will happen and I'm very, very sure of it. I'm hoping you come back. Wonderful. So thank you so much. We really, really appreciate it. Thank you. Stay safe. God bless you and your family. And we look forward when this is all done. We're going to keep tabs on everything that you're doing. And we just deeply appreciate your time today. Thank you. Thank you. Take care. Lovely to meet you.