Friday, December 02, 2005
పది వేల శేషుల పడగల మయము
The abode of Lord Venkateswara, Tirupati located in Telugu land, enveloped by seven hills known as Venkatadri, Anjanadri, Vrishabadri, Seshadri, Garudadri, Vrushadri and Narayanadri represent seven hoods of Lord Vishnu's Serpent. This temple is aptly called "heaven on the Earth" (Bhooloka Vaikuntam) is dweeling of rare biological species and geological marvels apart from it's unparalalled spiritual significance.
Silatoranam at Titupaty is a rare Geological marvel formed hundreds of million years ago. The shapes of the rocks are spellbinding; the rocks are formed – yes formed, not chiseled – in the shape of conch (shankha), disk (chakra) and Namam.
The arch has a length of 25 feet, and a height of 10 feet. In fact, devotees believe that the self-manifest idol of Lord Venkateswara appeared through this bed of rocks, leaving an arch in its place. The lone watchman atop this hill points out some striking evidences on the rocky ledges around this arch that goes to substantiate this legend .
Only two such arches exist elsewhere in the world - the Rainbow Arch in Utah, USA, and the other being the Daldradian Quartzite of Great Britain.
Telugus always feel proud to have Lord Venkateswara in their land as much as in their heart.
Wednesday, November 30, 2005
While he was studying at Kakinada he got his political contact with Sri Madduri Annapurnayya, a great freedom-fighter, and Rallapalli Atchuta Ramayya, a great scholar.
At the age of 15, Raju was shifted to Visakhapatnamfor his studies. Though he had little inclination for school studies, he was very keen and began to acquire knowledge of the political situation in India.
Sri Alluri Sitarama Raju went deep into Gond land where nearly a thousand tribals had sacrificed their lives during the first war of independence in 1857.
He attended the A. I. C. C. sessions at Gaya in 1916 and at Kakinada in 1923 and got blessings of the top-ranking leaders of India.
Raju inspired and organized the tribals to wage war against the British. Soon Raju's plan of action took shape with vigour and quickness. On 22/8/1922. Raju's Army raided Chintapalli Police Station, and on 23rd Krishnadevipeta Police Station, and on 24th Rajavommangi and captured a good number of guns, bayonets and cartridges and swords. He set free the revolutionary, Veerayya Dora from jail.
The British Army got alerted and platoons of Police and Army were sent to capture Seetarama Raju. At Peddavalasa, Raju attacked the British Army. They were defeated during this battle and suffered very heavy casualties and retreated. From that day onwards there was a regular warfare between Raju and the Britishers. Raju came out triumphant in all.
Virtually for two years from 1922 to 1924 Seetarama Raju ruled over vast agency area and became a terror to the British rulers.
Later British rulers deployed big contingents of Assam Rifles and others. Fighting a fierce battle, Raju laid down his life attained martyrdom.
Tuesday, November 29, 2005
Themed around mythology, rural life and animals, these toys exhibit joyous and realistic expressions. There is a strong influence of Islamic style in the art. It is believed that this art originated in Rajasthan, since the pointed nose and veil of the human figures is reminiscent of the 17th century Rajasthani style.
‘Tella Poniki,’ a particular variety of soft wood, is used in the making of the Kondapalli toys. The wood is seasoned and cut into appropriate size. Each organ of the body is separately carved and joined together with an adhesive paste derived from tamarind seeds. A coating of ‘sudda’ (white lime) is given over the surface. The toy is colored with watercolors using a goat-hair brush
With the advent of modernization, the delightful picture of quaint village life seems to be vanishing fast. Kondapalli toys have, however, have managed to preserve the rural flavour of life in the form of art, and brought it to homes everywhere, whether in a remote rural home, or a big city bungalow. Most Kondapalli toys are depictions of different components of village life. The Kondapalli toys have become the pride of Andhra handicrafts. They are so popular that people don't realize that these toys are not manufactured or factory-made; they are still made by hand in the hills of Kondapalli, a village about 30 kilometers from Vijayawada.
Toy making is a cottage industry sustained by some 50-odd families living in the hills of Kondapalli. Working for a minimum of 10 hours and a maximum of 18 hours a day, their work schedule is largely dictated by the demand that varies throughout the year.
A cloth is then fixed on top of the makku-covered toy, further reinforcing the strength. This is followed by application of the primer and then comes the final step of painting the structure. A majority of those engaged in the painting work are women who make Rs. 30 to Rs. 35 in a day. Fatima explains how three kinds of paints - oil, vegetable dyes and enamel - are used to enhance the beauty of the toys. Oil paints are used for regular toys, vegetable dyes for the export quality toys and enamel paints on pieces created for special occasions.
If you need to buy kondapalli toys you may checkout the website.
Thursday, November 24, 2005
In 1906, he started his medical practice in Bandaru and became very popular and rich within a short time. He established Jatiya kalasala (National College) in Bandaru in collaboration with Hanumantarao Kopalle and Krishnarao Mutnuri.
In 1913, first Andhra Mahasabha (Andhra great meeting) was held and a resolution was passed to carve out an Andhra state from the Madras province of British India as part of creation of states on the linguistic nationalities. That year, Dr. Bhogaraju published a book entitled, "For and Against Andhra Province." In 1916, he plunged into "home rule" movement by retiring from his lucrative medical practice. In 1917, during the All Indian National Congress meeting, he convinced the Congress party members to establish a special Andhra State Congress Committee, which was formed in 1918. He spoke in support of Mahatma Gandhi's Non-cooperation resolution in Nagpur. He also participated and motivated many to participate in Bordoli satyagraha (civil disobedience) and salt satyagraha movements. In 1929, he became Congress working committee member. He went to jail in 1930 for participating in Salt satyagraha movement. In Jail, he wrote "khaddaru utpatti - daani avakaasalu." He studied the constitutions of twenty countries and wrote "Consttitutions of the World." He wrote "History of Congress" part 1 in 1936 and part 2 in 1947. This book was translated into Telugu by Anjaneyulu Kodali.
He founded Krishna Cooperative Central Bank and started a journal "Cooperation" in 1915 and Andhra Bank in 1923 as its director. He also founded Bharat Lakshmi Bank in 1929, and Hindustan Ideal Insurance Company and Andhra Insurance Comapny in 1925.
He presided over the 5th meeting of Indian kingdoms and principalities in Karachi in 1936. He also presided over the meeting of Indian kingdoms and principalities again in 1938 in Navpari. A new monthly journal, States People, was started under his editorship in 1938. He was elected as president of the Congress Party in 1948. He served as a member of the Indian Parliament from 1946 through 1952 and as the Governor of Madhya Pradesh from 1952 through 1957. He started an English weekly, Janma Bhoomi, in 1919 and it was shut down when he was jailed in 1930.
His writings include jaatiya vidya, gaandhi siddhaantam, saamyavaadam, bhaashaprayukta raashtra vibhajana, khaddaru, hindu samishti kutmbasamskriti, congresuku enduku votucheyaali, feathers and stones, aravai samvatsaraala congresu, and Hindu Home Rediscovered. He retired to settle in Hyderabad in 1957 from his active social life and died in 1959. He was one of the greatest Indian leaders, who worked hard for the all-round development of Andhra Nation.
An eminent freedom-fighter, parliamentarian and journalist, late Shri Kotamaraju Rama Rao was admited by many national leaders as a patriot of impeccable integrity and great courage.Mahatma Gandhi described rama Rao as a 'Fighting Editor', Pandit Jawaharlal Nehru and C. Rajagopalchari also hailed him as an outstanding editor.Kotamaraju Rama Rao was elected to India's First Rajya Sabha (1952) from undivided Madras State and he was the First-ever Advisor on Plan Publicity to the Nehru Government in 1956.He also authored several books.Rama Rao died on 9th March 1961.
Born on August 10, 1894 in Berhampore, he was the son of noted advocate and freedom fighter, Jogayya Panthulu. He had his early education at the Kallikote College, Berhampur. He went to Dublin in 1913 to study law. At that time the Irish citizens were fighting for their freedom. The freedom struggle in Ireland left a deep impact on him and inspired by Irish revolutionary leaders like Williams De Valera and Collins, he joined the Sinn Fein group and supported their cause.
The British Government served an ultimatum on him to leave the country and he returned to India without taking his Law degree.
Giri was greatly disturbed by the news of the atrocities of the South African Government towards Indians there. He wrote a small booklet entitled, "South African Horror", and sent copies of it to India. One such parcel containing the booklet fell into the hands of the Customs people.
On return from England in 1916, he practised as an advocate for some time in Madras. On the call of Mahatma Gandhi, he gave up practice and joined the freedom movement and was jailed on several occasions. His first meeting with Mahatma Gandhi in 1914, left a lasting impression on Giri, who played a key role in the trade union movement and in protecting the interests of workers. He was associated with several trade unions. He attended the International Labour Conference in Geneva in 1926 and the Second Round Table Conference in London in 1931 as a representative of the workers.
Giri founded the Bengal Nagpur Railway Association and spearheaded the railway strike, which created history in the trade union movement in the country. He served as president and secretary of the All-India Railway Workers Federation for over a decade. He was president of the All India Trade Union Congress twice.
Giri was elected to the Central Legislature in 1934. In 1938-39, in the Rajaji Cabinet in Madras Presidency he became minister in charge of Labour, Industry and Cooperation. He served as minister in the cabinet of his political guru - Tanguturi Prakasam Panthulu - in Madras Province in 1946-47. He was the Indian High Commissioner in Ceylon (Sri Lanka) between 1947 and 1951 and Member of Parliament during 1952-57.
He had also served as Governor of Uttar Pradesh (1961-65) and Kerala(1961-65). He was elected as the Vice President of India on May 13, 1967.
When the then President, Zakir Hussain, died while in office on May 3, 1969, Giri stood for the Presidential election as an Independent candidate. The Congress pitted Neelam Sanjeeva Reddy as his opponent. Giri created political history when he won the polls in the keen contest, supported by Indira Gandhi.
