Background: "Eight Miles High" is a song by the American rock band the Byrds, written by Gene Clark, Jim McGuinn (a.k.a. Roger McGuinn), and David Crosby and first released as a single on March 14, 1966 (see 1966 in music). Musically influenced by Ravi Shankar and John Coltrane, "Eight Miles High", along with its McGuinn and Crosby-penned B-side "Why", was influential in developing the musical styles of psychedelic rock, raga rock, and psychedelic pop. Accordingly, critics often cite "Eight Miles High" as being the first bona fide psychedelic rock song, as well as a classic of the counterculture era. The song was subject to a U.S. radio ban shortly after its release, following allegations published in the broadcasting trade journal the Gavin Report regarding perceived drug connotations in its lyrics.
Context: The song's use of Indian and free-form jazz influences, along with its impressionistic lyrics, were immediately influential on the emerging genre of psychedelic rock. Accordingly, some authors and music historians, including Eric V. D. Luft, Domenic Priore, and Dwight Rounds, have described "Eight Miles High" as being the first bona fide psychedelic rock song. In his book Riot On Sunset Strip: Rock 'n' Roll's Last Stand in Hollywood, Priore cites "Eight Miles High" as being the record that kicked off the psychedelic craze, explaining "prior to 'Eight Miles High,' there were no pop records with incessant, hypnotic basslines juxtaposed by droning, trance-induced improvisational guitar." The song was responsible for the naming of the musical subgenre raga rock, when journalist Sally Kempton, in her review of the single for The Village Voice, used the term to describe the record's experimental fusion of eastern and western music. However, although Kempton was the first person to use the term raga rock in print, she had actually borrowed the phrase from the promotional material that the Byrds' press office had supplied to accompany the "Eight Miles High" single release. In a 1968 interview for the Pop Chronicles radio documentary, McGuinn denied that the song was in fact an example of raga rock, while Crosby, speaking in 1998, dismissed the term entirely, stating "they kept trying to label us; every time we turned around, they came up with a new one ... it's a bunch of bullshit." Nonetheless, the experimental nature of the song placed the Byrds firmly at the forefront of the burgeoning psychedelic movement, along with the Yardbirds, the Beatles, Donovan and the Rolling Stones, who were all exploring similar musical territory concurrently. Contemporary reviews for the single were mostly positive, with Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing." Record World magazine also praised the song, commenting "It's an eerie tune with lyrics bound to hypnotize. Will climb heights." In the UK, Music Echo described the song as "wild and oriental but still beaty". The publication also suggested that with the release of "Eight Miles High" the Byrds had jumped ahead of the Beatles in terms of creativity, stating "[By] getting their single out now they've beaten the Beatles to the punch, for Paul [McCartney] admitted recently that the Liverpool foursome are working on a similar sound for their new album and single." In recent years, Richie Unterberger, writing for the Allmusic website, has described "Eight Miles High" as "one of the greatest singles of the '60s." In 1999, the song was inducted into the Grammy Hall of Fame, an honor reserved for "recordings of lasting qualitative or historical significance that are at least 25 years old." In 2004, Rolling Stone magazine ranked "Eight Miles High" at number 151 on their list of The 500 Greatest Songs of All Time and in March 2005, Q magazine placed the song at number 50 on their list of the 100 Greatest Guitar Tracks.
Question: What is another thing critics liked about the song?
Answer: Billboard magazine describing the song as a "Big beat rhythm rocker with soft lyric ballad vocal and off-beat instrumental backing."

Background: Odissi (Odia: odd'ishii Odisi), also referred to as Orissi in older literature, is a major ancient Indian classical dance that originated in the Hindu temples of Odisha - an eastern coastal state of India. Odissi, in its history, was performed predominantly by women, and expressed religious stories and spiritual ideas, particularly of Vaishnavism (Vishnu as Jagannath). Odissi performances have also expressed ideas of other traditions such as those related to Hindu gods Shiva and Surya, as well as Hindu goddesses (Shaktism). The theoretical foundations of Odissi trace to the ancient Sanskrit text Natya Shastra, its existence in antiquity evidenced by the dance poses in the sculptures of Odissi Hindu temples, and archeological sites related to Hinduism, Buddhism and Jainism.
Context: After 12th-century, Odia temples, monasteries and nearby institutions such as the Nalanda in eastern Indian subcontinent came under waves of attacks and ransacking by Muslim armies, a turmoil that impacted all arts and eroded the freedoms previously enjoyed by performance artists. The official records of Sultan Firuz Shah Tughlaq's invasion in Odisha (1360-1361 CE), for example, describe the destruction of the Jagannath temple as well as numerous other temples, defacing of dancing statues, and ruining of dance halls. This led to a broad decline in Odissi and other religious arts, but there were some benevolent rulers in this period who supported arts particularly through performances at courts. During the Sultanate and Mughal era of India, the temple dancers were moved to entertain the Sultan's family and courts. They became associated with concubinage to the nobility. The Odissi dance likely expanded in the 17th century, states Alexandra Carter, under King Ramachandradeva's patronage. This expansion integrated martial arts (akhanda) and athletics into Odissi dance, by engaging boys and youth called Gotipuas, as a means to physically train the young for the military and to resist foreign invasions. According to Ragini Devi, historical evidence suggests that the Gotipuas tradition was known and nurtured in the 14th century, by Raja of Khurda. During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannath temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations". Christian missionaries launched the "anti-dance movement" in 1892, to ban all such dance forms. The dancers were dehumanized and stigmatized as prostitutes during the British period. In 1910, the British colonial government in India banned temple dancing, and the dance artists were reduced to abject poverty from the lack of any financial support for performance arts, combined with stereotyping stigma.
Question: How did this affect the dancers?
Answer:
The dancers were dehumanized and stigmatized as prostitutes during the British period.