Which nation/what speech community is immune from being blinded by the brilliance and by the unique ingenuity in toponymy of the legacy conscious , imaginative Telugu nation? The world fails to emulate the creative genius of the Telugus. See the improvement the nation has lately struck in countless less cases such as valmiki Puram, vijayawada, Kuchela Puram ,Narada Simhachalam and Avanigadda with deadly accuracy! And the tendency to authenticate the history associating with a place in connection with toponymy ; as it is done in case of Lepakshi, Ryali and a score of others. The world is not yet intellectually mature to emulate this genius! and the creativity in demonymy!
నా కథను తీసి వేయమని నేను చెప్పలేదు. మీరు ఎలా స్పందిస్తారో అని మీ స్పందన తెలుసుకుందామని నా మిత్రుడు ఒకడు ఈ పని చేశాడు. ఇలా చేసినందుకు దయ చేసి మన్నించ వలసిందిగా కోరుతున్నాను నా కథను నిస్సందేహంగా పెట్టుకోవచ్చు. నేను ప్రస్తుతం ఏబియన్ ఆంథ్రజ్యోతి సినిమా డెస్క్ లో పని చేస్తున్నాను.
బత్తుల ప్రసాద్
[ప్రసాద్ గారూ – మీ కథను ఈమాటలో ఉంచటానికి అనుమతినిచ్చినందుకు కృతజ్ఞతలు – సం.]
I used to really cry out of unknown feelings, whenever I heard this on radio in my childhood. I was too young to know its meaning but immensely liked it. It took me to an unknown plane of understanding. I still think of it often. Her voice and the way she sang has no match. In fact it is now that I’ve come to know that it is by Tanguturi Suryakumari. I am grateful to her for having imparted love and bhakti. The absense of instruments other than Tambura brought out the best of the artist. Many thanks for giving it here. Please let us know how to download this wonderful, spiritual song.
I am responding to your expression in English as I cannot type the Telugu key board fast enough to go with my emotion. I am sorry that you chose to understand Rohini Prasad’s article upside down. He wrote about Rama Krishna who was his classmate, being the son of great NTR coming to his school on a cycle costly during those days. Rama Krishna died later and it perhaps reminded Rohini Prasad of a memory of a lost friend. This has nothing to do with literature. I know the fondness NTR had for Rama Krishna. He has constructed twin theaters in Abids area of Hyderabad in his memory. What Rohini Prasad wrote was information to me. Look at information as information, news as news and observations as observations. Kindly read the articles being written by Rohini Praasad on music; especially his latest on Vilayat Khan’s rendition of Pilu in the presence of Bharat Ratna Bhismilla Khan to take your mind off trivial things.
I also have some thing to say on your observation on the tennis game. played by NTR and ANR. Several TV channels (Watch Vanita TV) had telecast stories on why NTR was chosen to play the lead role in Pathala Bhairavi instead of Akkineni.
I request your good self to treat Rohini Prasad as an excellent musicologist, if not the son of the great KK. If you can’t digest what he wrote on literature (Your “Ta” for instance) honour him as an great exponent of music and musicologist. Listen to music sir, so that you would conquer these parochial disorders.
I try in vain to find some kind of justification for harboring baseless likes and dislikes, especially in matters of non pragmatic pursuits. To find a kindred liking in others urges us to share and to exchange.
Here I must admit that what I possess is not information but curiosity. Hence I can give only an attempt at a clumsy response.
Once you get dislocated to a distant university for studies, you miss your native place; You turn nostalgic. Nostalgia gives rise to mawkish longing and to chauvinism.
Any thing out side the syllabus was entertainment. Out of my chauvinistic zeal for the dialect and for the region, I searched for Keyurabahu Chariitra, Daggupalli Duggana, Bhattu murthy, Jayapa and his sisters [you fail to align your zeal to the accomplishments in Kshretrayya] Among the local names there cropped up one Daliparti Pichchihari. But his recorded music was unavailable. After many sets of foolish questions, I was directed one summer vacation to other players of the same instruments. First to K.P.Arunachalam; You are mesmerized by his Abheri. Then to Saida Pet S.Natarajan; Then to Namagiri pettai K.Krishnan, whose Sudhdha dhanyasi leaves you in a trance. Lastly, long after you have found your craving to be unassailable, you are introduced to T.N.Rajaratnam Pillai. Such a haphazard introduction culminates in uneducated, baseless addiction of a coarse, maverick course.