Perhaps no other politician had adorned so many posts as Giri. The Government of India honoured him with the `Bharat Ratna' in 1975.
Giri authored two important books, one on "Industrial Relations" and the other on "Labour problems in Indian industry". He was honoured with several degrees by various universities. The Benaras Hindu University and Andhra and Lucknow Universities conferred the degree of D.Litt on him and the Universities of Agra, Moscow and Bulgaria honoured him with the degree of LLD.
The statue of this able statesman, who worked for the welfare of workers, stands majestically on Beach Road.
Wednesday, November 23, 2005
The "Bala" in his name means "child", and was added when he first gained fame as a child prodigy performing vocal concerts at the age of five. His father Pattabiramayya was a well known musician and could play the flute, violin and veena and his mother Suryakantamma was an excellent veena player. Balamuralikrishna thus began his musical career at a very young age. He soon mastered a variety of instruments, melodic and rhythmic, and is the only musician ever to be honoured with All India Radio's "Top Grade" for seven different performance areas. He is an enterprising instrumentalist who plays violin, viola, khanjira, veena, mridangam and other instruments. He is also the only musician ever to win National Awards in India for classical music, music direction and film playback singing.
Nearly 400 Carnatic musical compositions are credited to him. New ragas, some with only three or four notes, and a new tala (rhythm) system are among his iconoclastic innovations. Such innovations have provoked many criticisms, but his musical inventiveness remains unblunted. Top Hindustani (north Indian classical) musicians have collaborated with him in "jugalbandhis" (duets akin to jamming): including Pandit Bhimsen Joshi, Pandit Hariprasad Chaurasia and Smt. Kishori Amonkar, among others.
He appeared as featured soloist with an award-winning British choir, performing the "Gitanjali Suite" with words from Rabindranath Tagore's Nobel Prize-winning poetry and music by Dr. Joel, the noted UK-based Goan composer. His clear diction in several languages prompted an invitation to record Tagore's entire Rabindra Sangeet compositions in Bengali, preserving them for posterity. He has sung in French, and even ventured into jazz fusion, collaborating with the top Carnatic percussion teacher, Sri T.H. Subash Chandran, in a concert for Malaysian royalty.
Honours have pursued him. He was awarded the prestigious "Padma Vibhushan" title by the Indian government, five doctorates, the pro-chancellorship of Telugu University and numerous top musical honours including Sangeetha Kalanidhi of the Madras Music Academy. The city of Vijayawada in Andhra Pradesh, India, has named a road after him. The record-buying public have supported him enthusiastically, prompting record labels to issue hundreds of his recordings. He has become increasingly interested in music therapy, and now performs only occasionally.
His place among the all-time greats of Carnatic music seems assured.
Monday, November 21, 2005
Like most of the intelligentsia of those days, Ananda Charlu took considerable interest in public affairs, which meant mostly political affairs, and this found expression through a variety of channels. He contributed articles regularly to leading journals like the Native Public Opinion and the Madrasi In 1878 he helped G. Subrahmanya Aiyar and C. Viraraghavachariar in starting the Hindu and became a frequent contributor to it.
He was especially good as an organiser. He started the Triplicane Literary Society in 1884, of which he was elected President, and this did much for the political awakening of the people. In 1884 he joined several public workers in Madras and founded the Madras Mahajana Sabha which became the leading public forum for years. These Associations were the counterparts in Madras of organisations like the British Indian Association in Calcutta and Bombay. He started branches of the Sabha in districts and got them affiliated to it.
In 1885 he was one of the seventy-two delegates to the first session of the Indian National Congress held in Bombay. From that time on he attended almost every one of its sessions and took an active part in its proceedings. The impression which he produced on the delegates resulted naturally in his being elected President of the Nagpur Session in 1891. In the course of his address he criticised the views of those who claimed that India was not a nation. He pleaded for Legislative Councils becoming more representative in character and for the removal of racial discrimination in enlisting Indians as recruits to the Volunteer Corps. He was chosen to the Working Committee of the Congress in 1891, and elected as Secretary in 1892. He was also selected as a member of several deputations which made representations to the Government.
He was always in favour of agitation on. strictly constitutional lines. He ranged naturally on the side of the moderates in the Congress in 1907-8, but he passed away before he could do anything to avert the split between the moderates and the extremists.
Both the public and the Government came to recognise him in due course as a respected all-India leader, and the Government conferred on him the distinction of Rai Bahadur and C.I.E
PROFESSOR SURI Bhagavantam took over as Scientific Advisor to the Defence Minister and Director General, Defence Research and Development Organisation in July, 1961.
He was instrumental in making the DRDO an effective instrument to provide the country's fighting forces on land, sea and air with the latest technologies.
In the nine years he headed the DRDO, he set up labs for development of missiles, air craft, aero engines, combat vehicles like tanks, electronic warfare systems, high explosives and underwater weapons.
Encryption and decryption, war gaming and training of service officers in modern warfare technologies were other disciplines in which hecreated necessary facilities.
A chain of labs was established in different parts of the country from Visakhapatnam to Leh and Tezpur. The best tribute to his contribution to the building up of DRDO came from one of his distant successors Dr. V. S. Arunachalam. He said "His tenure saw an explosive growth of the organisation with many, many laboratories and disciplines nucleating at various parts of the country and a large number of scientists getting inducted to defence research. But for these laboratories and competent scientists, DRDO's contribution in these areas of national defence would have been grossly inadequate."
In doing all this, Bhagavantam had to brush aside summarily the advice given by the Nobel laureate and "friend" of India Prof. PMS Blackett to Pandit Nehru that DRDO should confine itself to development of subsystems and import substitution and not attempt to develop major systems like radars, missiles, tanks etc for which India should depend on imports. The country has to be grateful to Bhagavantam for ignoring this friendly advice.
Bhagavantam's formal college education ended with a first class first B.Sc., degree in Physics of the Madras University from the Nizam College, Hyderabad. As a prize-winning essayist Bhagavantam joined Sir C. V. Raman's Laboratory in Calcutta as a research scholar.
He impressed Raman with his scientific abilities, thinking and experimental skills. He obtained his M.Sc., degree from Madras University.
He joined the Andhra University at Waltair as a lecturer in Physics in 1932, rose to become Professor and Head of the department in 1938 at the very young age of 28 years. The university conferred on him the D.Sc. degree (Honoris causa) a little earlier.
In 1948-49 he spent one year in London at the High Commission as the first scientific liaison officer. This was his first trip abroad.
While in London, he was invited by a number of universities in U.K. and Europe including Soviet Union to deliver lectures.
During this period he developed a friendly relationship with M. V. K. Krishna Menon, the then High Commissioner. Returning to India in 1949 he moved to Osmania University as Professor of Physics.
Within a short span of a few years he became the Vice Chancellor of the University when he was in his early forties. In 1957, he was appointed Director of the Indian Institute of Science, Bangalore from where V. K. Krishna Menon persuaded him to take up the post of Scientific Advisor to Minister of Defence. He retired in October, 1969.
He authored about 300 research papers. He wrote three books on Group Theory, Raman Effect, and Crystal Symmetry and Physical Properties which are considered classics and have been translated into various languages. He was elected fellow of a number of scientific and professional bodies in India and abroad and awarded honorary doctorates by many universities.
He was an erudite scholar in Sanskrit and Telugu. He had a tremendous sense of humour. Bhagavantam had a great faith in the future of this country. A teacher by choice, he continued to be one throughout his life.
Sri Narayana Tirtha was born at Kaza in Guntur district of Andhra Pradesh but was `drawn' to Bhupatirajapuram near Thanjavur, in Tamil Nadu, by a boar, on divine command. The boar that led him vanished into a temple of Lord Srinivasa and Tirtha settled down there obeying the directions he received in his dream. The place came to be known as "Varahur" (after `Varaha,' the boar). Here, Sri Tirtha was cured of his chronic illness and wrote ``Sri Krishna Leela Tharangini," in which he narrated the story of Sri Krishna from birth up to his marriage with Rukmini. It is a literary masterpiece, composed in Yakshagana style with 12 Tarangams, consisting of 145 kirtans, 267 verses, 30 gadyams (prose passages) and 30 darus (narrative songs). Tribute is paid to this remarkable saint-composer in Varahur every year by organising a 10-day festival, where the Tarangams are sung and a "Uriyadi" event enacted, to depict Sri Krishna stealing butter. Though he lived in Varahur, Sri Narayana Tirtha attained Siddhi in 1745 at a nearby village called Tirupoonthuruti under a huge mango tree, on the banks of river Kudamurutti, on the Masi Sukla Ashtami, Guruvaram, Krithika Nakshatram day. It is said that he attained `Jeeva Samadhi' (even while alive). A small shrine has been constructed on this hallowed spot, under the sprawling mango tree.
For over 300 years, landlords and local devotees of Thirupoonthuruti including R. Viswanatha Baghavathar have been organising music festivals at the Samadhi shrine at Tirupoonthuruti on Masi Sukla Ashtami Day.
Monday, November 14, 2005
A true Telugu at heart, Upendra says, "the position of a Mayor is not a trophy to be hung on the walls and forgotten for the years to come, but a position that has to be earned every single day and the only way to do that is through service." His entry into politics was due to his observation that the minority community was not doing much to take part in the political and social affairs of the country. So, during his tenure in AT&T, where he worked for 18 years, he joined the Indian American Forum for Political Education.
Says Upendra, "Indians are known to be very tolerant to all cultures and a true Indian will always make every attempt to live in a cohesive manner with all communities." Expressing grief on the devastating September 11 incident, he says, "such incidents mar the faith of the minorities." During his tenure in various coveted positions, he had the unique distinction of having fought many milestones in the American laws like the Burton Amendment - which recommended the cancellation of a $25 million deal to India saying that the country was violating human rights on a large scale, the issue of reservation of land, laws on hate crimes and recently, laws on the issue of civil liberties being extended to minorities.
Many of the Indians living abroad approach him on various problems and he does try and bring the relevant issues to the attention of the Congress. He says "with the U.S. heavily into outsourcing, it is a real ironical situation. Everyone thinks about himself and not about the countries involved." Almost every Indian today boasts of a family member in the U.S., either as a student or as an employee. Though the U.S. is a land of opportunity and enchanted him, too, while he was working in Mumbai years ago, he feels that most parents make it compulsory for their wards to go to the U.S. under any circumstances without considering the place, the university or the position they would be going into. It is common knowledge that there are many universities and colleges here also on par with the international standards.
Married to Daici and the doting father of two children, he says that he finds it easier to understand the dilemma that Indian children have to go through abroad. At home, they are expected to be perfectly Indian - following our culture, but when they step out, they have to be perfectly American under peer pressure. Most of the children find it difficult to cope with this dual lifestyle. So, it is important for the parents to understand and empathise with their children and also adapt themselves to a certain extent to the changed environs and times.
He says that he has always discouraged any kind of casteism or communalism being bred, as "one must try and make use of the opportunity given to progress and not digress into unwanted territories". Though he expresses contentment over the progress that his homeland has been making in the past decade, he says, "India does have a lot to learn from the West in terms of infrastructure and governance. It is a fallacy to think that infrastructural progress relates to cities alone as the real India lives in the rural areas. It is their development that the Government needs to specially focus on."
Recently, on a visit to his homeland for dual purposes, one for being felicitated by certain cultural associations for making Andhra Pradesh proud and the other to survey the extent of damage caused to the people of Nalgonda district due to flourosis, he says, "it is extremely disturbing to even hear about the extent of damage caused and to learn that thousands have been crippled for life." His motto is to make sure that some financial aid, collected from the NRIs, is extended to the afflicted people. He says, "the day India is able to balance technological progress with development in all other sectors, we would be a power to reckon with."
Political milestones that he crossed:
1992 - Joined the Democratic Party as a member of the Executive Committee
1995 - Became the head of the Democratic Party in Franklin Township by defeating the Republican rule existing there for 13 years
1996 - the only Asian to occupy a chair in the Democratic convention from the State of New Jersey
1997 - won a seat in the Town Council
1998 - occupied the chair of the Deputy Mayor, Franklin Township
2000 - occupied the coveted position of the Mayor of Franklin Township
2002 - Sworn in as an Assembly man - the position he enjoys today, as a Legislator in the New Jersey State Legislature.
Sunday, November 13, 2005
Vuppaladadiyam Nagiah, traditionally known as Chittoor V. Nagiah was a wide-ranging celebrity of the South Indian Cinema who was called as the 'actor saint' was well liked as an avid performer, refined music composer, incomparable musician, vocalist, filmmaker and director. He was the first person who got the respect not only from the Telugu film industry as well as the Tamil film industry. He was extremely civilized and sympathetic towards his fellow beings. His life personified like an ocean current, which sprang up out of the blue and fell down instantly.
Nagiah was born on 28th March 1904 in a Telugu Brahmin family at Repalle in Guntur District, in 1904 to the blessed couple Sri Ramalinga Sarma and Smt.Venkata Lakshmamba. Nagiah's ancestors used to be very rich and the family comprised more of Pandits who accomplished Yagas. His parents thought that Nagiah was born by the blessings of the Snake God, Nageswara Swami and named him as 'Nageswaram' but affectionately called him 'Nagu'. At the time when Nagiah was born, his family devolved into very misfortunate circumstances. As there were a lot of hazards in his family, he was taken to Gogunur and from there to Kuppam and again to Thirupathi. There he studied with the help of scholarship provided by the Thirupathi Devasthanam during 1918. He couldn't extend for higher studies as he drew rather more interest in music and stage plays. He completed his B. A. Degree at Chittoor. He worked as a clerk in a local government office and as a news reporter for the new paper 'Andhra Patrika' in Chittoor for a short while but soon he found the was work would not suit him and dropped out.
Nagiah was intensely motivated by the principles of Mahatma Gandhi and Pandit Nehru. He partook in the Indian Freedom struggle namely Salt Sathyagraha, and went behind the bars for about 18 months. Time and again he wielded as an unpaid worker for the Congress party. He entered into an amateur theatre in the company of R. B. Ramakrishna Raju – a political leader and a successful lawyer. Nagiah even assisted the gramophone companies like Hutchins, Twin etc., as the domesticated musician. He brought down many assorted gramophone records just as Classical and light music and some of them were of the great legendary saint and musician, Thyagaraja Swami. Even at that period he brought in some tryouts to bring in the English wordses like 'My lovely lalanaa', 'I love you heart of hearts, sweet heart' and such in Telugu songs. The notorious personages like Musiri Subramania Iyer, and G. N. Balasubramaniam trained him in the Carnatic music. He met all the king pins of music over there and among them was a girl of 11 years who was singing Carnatic music astoundingly… the girl is the music empress M. S. Subbu Lakshmi! Nagiah was not only hallowed with singing potentialities but was also with high-quality composing attainments and gracious looks. He once accorded the Gowhathi Congress conferences with S. Srinivasa Iyyengar, who was a famous advocate in Madras and on their way back, they stayed at Allahabad for a few days. There they stayed at Mothilal Nehruji's Anand Bhavan. He met with a massive assemblage over there. He also saw Kamala Nehru. A young girl with a beautiful complexion and speaking fluent English was loitering among the majestic masters of politics. She used to keenly observe and probed questions at Nagiah while he was singing songs in Tamil and Telugu. The girl was none other than Indira Gandhi who became a distinguished politician in the world.
He later pulled in by stage appearances and worked with 'Rama Vilasa Sabha' a cultural association in Chittoor. He playacted in several stage shows like 'Sarangadhara', 'Viswamithra Chitra Nilayam', 'Savitri', 'Bruhannala' and 'Ramadasu' and represented as Pothana, Vemana, Rama Dasu and Thyagiah. He got gold medal for his female role as 'Chitrangi', in the play 'Sarangadhara'. During that period he was married to Vijaya Lakshmi, but she demised when she was giving birth to a girl child an year after. The incident kept Nagiah shattered for a long time. Later he was constrained to marry Girija, to look after his daughter. Fatefully his daughter deceased of ill health later. Destiny played a worse tragedy with Nagiah as Girija also departed the world when she incurred a miscarriage at eighth month. The blow of Girija's demise drove his father insane and he also dropped dead later. All these sufferings contrived Nagiah severely and he endeavoured for self-annihilation but as luck would have it rescued by his friends. Nagiah lost interest in life at some point, he exited away and stayed at Ramana Maharshi's Ashram and lived like a saint for sometime.
He did work for the Chennapuri Andhra Maha Sabha (CAMS) a popular cultural Association of Andhras in Madras. On that point, Nagiah acquired a conversance with an affluent auditor Bommi Reddy Narasimha Reddy who had a panache in fine arts. Later they both suited chummy friends. The auditor was none other than B. N. Reddy who became one of the leading filmmakers of India. At that time the grand old man of South Indian cinema - H. M. Reddy, arrived at Madras from Kolhapur and formed called Rohini Pictures with the association of B.N. Reddy. The firm started its first venture in Telugu through the film 'Gruhalakshmi' in 1938. At that time Nagiah happened to saw B.N. Reddy at Rohini Pictures and obviously he got of course a petite role (of Gopinath, Kannamba's brother) as a patriot in that film. His payment for that film was Rs. 750. Since the film was a big hit all over South India it fetched Nagiah an ample notice as his traits, skills and phonation overwhelmed the spectators. The song 'Kallu Maanandoi Baboo Kallu Theravandoi' in that film, which was sung by Nagiah, became very popular in those days. Due to many reasons B.N. Reddy separated from H.M. Reddy and elevated the firm Vahini Pictures, where Nagaiah took part in that worked solemnly for its growth.
'Vande Matharam' (1939) was another hit in which Nagiah played as hero. The film gained him remarkable praises and made him a star hero. As the films 'Sumangali' (1940), 'Devata' (1941), 'Bhakta Potana' (1942), 'Swarga Seema' (1945), 'Thygayya' (1946), 'Yogivemana' (1947) were huge hits he started getting offers from the Telugu and Tamil film industries equally Nagiah became the highest paid actor by the time he was doing the film 'Beedalapatlu'. His performance in the film 'Yogi Vemana' influenced a boy who later turned into a saint and became popular as 'Balayogi'. During 'Devatha' he married Jaya Lakshmi. The film 'Thyagiah' was released in the year 1946 was a fabulous classic film of the South Indian film history (some months ago the Vintage Heritage screened the film and it becharmed remarkable crowds). Nagiah was the producer, director, music director and actor for the film 'Thyagiah'. 'Thyagiah' was again a reverberant hit. After that he made films 'Naa Illu' in 1953 and 'Bhakta Ramadas' in 1964 which turned out to be a droop and Nagiah lost his wealth. Another musical hit of Nagaiah, was the Gemini Studio production, 'Chakradhari', in 1948 based on the story of the Maharashtrian potter-saint Gora Kumbhar, in the film Nagiah played the title role. Nagiah became very famous for his songs in this film.
He once flourished with five houses 2-3 cars, and with large crowds of people around him at that time. His remuneration in those days was one lakh rupees for a film. He used to offer a lions share out of his earnings to the Congress Party and wared a lot for politicians and their families. His generosities lead him down resulting to turn a loss. To make both ends meet, the grand artiste had no other pick than to play even cowboy roles in substandard films. Once Nagiah said about the state of affairs to his friend Bhashyam (an extremely famous Tamil author with the pen name 'Sandilyan') 'Udhara nimiththam bahukrutha vesham!' which meant for the sake of the stomach, one has to play many roles, the dialogue left his friend with tears. As an established star and talented actor Nagaiah was in demand to do character roles in several Tamil and Telugu Films. Nagiah played the lead role of Jean Val Jean and composed music along with A. Rama Rao, in the film 'Ezhai Padum Paadu' (based on the famous French classic Victor Hugo's 'Les Miserables') in early 1950's, which was made by K. Ramnoth of Vahini Studios in Coimbattore. The film remained a classic in the South Indian film history. This film was also done in Telugu and later in Hindi. Later Nagiah produced and acted in the film 'Bhagyalakshmi' in 1943, which was directed by P.Pulliah in Telugu.