The awe and the infatuating indulgence in the sensuous timbre and the delicate maneuvering have been so happened due to the disorderly acquisition of our tapes and LPs; and due to our random introduction to the art of nadaswaram.
As it is in the case of poetry, music caters to emotion, rather than to reasoning faculty. Once you start pampering your self with sensual indulgence, your faculties of reasoning take a beating. You become less pragmatic and more and more utopian.
మంజుల గారూ, నాసీ గారూ, భావ నారాయణ గారూ,
అనువాదాన్ని చదివి మీ అభిప్రాయం పంచుకున్నందుకు ధన్యవాదాలు.
నాసీ, – మీరు ప్రస్తావించిన చలం కథ చదివిన గుర్తు లేదు. ఏం కథ అది?
భావ నారాయణ గారూ, – మీ థీసిస్ లో నా అభిమాన రచయితలున్నారు! వీళ్ళని పోలుస్తూ నేను కొన్నేళ్ళకింద విపుల పత్రికలో రాసిన వ్యాసం చదివి మీ అభిప్రాయం చెప్పగలరు వీలైతే! లిటరేచర్ విద్యార్థులైన మీ అభిప్రాయంతో నా వ్యాఖ్యానాన్ని validate చేసుకోవలన్న ఆశ, అంతే!
The following comment is more about TN Rajaratnam Pillai than on the original essay. First a couple of quick links … The magazine “Sruti” published by Music Academy in Madras brought out a special issue in December 1998, commemorating his birth centenary. It can be purchased on-line I believe. Then, Randor Guy, the phenomenal film/cultural historian has an informative writeup in The Hindu.
In fact, Rohiniprasad gaaru wrote some brief intro in his blog some years ago: A large number of his audio recordings are available on-line. Just give his name in Google. 20+ live concerts of his are available at sangeethapriya.org
To end, there is a good doctoral dissertation (Univ. of Washington, 1992) from Y. Terada; “Multiple Interpretations of a Charismatic Individual: The Case of the Great Nagasvaram Musician, TN Rajaratnam Pillai”. He also published a paper on TNR: T. N. Rajarattinam Pillai and Caste Rivalry in South Indian Classical Music; Ethnomusicology; Vol. 44, No. 3; 2000. Terada’s work goes beyond analyzing TNR’s music.
ఈ లైను. ఎవరికయినా యిక్కడ దొరికే ఏకాంతం మరెక్కడా దొరకదు. నీటితొట్టెలో నీళ్ళోసుకుంటూనే అర్కేమేడీసు పెద్ద ఫార్ములా కనిపెట్టాడు. ఈ కవిత ఆశు కవిత్వం లాగ ఉంది. ఇలాంటి కవితలు మరిన్ని రాస్తారని ఆశిస్తూ…
పలుకుబడి: సంఖ్యా పదాలు – 1 గురించి Siddineni Bhava Narayana అభిప్రాయం:
04/22/2012 1:30 pm
Dear Sir,
Which nation/what speech community is immune from being blinded by the brilliance and by the unique ingenuity in toponymy of the legacy conscious , imaginative Telugu nation? The world fails to emulate the creative genius of the Telugus. See the improvement the nation has lately struck in countless less cases such as valmiki Puram, vijayawada, Kuchela Puram ,Narada Simhachalam and Avanigadda with deadly accuracy! And the tendency to authenticate the history associating with a place in connection with toponymy ; as it is done in case of Lepakshi, Ryali and a score of others. The world is not yet intellectually mature to emulate this genius! and the creativity in demonymy!