Nagiah was distinctive in his approach towards mankind. He always used to salute every traffic constable while traveling in car and he felt it as an accolade he is offering to them who stands under the sun only to help and guide the people. He was far famed for his hospitality. His unselfishness surpassed the limits and was root cause for his fiscal devastation. He treated everybody as true friend and admitted everyone to take total advantage of his benevolence. Most of the times he went out of the way to expend money only to give pleasures and happiness to people irrespective of their little acquaintance. He had no children of his own yet he was called as 'naannagaaru' (father) by most of the people in film industry as he treated everybody as his own children. Nagiah was a man of Old World values and culture. Yet he fought a gallant battle.
Woefully after his demise he was blanked out by the unthankful world. However a few old friends like Inturi Venkateswara Rao (the Telugu film journalist and scholar), struggled to erect a statue of Nagaiah at Chennai (in Panagal Park, T. Nagar), where he lived most of his life. The notorious Indian film journalist and the editor of 'Film India', Baburao Patel, described Nagiah as 'The Paul Muni of India'. Nagiah acted in about 160 Tamil films, and 200 films in Telugu, Kannada, Malayalam and Hindi films in his 30 years of film career. He was the first South Indian who got the title 'Padma Sri' by the Government of India. Regarding this Nagiah remarked, "I have only 'Padmam' but no Sri'!' intended that he had only fame but not fortune. Andhra Film Journalists Association selected him as the 'Best Actor' in Film Ballet in the year 1939. The acutely etched out incident in his life was the honour extended by the Mysore and Thiruvankore Maharajas. The Thiruvankur Maharaja ennobled him in the middle of great pandits, royal veterans and amidst the glissando of Nadaswarm. The Maharaja himself made Nagiah to sit beside him on his throne and tendered 'Padapuja' (worshipping the feet). He honoured Nagiah with the title 'Abhinava Thyagaraju'. The Mysore Maharaja awarded him with 101 silver plates, which consisted masses of gold coins. In addition, he bestowed him with a gold chain, which had a pendant of Lord Sri Rama. Was this kind of tending proffered to any other actor in the Indian Film History?
He passed away in Madras on 30th December 1973 at the age of 72. He remained one of the greatest actors that Indian Cinema has seen since it began to talk in 1931.
Nagiah was an everlasting phenomenon.
`Never believe people blindfolded… save your earnings for yourself first and then think about the others.' Nagiah well advised out of is appalling.
Another Article.. Thanks to Randor Guy
Balaa pasupu kumkumaa……"… "Aaada brathukey madhuram….." ("Sumangali", Telugu, 1940)…. "Ennalundina ihasukamulalo…."…. " Raavey raaavey bangaru paapaa….." ("Devatha", Telugu, 1941)… " Oooo.....ohohohoho...pavuramaa…" ("Swargaseema", Telugu, 1945)…. "Vadhalajaalaaraa….."… " Andhalu chindheyte naa Jyotheee…." ("Yogi Vemana," Telugu, 1947) "Vidhiyin vilaivaal anaadhai….")…. " Kanivudan thirumbhiye paarum…." … "Bhum chicka bhum…." ("Ezhai Padum Paadu," Tamil, 1950)…
All the above are some of the songs which were popular hits of Tamil and Telugu Cinema of 1940- 1950’s. Some of them are evergreen in public memory and still being hummed by many to this day. What do they have in common? All the songs were composed by the multi -faceted personality of South Indian Cinema, Chittoor V. Nagaiah. And many of them he sang himself besides composing.
Brilliant actor, talented music composer, trained musician and singer, filmmaker and above all a highly cultured wonderful man with the milk of human kindness filled to the brim in his heart. That was Nagaiah. One of the greatest character actors that Indian Cinema has seen since it began to speak in 1931. .
The stormy petrel of Indian film journalism, Baburao Patel, the editor of the leading magazine of yesteryears, ' Filmindia’ described him as ' the Paul Muni of India’.
He received training in Classical Carnatic music under legendary figures like Musiri Subramania Iyer, and G. N. Balasubramaniam. His life was one of various vicissitudes and adversity was his constant companion. Yet he fought a valiant battle winning laurels and lollipops. Some of the characters he created on screen during his long innings have achieved immortality and are still talked about to this day reverentially as models of perfect screen acting. Pothana.... Thyagaiah…Yogi Vemana and others. Such a performing artiste was Nagaiah.
Vuppalajadiyam Nagaiah popularly known as Chittoor V. Nagaiah was born in a Telugu- speaking Brahmin family in Repalle the heartland of Andhra in 1904. Due to many mishaps in the family he was taken away to Chittoor by his uncle where he studied with zeal and took his B. A. Degree. Blessed with good looks he also had a melodious voice and an inborn talent for music and theater. For a short while he worked as a clerk in a local government office in Chittoor but soon he gave it up as he found himself the proverbial square peg in a round hole. It was also the period of the Indian Freedom Movement and inspired by the ideals of Mahatma Gandhi, Pandit Nehru and other he took part in the Movement. As a disciple of local Congress leaders like C. Duraiswamy Ayyangar, Madabhushi Ananthasayanam Ayyangar and others he worked as volunteer for the Congress party in many of its conferences and meetings. With his flair for music and theatre he took part in amateur theatre associating himself with the political leader R. B. Ramakrishna Raju, a successful lawyer and interested in theatre. (Later Raju became the Chairman of the Madras Legislative Council during late 1940’s.)
Tragedy seems to have been Nagaiah’s bed-fellow and early in life he was widowed and found life lonely, grief-stricken and he wished to give up the game called life. Often he thought of becoming a sanyasi….
However to make both ends meet he began to work for gramophone companies like Hutchins, Twin and others. For a period he is believed to have worked in the Bangalore office of Hutchins as in -house music composer. He cut several gramophone records both Classical and also light music. Some were classical compositions of Saint Thyagaraja Swamigal like, "sItApatE nA manasunA…."…."nannu brOva nIku…" Even in those days he made experiments in music bringing in English lyrics in Telugu songs. One such disc,' marubAri...' became popular and the song had English lines like ‘My lovely Lalana...’ I love you heart of hearts, sweetheart…!" and such.
He also played roles in drama -sets of gramophone records like 'Tulasidas' and others. Anxious to improve himself and climb up the ladder he visited the provincial capital Madras often taking part in Telugu plays staged at the Chennapuri Andhra Maha Sabha (CAMS). CAMS, a popular cultural Association of Andhras in Madras had been staging Telugu plays frequently with great success. CAMS then functioned - and still does - at the famous Victoria Public Hall, Park Town, Madras which was then a hive of Telugu cultural activity. Nagaiah was part of the scene and thanks to the association with that cultural unit he developed acquaintance with a well- to- do auditor with a flair for fine arts. These meetings he had would prove a turning point in his life later opening the doors for his entry into Cinema. The auditor with artistic ambitions was Bommireddi Narasimha Reddi destined to become one of the leading Indian filmmakers under his professional name B. N. Reddi!
‘The Grand Old Man of South Indian Cinema,’ H. M. Reddi came down to Madras shifting his operations from Kolhapur and in association with ‘BN’, he formed Rohini Pictures. Its first venture in Telugu was " Grihalakshmi" (1938, a family melodrama built around traditional family values and their destruction by alcohol and extramarital relationships.) Nagaiah had earlier visited the Rohini Pictures office in the city and while he waited in reception hall to meet H. M. Reddi, much to his surprise his CAMS- friend BN walked in. Nagaiah had no idea that BN had entered films. However the accidental meeting between the two old friends led to Nagaiah getting a break in films with a small role in the movie. Earlier he had made a several attempts in the city to break into films with no success and thanks to his old friend the tide turned at last….
In "Grihalakshmi" Nagaiah played a minor role of the Gandhian social worker running a home for the poor and destitute to which the heroine (Pasupuleti Kannamba)) abandoned by her husband sought refuge, solace and security. The film turned out to be a fine success even in non—Telugu- speaking areas of South India and the newcomer in the small role attracted considerable attention. His personality, acting talents, melodious voice and singing skills impressed moviegoers. A song by him preaching Prohibition, '' lendu bhArata vIrulArA…. nIdura lEvanDOy……!".! (‘Arise! Indian brave men! Awake from your slumber!’) became a rage all over Andhra and even elsewhere. Indeed it was sung with gusto if out of tune even by reeling drunkards staggering home late at night!
(The tune was ‘inspired’ by the famous hit song by the popular ‘Blind Singer of Bengal’ and noted music composer, K. C. Dey, '' Manki ankhen khol babaaa….!")
The success of " Grihalakshmi ‘‘ separated the two Reddis, HM and BN for many reasons and BN in association with the brilliant ‘twins’ of South Indian Cinema, K. Ramnoth and A. K. Sekhar promoted the historic Vauhini Pictures. Nagaiah was by now an intimate pal of BN and involved himself in the new company heart, soul, mind and body.
BN cast Nagaiah as hero in his first directorial venture " Vande Matharam" (1939). Scripted by Ramnoth based on an unpublished novel by BN, "Vande Matharam" dealt with rural poverty, unemployment among the educated and such socially relevant issues. BN sincerely believed that every film should carry a message of social significance and his first film was molded accordingly. Ironically the title of the film had nothing to do with the story. The expression synonymous with the Indian Freedom Movement is used only once in the movie when Nagaiah buys a Derby Lottery(which he wins!) from a Madras City street vendor. When asked by him in whose name the ticket is to be issued Nagaiah replies, ‘Vande Matharam.’ Interestingly the British Indian Film Censors objected to the title and as a compromise BN added a word, ‘Mangalasutram’ under the main title making it clear that the film was only an emotional family drama and not a political patriotic tract opposed to the British then ruling India.
Vande Matharam" was a big success and Nagaiah came in for high praise both by crowds and critics and he was hailed as the new hero on the Telugu film horizon... The Vauhini unit worked as a family with everyone contributing to the production.
Even though Nagaiah was the hero of the film he did not hesitate to push the camera trolley. When the film was released he went along with the print as the producer's representative. Such were his spirit and involvement, quite common in those happy days gone by. Today one cannot even dream of such things happening in the dog-eat-its own tail- film world.
When BN made in his next film '' Sumangali '' (1940) much to the surprise of many he cast Nagaiah not as hero but as an elderly silver -haired social reformer fighting for the uplift of women, especially widows. The character was broadly inspired by the well-known social reformer of his daily, Kandukuri Veeresalingam Panthulu who sacrificed his life for the betterment of women and fought a hard battle for the re--marriage of widows. Nagaiah accepted the role, without a murmur for such was his passion and devotion to work. BN imported a silk wig all the way from Paris and to fit it properly Nagaiah had to shave some of his hair in front, which he did, again without a murmur!
His fine performance in this minor role attracted great attention in spite of the failure of the film. It was while reviewing the film that Baburao Patel remarked that Nagaiah was 'the Indian Paul Muni.'
(Paul Muni was one of the greatest actors of Hollywood during its Golden Age and he created many immortal roles playing real life characters like Louis Pasteur, Juarez, Emile Zola and many others. "The Good Earth '' in which he played a Chinese farmer, is considered as one of his finest performances and the movie is a Hollywood classic. It was based on the famous novel by Pearl S. Buck. He was so popular and enjoyed so much respect and regard that he was the only Hollywood actor whose name appeared in the credit titles as ' Mr. Paul Muni '. This recognition has not been given to any other actor in the history of American Cinema to this day.)
Besides acting Nagaiah composed melodious music in "Sumangali" and many of the songs not only became hits in spite of the failure of the film but to this day they are remembered and hummed the by old timers and film music buffs. The song " Balaa…pasupu kunkumaaa----" had powerful lyrics espousing the birthright of women to have the 'kunkum' mark on the forehead. The song fights for women's rights frankly stating that society; tradition, rules, orthodoxy and all were created by man to keep women in bondage. These lyrics were considered bold sixty odd years ago when the issue of the re-marriage of widows was hotly discussed in Hindu society and the right to remarry was denied to the unfortunate widow. In this film the heroine is married off as a child and loses her boy husband almost immediately thereafter and she was so young that she does not even the remember her marriage! When she wants to marry a man she loves she is reminded to her utter shock that she is a widow. This song was written by the brilliant scholar and lyricist Samudrala Raghavacharya at the request BN and Nagaiah. Both had reformist views and attitudes far ahead of the times. The melody enhanced its appeal and the song became an instant hit not only in the Telugu -speaking districts but also elsewhere in the Presidency.
Many other songs too in the film like " Aaada brathuke mathuram … '' also became popular. Interestingly Nagaiah too like many others film music composers of the period adapted the popular tunes of Hindi films. Even in films for which the legendary Papanasam Sivan was the composer, they adapted Hindi film tunes without bothering about the laws of copyright.
Undaunted by the financial failure of " Sumangali '' BN immediately launched his next film, ''Devatha (1941). Indeed BN took a daring issue as the basic theme, pre-marital sex, and unwed. motherhood. Subjects which few filmmakers would have dared even to think of sixty years ago. BN brought back Nagaiah as hero and the film was a major hit all over South India even in areas of Kerala of today where nobody knew Telugu. . Nagaiah played a '' London -returned '' Barrister who also composed the music as before. Many songs of this film became popular, like " Mogavaareeni….. ''… "Ennalundina…." … " Raave raave bangaru papaa…" … " Adigo andhiyala….." … " and " Lokamantha lobulaa…..….."
The last mentioned song became a super hit and was sung for many years afterwards by beggars seeking arms and money in running trains and other places in the Telugu -speaking districts of the Presidency. Most of the songs are still remembered by old-timers even after sixty long years.
In 1945 BN made and other film '' Swargaseema '' which created history in many ways. BN had been greatly impressed by a Hollywood film of 1941'' Blood and Sand '' based on the well-known novel by Vincente Blasco Ibanez and directed one of the all-time greats of Hollywood cinema, Rouben Mamoulian. Its main stars were the legendary Rita Hayworth, and Tyrone Power and supported by Linda Darnell and a then not so well known Anthony Quinn. Inspired by the character of played by Rita, BN worked on the storyline introducing the plot elements of George Bernard Shah's famous play ' Pygmalion '. A rustic illiterate girl becomes a sophisticated dame and dancer into whose life a happily married man gets entangled abandoning his wife and children. Nagaiah was cast as the married man while the rustic girl was played by P. Bhanumathi who rose to stardom with this film..
BN, Nagaiah , Bhanumathi, and others saw '' Blood and Sand '' then running in the city, more than once and they were impressed by a melodious humming done by Rita Hayworth in the movie. BN was keen on adapting it in his film and he began to work on it accordingly. At first BN thought that Bhanumathi could hum it too but the melody and tune developed by Nagaiah were so fascinating that BN decided to have a full three minutes song. An All India Radio executive, Rajanikantha Rao wrote the lyrics for the song. Recorded at the Newtone Studio, Madras by the noted audiographer Dinshaw K. Teherani, who gave it a special effect by hanging a hollow metal dome above the mike. Bhanumathi was asked to sing into it. Those were the days there were no high-tech equipment and film technicians had to rely on their ingenuity and creative juices to produce such special effects. Pioneers always work under difficult and trying circumstances and Dinshaw was one such pioneer of Indian Cinema.
The song ''ooooo…. Ooooooo…ohohohoho….pavuramaaa….! '' set South India on fire and became a rage and one of the all -time film hits. Indeed Bhanumathi sang her way to stardom with this song in " Swargaseema". Ironically she had just then married and was expecting her only child and had thought seriously of bidding goodbye and all that to cinema and settling down to a life of happy domesticity with her film technician husband P.S. Ramakrishna Rao. However Dame Destiny had other plans for her . As they say, inscrutable are the ways of Providence...
One of the classics of South Indian Cinema which Nagaiah created in Telugu was his own production '' Thyagaiah '' (1946). Earlier a Tamil version was made based on the life of the legendary Carnatic Music composer and cult figure Saint Thyagaraja Swamigal (the lead role in this version was played by Madhirimangalam Natesa Iyer.) While the film was in Tamil all the songs were of course and had to be in Telugu. Some critics consider that this version is the best, music-wise. The Telugu version was the second, directed by Nagaiah who played the title role too.
To make this film Nagaiah worked against many hurdles, hassles and problems but nothing could deter his ambition and desire to make it work. He spent a long time in visiting the various places associated with the celebrated musical savant and took copious notes. He incorporated as many songs as possible in the film.
He struggled with one song which the Saint composed on his visit to the famous Varadarajaswami temple in Kanchipuram. '' varadarAja ninnE kOri vaccitira."
(Nagaiah took a paternal interest in this writer when he was a kid and active on Telugu stage under his stage name, 'Master M. R. Dorai'. Years later he told him about the interest and pains he took to sing this particular song. Nagaiah approached the immortal GNB who taught him how to sing it perfectly. The legendary Classical Carnatic musician had sung it as a gramophone record in the early years of his career. " My dear boy… I sang it more than twenty times at the studios before the recording was okayed but even then I was not satisfied. Only then I thought and finally realised that I could never sing it like GNB even after one thousand and one times. I gave up trying and went on to sing other songs. I am only Chittoor Nagaiah and not GNB! '' He said with his characteristic smile of humility.)"Thyagaiah" not only turned out to be a ringing success but also attained the status of a classic in South Indian cinema.
(Some months ago the film was screened by the Vintage Heritage and it attracted unusually large crowds.)
Years later the life of the saint was made again, this time in color by the noted creative artist and serious filmmaker Bapu. J. V. Somayajulu who made a splash in '' Sankarabharanam" played the title role supported the by the multi- lingual star K. R. Vijaya. In spite of them all the film did not generate interest mainly because of the lasting impression the earlier version had created decades ago.
As an established star and talented actor Nagaiah was in demand to do character roles in several Tamil and Telugu Films. During early 1950's his old Vauhini friend K. Ramnoth made a film in Coimbatore, '' Ezhai Padum Paadu '' (1950) based on the famous French classic Victor Hugo's 'Les Miserables'. Ramnoth. cast Nagaiah in the lead role of Jean Val Jean and he made this role one of the most memorable in South Indian Cinema. His splendid performance contributed much to the success of the film, which is today considered as a classic.
Besides doing the lead role he also composed the music along with A. Rama Rao. Many songs in this film became popular and are remembered to this day. Mention must be made of some of them... "Ennaasai papa…."(Nagaiah)..... "Kanivudan…" (P.A. Periyanayaki)…. "Vidhyin vilaivaal…."(Jayalakshmi). The song '' Vidhiyin….. '' was picturised by the genius of Cinema, Ramnoth in a single shot without a cut, the camera moving all the time through various locations. This is technically a feat even by today's standards and Ramnoth did it half century ago with primitive equipment. It's a matter of deep regret and shame that this brilliant movie wizard has been forgotten today. This film was also done in Telugu and later in Hindi. Not many are aware that the Tamil version was released on Deepavali day, 1950 at Casino cinema, Madras which was till then screening only English movies. Another film Nagaiah acted for his old friend Ramnoth was " Viduthalai" '' (1954) produced by the master filmmaker himself. An adaptation of a play by the leading English writer John Galsworthy, Nagaiah played the lead role of a smart and ambitious lawyer who sends his innocent brother to jail. Technically superb and well acted the film failed the box-office landing Ramnoth in mighty deep waters.
V Nagaiah in En Veedu
Another interesting film Nagaiah produced and played the hero in was "Bhagyalakshmi ''. It was his first production and directed by P. Pullaiah in Telugu and released in 1943. Besides him the popular comedy pair of Tamil Cinema N. S. Krishnan - T. A. Mathuram appeared for the first time in a Telugu film. The film was a success and one song, a folk melody, '' Thinney meedha sinnoda…!" rendered by the noted actress and singer R. Balasaraswathi proved to be one of the most popular hits of early Telugu cinema. BNR composed the music.
Another hit of Nagaiah, a musical, was the Gemini Studio production, '' Chakradhari '' (1948). The story of the Maharashtrian potter-saint Gora Kumbhar he played the saint and the songs of the film proved a major attraction contributing to the success. Music was composed by the Gemini team, Rajeswara Rao and M. D. Parthasarathy. Some of the songs rendered by Nagaiah became very famous, like " Unakkum enakkum enna…."... "Kaakkai siraginiley…." "Ninainthu urugum…."Pushpavalli and her sister Suryaprabha played the hero's two wives. The later day superstar of Tamil cinema Gemini Ganesh played a minor role as Lord Krishna. He was then on the staff of Gemini Studio handling the Casting Department.
During his heyday Nagaiah was a legendary figure. In his later years he found himself facing severe financial difficulties and faced many hardships. He had to sell most of his assets and he found life harsh and hard. Because of advancing age the great actor had no option than to play even cowboy roles in third-rate 'curry western' Telugu films. So sad indeed…
The famous Tamil writer 'Sandilyan' (real name -Bhashyam) was associated with him intimately during the B. N. Reddi-Vauhini days. He went to meet his old friend in a city studio. The famed writer was shocked to see his old pal dressed in a bizarre and outlandish cowboy costume and holding a rifle made of bamboo. He sat under a tree waiting for the shot and when the writer met him and expressed his anguish about the sad state of affairs, Nagaiah replied, " Bhashyam...udhara nimittham bahukrutha vesham!" (A Sanskrit proverb which means that, for the sake of the stomach, one has to play many roles.) Sandilyan had tears in his eyes when he narrated this incident to this writer many years later.
The Indian Government bestowed on Nagaiah the 'Padma Sri' award. When this writer called on him to offer his congratulations, Nagaiah remarked, " My dear boy... I have only 'Padmam' and no Sri'! '' He meant that he had only fame but not fortune.One time this writer went to meet him along with a friend who was a great admirer of the star. After some small talk the friend told the great man that he had never witnessed a film -shooting. Nagaiah took down his name and address in some corner of the city. Months later this writer was astonished when the friend told him over the phone that one morning Nagaiah came to his house in a hired vehicle and took the entire family to watch a shooting. At that time he was down and out facing many hardships in life. Yet he went out to of the way at much expense to make a casual acquaintance happy. Such men are rare and perhaps exist only in the pages of fiction. But Nagaiah was a real man of Old World values and culture…
Nagaiah had many human qualities rarely seen in human beings in this world. He had the habit of saluting every traffic constable he came across while going in his car. When he was asked about it he replied, " these people stand all day under the hot sun only to help us and guide us to drive safely… we do not pay or even tip them and the least we could do is to salute them." Such was his kind heart and concern for his fellow human beings
Nagaiah maintained an open house and all 'comers-and goers' took full advantage of his hospitality. His generosity often exceeding the limits was one of the causes for his financial ruin. He did not also know who his real friends were and many took full advantage of his goodness. If the great actor and adorable man died in penury one of the many causes was the person himself. Sadly after his demise he was forgotten by the ungrateful world but a few old friends and admirers led by the veteran Telugu film journalist and scholar Inturi Venkateswara Rao succeeded after much struggle to erect a statue of Nagaiah inside the Paanagal Park, T. Nagar Madras, the area where he lived most of his life in the city
This writer owes a lot to this great soul. He can never forget the lessons he taught him in acting and also filmmaking when he was still a kid in half pants who had absolutely no idea that he would one day land in the world of lens and lights! That's the way for the ball bounces in life, as they say...Here was a man, when comes such another!
Monday, October 10, 2005
Thursday, August 11, 2005
Please read following article on a british magazine on T. Surya Kumari
The first time I met the performer Surya Kumari, who has died aged 79, was in the mid-1970s, when she travelled from London to lead workshops in Indian dance with youngsters from the Toxteth district of Liverpool. Surrounded by a group of sceptical teenagers, and looking serenely unperturbed, she took to a small stage and began yoga exercises. There was no invitation to join in, but somehow she got the young people's attention.
Surya was soon surrounded on stage by youngsters literally tying themselves in knots. For the next two weeks, she not only led the most harmonious and disciplined of yoga and Indian dance workshops, but also delighted in learning disco dances from her pupils. We knew then that we had met someone exceptional.
Born in Rajamundry, in south India, of Brahmin parents, Surya became a freedom fighter, or more accurately a freedom singer, while still a schoolgirl. Accompanied by her uncle, Tangutoori Prakasam (known as the Lion for his defiance of British troops during the struggle for Indian independence), she sang patriotic songs which became more popular, and proved even more of a draw, than the speeches of politicians.
She was a film star at the age of 12, when a special part was written into the film Vipranarayana (1937) to accommodate her singing talents. Record companies came forward to record her voice, and at a time when gramophones were not yet common, her songs could be heard everywhere. Patrons in restaurants and outdoor cafes would pay extra if their meal was accompanied by Surya's songs, and passing traffic would stop until a song had finished.
Her presence was a major attraction at meetings of the Indian National Congress, and her recordings reached rural areas unvisited by politicians. Even today, her most famous song, Maa Telugu Thalli (in praise of her mother tongue), is sung at the start of social functions in her home state of Andhra.
Altogether, Surya appeared in some 25 Indian films in the 1940s and 1950s, singing and acting in a variety of languages, including Telugu, Sanskrit, Tamil, Gujurati, Hindi and English. In the mid-1950s, she made her first visit to America, as a member of a delegation from the Indian film industry invited to Hollywood by the Motion Picture Association of America (though union regulations precluded her from film work there).
In 1959, she went to New York to teach at Columbia University, and also to add to her skills by studying western classical and popular dance forms. On her arrival, she appeared on television alongside the Indian ambassador and sang Indian songs. She then appeared as Queen Sudarshana in Rabindranath Tagore's The King Of The Dark Chamber (1961) and won the Off-Broadway Critics' Award for Best Actress. She also took the role of Princess Chitra in the dance production of Tagore's Chitra for CBS, and researched Indian stories for Alfred Hitchcock.
In 1965, Surya travelled to London, and her life changed again. Scheduled to play the Goddess Kali in Kindly Monkeys, a new play at the Arts Theatre, she decided at the end of the run to stay on and found India Performing Arts, a project to train performers and mount productions. Annual performances by Surya herself, her students and fellow artists followed at the Purcell Room, in the South Bank Centre, for the next 40 years.
Something of the flavour of these gatherings may be gained from the programmes for two events in 1982, with schoolchildren appearing alongside Ben Kingsley in Homage To Mahatma Gandhi, and Larry Adler's harmonica improvisations (complemented by Surya's instrumental accompaniment) in An Indian Pageant.
Surya's political commitments were engrained in all her work, whether as chief singer at the Gandhi centenary commemoration at St Paul's cathedral in 1969, or with the Hordaland Teater of Bergen, for children in Norway, with whom she worked from 1991 to 1998.
From 1973, Surya was supported in her work by her husband, Harold Elvin, poet, painter and potter, reading his poetry and telling his stories as she sang and played the tanpura and sitar. He predeceased her.
· Surya Kumari (Tangutoori Suryakumari), singer, actor and dancer, born November 13 1925; died April 25 2005
Monday, August 01, 2005
Calyampudi Radhakrishna Rao
In 1941 a bespectacled young man came to Calcutta to secure a job. He had a first class first in M.A. mathematics from Andhra University. As he could find no place offering him research facilities, he was ready to take up any career. By chance he met a student of the Indian Statistical Institute. Curiosity made him accept an invitation to visit the institute, which he had not even heard of. What the young man saw in the three rooms of the Presidency College, to which the institute was then confined, fascinated him.
The rattling calculating machines, the colorful charts and sheets full of data were exciting. He immediately persuaded his father to allow him to join the institute for the M.A. course in statistics. He passed the course with honours, winning a gold medal.
The young man was Calyampudi Radhakrishna Rao, who came to be a renowned statistician. He was born on September 10, 1920, at Hadagali in Karnataka. His parents named him Radhakrishna because, like Lord Krishna, he was their eighth male child. He had his schooling at several towns in Andhra Pradesh. For college education he went to Vishakapatnam. In his schools and college he won several prizes and scholarships. Although he was greatly interested in physics, his father convinced him to take up mathematics, which, he said, was in the Indian tradition.
Rao first caught the attention of the world of statistics when in 1945 he put forward the "theory of estimation". The theory enables one to find an unknown quantity for a pile of data. In due course, he developed several statistical tools. His formulae and theorems, for instant the "Cramer-Rao inequality", "the Fisher-Rao theorem" and "Rao-Blackwellisation" are now part of any standard text on statistics.
Rao considers statistics to be a "very human science". What looks like a collection of numbers has indeed an immense significance in daily affairs. For example, his own technique of orthogonal (rightangular) arrays in the "design of experiments" assists industry in increasing production to the maximum. His contributions to multivariate analysis can be used in medical diagnosis, plant breeding and biometry. Biometry is the mathematical study of measurements in biology such as height, skull size, size of tail and geometry of flowers.
Earlier, in 1948, while doing his Ph.D. at Cambridge, Rao applied statistical methods to anthropology. He measured old skeletons of an African race to trace its origin statistically. In 1965 he worked in collaboration with Ronald A. Fisher, the celebrated statistician, on a genetics problem. Using statistics he mapped chromosomes in mice.
For his significant contributions Rao received the S. S. Bhatnagar Award, the Meghnad Saha Medal and the Guy Medal. In 1967 he was elected Fellow of the Royal Society.
Rao has written more than half a dozen books on statistics. His Linear Statistical Inference and Its Applications has been translated into several languages. He is at present editor of Sankhya, the Indian statistical journal.
Wednesday, July 13, 2005
"When I don't make a decision, it's not that I don't think about it. I think about it and make a decision not to make a decision." Inaction is also action.
Pamulaparthi Venkata Narasimha Rao (June 28, 1921 – December 23, 2004) was the ninth Prime Minister of the Republic of India. He was often nicknamed Chanakya by the media.
After beginning his political career as an active freedom fighter, Rao served brief stints in the cabinet (1962 - 1971) and chief ministries (1971 - 1973) for the state of Andhra Pradesh. He then rose to the national level in 1972 by serving in several ministries, most significantly home, defence and foreign affairs (1980 - 1984), in the cabinets of Indira Gandhi and Rajiv Gandhi. He was the first PM from South India and Andhra Pradesh.
After the assassination of Rajiv Gandhi and the general elections of 1991, Rao was chosen to lead the Congress party, and when Congress won a plurality in parliament later that year Rao was invited to head a minority government. He was the first person outside the Nehru-Gandhi dynasty to serve as Prime Minister for five continuous years. He was also the first prime minister to lead a minority government for full term (five years).
Rao's initial years in the office were turbulent due to a severe shortage of foreign exchange reserves, a stagnant economy and political unrest. India faced a severe balance of payments crisis and Rao was instrumental in initiating free market reforms that helped end the "licence raj" that was a mainstay of India's post independance economic policy. Rao provided the much needed political will and support to his able financial minister Dr. Manmohan Singh and finance secretary Montek Singh Ahluwalia in pushing economic reforms. The Indian economy has grown by an average of 6.3% between 1991-2000, a growth rate that continues to be sustained with a predicted rate of 6.7% in 2005 (source: IMF World Economic Outlook). Rajiv Gandhi's gruesome assassination created a deep sense of insecurity and panic. Rao effectively steered the country out of that mode and put India on the threshold of 21st century.
A polyglot, Rao could read and write in 17 languages.He could speak and write Urdu, Marathi, Hindi, Telugu and English like a native. He learnt European languages like French and Spanish too. He translated Jnanpith Award winner Viswanatha Satyanarayana's Telugu novel Veyi Padagalu (literally Thousand Hoods) into Hindi as "Sahasr Phan". Rao studied at Osmania University and the Universities of Mumbai and Nagpur, acquiring Bachelor's and Master's degrees in law.
Rao rarely spoke of his personal views and opinions during his 5 year tenure. After his retirement from Indian politics Rao published a novel named The Insider. The controversial book, which follows the career of a person as he rises through the ranks of Indian politics, resembled events from Rao's own life. Rao, however, denied any connection.
Rao suffered a heart attack in December 2004 and died at the age of 83.
Mokshagundam Visvesvarayya (also spelled Visweswaraiah) (Other spellings Vishweshwariah and Vishweshwarayya) (September 15, 1861–April 12, 1962), popularly known as MV, was an eminent Indian engineer. He was born to Srinivasa Sastry and Venkachamma in Muddenahalli village, 40 miles from Bangalore, India. The family was a pious Telugu-speaking smartha brahmin family of the vaidiki Mulukanadu sub-caste. His ancestors actually belonged to Mokshagundam village, near Giddalur in the Prakasam district of present-day Andhra Pradesh, and had migrated to Mysore some three centuries ago. His father was a Sanskrit scholar and an authority on Hindu Dharmashastras (theology), besides being an Ayurvedic practitioner.
Sir M.V. lost his father at the age of 15. The family was in Kurnool when this happened, and moved back to Muddenahalli therafter. Sir M.V. attended primary school in Chikballapur and high school in Bangalore. He earned his B.A. from Madras University in 1881 and later studied civil engineering at the College of Science, Pune.
He took up a job with the Public Works Department (PWD) of Bombay, and was invited to join the Indian Irrigation Commission. He introduced an extremely intricate system of irrigation in the Deccan area. He also designed and patented a system of automatic weir water floodgates, which were installed at the Khadakvasla reservoir at Pune, for the first time, in 1903. The use of these gates was to raise the flood supply level of storage in the reservoir to the highest level likely to be attained by its flood, without causing any damage to the dam. Based on the success of these gates, the same was adopted in the Tigra dam in Gwalior and the Krishna Raja Sagar (KRS) dam in Mysore. The KRS dam across the Kaveri River was the biggest reservoir in India at that time.
MV achieved celebrity status when he designed a flood protection system to save Hyderabad city from floods. He was also instrumental in developing a system to save the Visakhapatnam port from sea erosion. After taking a voluntary retirement in 1908, he was appointed Dewan, or First Minister, of Mysore, one of the largest and most important princely states in India. With the support of HH The Maharaja of Mysore, Krishnaraja Wodeyar IV, he made an arguably unprecedented contribution as Dewan to the all-round development of the state. Not only the KRS dam & reservoir, but also the hydel projects at Shivanasamudra, the steel mills at Bhadravati, the university of Mysore and many other industries and public works owe their inception or active nurture to him. He was instrumental in setting up the 'Govt engg college' in 1917 in the city of Bangalore, one of the first Engineering institutes in the country. This institution was later named the UVCE (University Visweshvaraya College of Engineering) after its founder; it remains one of the most reputed institutes of higher learning in the state of Karnataka.
The institutions named in his honour are deservedly a legion, and include the technical university, Visweswaraiah Technological University, Belgaum, to which all the state engineering colleges of the Karnataka state are now affiliated. As part of his birth centenary celebrations, the Visvesvaraya Industrial and Technological Museum was set up in Bangalore.
While he was Dewan of Mysore, he was knighted by the British for his myraid contributions to the public good. After India attained independence, he was given the nation's highest honour, the Bharat Ratna, in 1955.
Yet, higher than all these many honours is that conferred on him by the common people of Mysore, who shall ever cherish the memory of this peerless practitioner of science, this dedicated educationist, this elder statesman, this true son of the soil.
Sarvepalli Radhakrishnan (September 5, 1888 – April 17, 1975) is best known as the man who introduced the thinking of western idealist philosophers into Indian thought. He was an Oxford don who became the first Vice President and the second President of India.
He was born at Tiruttani, forty miles to the north-east of Madras in South India. His mother tongue was Telugu(తెలుగు). His early years were spent in Tiruttani and Tirupati. He graduated with a Master's Degree in Arts from Madras University.
Life and career
In 1929, Radhakrishnan was invited to take the post vacated by Principal J. Estin Carpenter in Manchester College, Oxford. This gave him the opportunity to lecture to the students of University of Oxford on Comparative Religion. In 1936, Radhakrishnan was named the Spalding Professor of Eastern Religions and Ethics at the University of Oxford, a post which he held until he was named the first Vice President of India in 1952.
He showed how western philosophers, despite all claims to objectivity, were biased by theological influences from their wider culture. In one of his major works he also showed that Indian philosophy, once translated into standard academic jargon, is worthy of being called philosophy by western standards. His main contribution to Indian thought, therefore, is that he placed it "on the map", thereby earning Indian philosophy a respect that it had not had before. After 1946, his philosophical career was cut short when his country needed him as ambassador to UNESCO and later to Moscow. He was later to become the first Vice-President and finally the President (1962-1967) of India. When he became the President of India in 1962, some of his students and friends requested him to allow them to celebrate his birthday, September 5. He replied, "Instead of celebrating my birthday, it would be my proud privilege if September 5 is observed as Teacher's Day." Since then, Teacher's Day is celebrated in India.
He was awarded the Bharat Ratna in 1954. The University of Oxford instituted the Radhakrishnan Chevening Scholarships and the Radhakrishnan Memorial Award in his memory.
Tuesday, July 12, 2005
IT IS a non-descript address in Indore. Once upon a time it was a deserted place, wild in fact, when he bought it. In later years, it attracted thousands of admirers before it became a deserted spot. But this home of a famous son of soil survived the test of time and the agony of solitude. The area around his home today may have developed beyond his imagination but it does not matter to this grand, old cricketer who once foxed Sir Donald Bradman with his googlies. Cottari Subanna Nayudu is a forgotten man, living unrecognised, amidst people who have no time for him really.
A handsome man he was. From various accounts of the past, and from the reliable chroniclers of the game, one has read about the exploits of `CS', as he lived under the shadows of his brother, the legendary `CK'. He was a supremely fit, agile, and a dashing cricketer who relied on instinct.
A brilliant cricketer he was. A man who came in for praise from Bradman must have been good. A man who was said to be a breathtaking fielder, one with an amazingly strong arm which often ran out batsmen with a lightning throw from the deep, must have been stunning to watch.
Today, his frail figure demands care; his hands tremble from weakness, so much that to ask for an autograph would be an embarrassment to him, and his gait is a very pale shadow of his once majestic movements on the field; lapses of memory leave him frustrated, and at times he is lost for words in trying to make you understand a point; he is hard of hearing but rejects the aid that his doting daughter, Mahalakshmi, has brought from England, where she works in the Indian High Commission. Cricket is a cruel past and the present is no better. Today, he wants to forget all. He has forgotten much in any case because of age, he is 87, but whatever remains, shall remain within his dejected heart and mind.
He lives with his daughter, Vrinda, in his most proud possession - a huge home but a neglected property. Two ferocious dogs guard the small family from the worldly attacks. Cricket does not even come up for discussion in the house. Who to discuss it with? `CS' hardly remembers things and his daughters prefer it that way. So disillusioned they are with the cricketing fraternity.
``It is only when people like you visit that father talks of his past,'' reveals Mahalakshmi. She has some fond memories of his father in white flannels, taking them to England when he played minor county as a professional. ``The annual voyage with him was a most keenly awaited event. Those days spent on the ship with father were unforgettable,'' she takes a trip down memory lane. Suddenly, the present jolts her sharply. `CS' is a sick man and cannot even walk a few yards without assistance.
In need of medical attention, `CS' struggles with the measly pension of one thousand rupees a month. Much more is required for the medicines to ease the pain of a man who brought joy to thousands in his youth. Much more is required to keep him going. But who cares?
`CS' does not mind all the neglect. ``I am past, my cricket is past,'' he mumbles with a philosophy which has kept him going for the last so many years. A beneficiary of the Cricketers Benefit Fund Series at Sharjah in 1991, he got enough to do up his shabby home. It has not seen attention since. Of course, the daughters have kept the place tidy and ensure that their father is not left alone for even a minute.
The drawing room is a veritable trip into the past of `CS' and is well-maintained, sort of a document, depicting the life of one of the oldest living Test cricketers in the world. Pictures of him with some of the luminaries of the game adorn the walls and the gem is `CS' and Bradman together. As I show him the prize photograph, his eyes light up and a big smile spreads such joy in the room. It was so different a few days ago when an ignorant reporter from electronic media wanted to know how much cricket he had played. `CS' simply threw a glance at the pictures in the room and the trophies in the showcase.
His daughters cannot recall a moment of unpleasantness in his company. Even today, as he endures the pain and discomfort of old age, `CS' does not lose his cool. A temperamental cricketer, who is said to have been an underachiever, he mellowed tremendously even as he explored one state after another in the domestic circuit, which included some stirring deeds in the Pentangular tournament. He ended up representing eight states to end up with 295 wickets and 2575 runs in first-class cricket. His 11-Test record did not do justice to this wonderful cricketer.
His collection of bats, clothing, boots have been damaged by the passage of time, just as his once athletic body has suffered immensely. A bat is procured from the attic so that he can pose for a picture. As he feels the handle, `CS' is reminded of a stroke from the past and executes a mock one for us - a ferocious square-cut he had played off Mohammad Nissar. Well, he maintains the bowler was Nissar and the fielder, Maharaja of Patiala, who had dared to stop the ball, only to end up with a swollen palm.
The best moment for us comes when he spots a ball. `CS' insists we take a picture of his action. He grips the ball, and instructs me to pose as a batsman, and lets go one. ``A googly,'' he exclaims even as the ball just rolls out of his palm and trickles down the floor. He looks on sadly, well aware that his attempt to relive the past has failed miserably. We all clap earnestly but he knows the truth.
The countless trophies, pictures of his youth, and some fond memories is his invaluable treasure. And `CS' takes immense pride in them. After all, nothing else is left to tell this world of his status. The present generation hardly recognises him, not even some of his contemporaries. Not many from even his state have bothered to visit him for years.
The Madhya Pradesh Cricket Association very thoughtfully sends him two tickets for the match against Australia, little realising the fact that he cannot make it. But then they are only performing a formality. Just as this society, where people simply walk or drive past his home, unaware of its distinguished tenant. We have just not learnt to honour or care for our retired, and often ailing, sportsmen.
As I take leave of this fading figure of Indian cricket, a thought occurs. How touching it would have been for the Indian team to just drop by and spend five minutes with this old man.
Born October 31, 1895, Nagpur, Maharashtra
Died November 14, 1967, Indore, Madhya Pradesh (aged 72 years 14 days)
Major teams India, Andhra, Central India, Central Provinces and Berar, Hindus, Holkar, Hyderabad, Rajputana, United Province
Batting style Right-hand bat
Shrinivas was born in Palakol in West Godavari district in Andhra Pradesh on February 28, 1969. As a very young boy Shrinivas was a normal child in school except that he seemed to have an ear for music. Then one day, when he was only six years old, his parents came home to find him playing on his father's mandolin. Inspired by the boy's interest in music, Satyanarayana taught his son what little music he knew, and Shrinivas began playing Carnatic music on the mandolin.
Subbaraju, a classically trained musician and a disciple of the famous musical stalwart Chembai Vaidyanatha Bhagavathar, who had taught music to Shrinivas' father sensed the young boy's musical aptitude and decided to teach him classical music. He had no experience on the mandolin, so he would sing Carnatic music which Shrinivas would then play on the mandolin. He also learned Carnatic music from Shri Vasu Rao. In this way the young musician developed his own style.
Yes, indeed a star was born....
The Mandolin is essentially a staccato instrument, totally devoid of gamakka. That makes it almost alien to Carnatic needs. But that is all forgotten once you listen to Mandolin U. Shrinivas. What remains in the mind is music of the finest vintage.
The list of awards conferred on him is endless. And he is easily the most sought after artist. Between inhaling and exhaling, he gives a performance. It is also striking to note that he has none of the trappings of a star about him. Shy, silent, and reticent, he is rarely in the public eye, except on the podium.
Asked about his genius, he attributes it to God's grace. Behind this unassuming, humble boy lies the artist that comes once in an era. You may not be fond of Carnatic Music, but you can still not ignore Mandolin U. Shrinivas. You may look on him as a kind of Haley's Comet; a phenomenon if not an artist. Such is the spell he has cast on audiences, that there is invariably the residual close-circuit audience outside each hall. And he has travelled abroad innumerable times.
He is already one of the all-time greats. And he attributes it all to fate. It just cannot be. Fate did not make a U. Shrinivas - fate just laid a child's hand accidentally on a discarded Mandolin.
On 23rd January 1983, Thyagaraja Gana Sabha,Palakol(AP), honoured Shrinivas by conferring on the title "Mandolin Samrat"
The Government of Tamil Nadu appointed him as a State Artiste(Asthana Vidwan) in July 1984 .
Sangeetha kalanidhi Smt.M.S.Subbalakshmi, conferred the title "Sangeetha Bala Bhaskara" on Shrinivas on behalf of Sri Sankara Mutt. K.K.Nagar, Madras.
Sri Krishna Gana Sabha, Madras honored Shrinivas by conferring its coveted title "Sangeetha Choodamani" in commemoration of the International year of the youth - 1985.
Sri Raja Lakshmi Foundation, Madras honored Shrinivas by conferring the title "Swara Kishore" at the moment of presentation of "Raja Lakshmi Foundation Award" to Shrinivas on 19th November, 1985.
On the 27th March 1987, Mother Terasa conferred the title "Andhra Ratna Kala Saraswathi" on Shrinivas on behalf of Andhra Pradesh Kalavedika, Hyderabad.
"Kalaranjini", Madras conferred the title "Nada Suda Nidhi" on Shrinivas on 30th July, 1987.
In December, 1989, The Music Academy, Madras honored Shrinivas with "Senior Vidwan Award" for his recital in the Academy's Music Festival.
On 1st October 1990, Shrinivas has been nominated the "Asthana Vidwan" (Resident Artiste) of the Kanchi Kamakoti Peetam by His Holiness Sri Jayendra Saraswathi.
On 15th December 1990, Karthik Fine Arts, Madras honored Shrinivas by conferring the title "Isai Peroli".
On 26th January 1991, Tamil Nadu Eyal Iasi Nataka Mantram honored Shrinivas by conferring the title "Kalaimamani".
On 24th June 1991, Shrinivas has been awarded the Top Rank of All India Radio for Carnatic Classical Mandolin Instrumental.
On 17th February 1992, Academy of Music, Bangalore honored Shrinivas with the "Sangeetha Ratna Mysore T.Chowdiah Memorial National Award 1992" in the distinguished presence of His Excellency, The Vice-President of India.
On 14th September 1992, Shrinivas has been awarded, the prestigious "National Citizen's Award-1991" His Excellency, The President of India. Shrinivas is the youngest person who was honored with such a prestigious award.
On 2nd January 1993, The Music Academy, Madras honored Shrinivas with the "Best Artiste Award".
On 25th April 1993, at Washington, Shrinivas has been awarded "The Honorary Citizenship" of the State of MARYLAND, USA by the Governor of MARYLAND.
On 16th July 1993, Sri Jayendra Baktha Samajam, honored Shrnivas, by conferring the title "Thanthri Nadhamani" through His Holiness Sri Jayendra Saraswathi.
On 1993 he has been given the "Billboard Award" for his CD compilation on Globe style records.
On 1st January 1994, Shrinivas received the "Rajiv Gandhi National Integration Award", instituted by the Indian Bank and Idhayam Pesukirathu.
On 1st January 1994, The Music academy, Madras awarded Shrinivas, "The Yogam Nagaswami Award" for the best artiste.
On 24th March 1994, he has been awarded "The Honorary Citizenship" of the District of Columbia, by the Mayor of Columbia District, U.S.A.
On 27th August 1995, Shrinivas has been nominated the "Asthana Vidwan" of Pillayar patti temple, Pillayarpatti.
On 5th January 1996, Sri Gnanananda Seva Samajam and Sri Bhagavatha Sammelan Samajam conferred on Shrinivas the title of "Sangeetha Kalamrutha".
On the 15th February 1996, Shrinivas received the title of "SAPTHA SWARA NAADAMANI" from His Holiness Sri Jayendra Saraswathi Swamigal of Sri Kanchi Kama Koti Peetham.
On 4th May 1996, Rasikapriya, the School of Indian Music, Sydney honored Shrinivas by conferring the title "Rasika Kala Ratna".
On 5th May 1996, Academy of Indian Music, Melbourne, conferred the title "Raaga Rytha Rishi" on Shrinivas.
On the 7th January 1997, Shrinivas has been awarded the "Sanatan Sangeet Puraskar" from the Sanatan Sangeet Sankriti, New Delhi.
On April 12th 1998, Shrinivas has been awarded the, Nation's prestigious Award "Padma Shri" by His Excellency, The President of India.