గంజి బువ్వ గురించి bathulaprasad అభిప్రాయం:
04/22/2012 7:07 am
అయ్యా:
నా కథను తీసి వేయమని నేను చెప్పలేదు. మీరు ఎలా స్పందిస్తారో అని మీ స్పందన తెలుసుకుందామని నా మిత్రుడు ఒకడు ఈ పని చేశాడు. ఇలా చేసినందుకు దయ చేసి మన్నించ వలసిందిగా కోరుతున్నాను నా కథను నిస్సందేహంగా పెట్టుకోవచ్చు. నేను ప్రస్తుతం ఏబియన్ ఆంథ్రజ్యోతి సినిమా డెస్క్ లో పని చేస్తున్నాను.
బత్తుల ప్రసాద్
[ప్రసాద్ గారూ – మీ కథను ఈమాటలో ఉంచటానికి అనుమతినిచ్చినందుకు కృతజ్ఞతలు – సం.]
శివోహం! శివోహం! గురించి madhuri krishna అభిప్రాయం:
04/22/2012 6:57 am
I used to really cry out of unknown feelings, whenever I heard this on radio in my childhood. I was too young to know its meaning but immensely liked it. It took me to an unknown plane of understanding. I still think of it often. Her voice and the way she sang has no match. In fact it is now that I’ve come to know that it is by Tanguturi Suryakumari. I am grateful to her for having imparted love and bhakti. The absense of instruments other than Tambura brought out the best of the artist. Many thanks for giving it here. Please let us know how to download this wonderful, spiritual song.
కినిమా పత్రిక నుంచి – 2 గురించి jonnalagadda radha krishna అభిప్రాయం:
04/22/2012 5:59 am
Dear Eemata Abimani,
I am responding to your expression in English as I cannot type the Telugu key board fast enough to go with my emotion. I am sorry that you chose to understand Rohini Prasad’s article upside down. He wrote about Rama Krishna who was his classmate, being the son of great NTR coming to his school on a cycle costly during those days. Rama Krishna died later and it perhaps reminded Rohini Prasad of a memory of a lost friend. This has nothing to do with literature. I know the fondness NTR had for Rama Krishna. He has constructed twin theaters in Abids area of Hyderabad in his memory. What Rohini Prasad wrote was information to me. Look at information as information, news as news and observations as observations. Kindly read the articles being written by Rohini Praasad on music; especially his latest on Vilayat Khan’s rendition of Pilu in the presence of Bharat Ratna Bhismilla Khan to take your mind off trivial things.
I also have some thing to say on your observation on the tennis game. played by NTR and ANR. Several TV channels (Watch Vanita TV) had telecast stories on why NTR was chosen to play the lead role in Pathala Bhairavi instead of Akkineni.
I request your good self to treat Rohini Prasad as an excellent musicologist, if not the son of the great KK. If you can’t digest what he wrote on literature (Your “Ta” for instance) honour him as an great exponent of music and musicologist. Listen to music sir, so that you would conquer these parochial disorders.
jonnalagadda radha krishna
పొదుపు సమీకరణాలు గురించి lakshmi అభిప్రాయం:
04/21/2012 10:34 pm
చాలా బావుంది . కడుపుబ్బ నవ్వుకున్నాము.
కినిమా పత్రిక నుంచి – 2 గురించి Siddineni Bhava Narayana అభిప్రాయం:
04/21/2012 1:24 pm
Radha Krishna garu,
I try in vain to find some kind of justification for harboring baseless likes and dislikes, especially in matters of non pragmatic pursuits. To find a kindred liking in others urges us to share and to exchange.
Here I must admit that what I possess is not information but curiosity. Hence I can give only an attempt at a clumsy response.
Once you get dislocated to a distant university for studies, you miss your native place; You turn nostalgic. Nostalgia gives rise to mawkish longing and to chauvinism.
Any thing out side the syllabus was entertainment. Out of my chauvinistic zeal for the dialect and for the region, I searched for Keyurabahu Chariitra, Daggupalli Duggana, Bhattu murthy, Jayapa and his sisters [you fail to align your zeal to the accomplishments in Kshretrayya] Among the local names there cropped up one Daliparti Pichchihari. But his recorded music was unavailable. After many sets of foolish questions, I was directed one summer vacation to other players of the same instruments. First to K.P.Arunachalam; You are mesmerized by his Abheri. Then to Saida Pet S.Natarajan; Then to Namagiri pettai K.Krishnan, whose Sudhdha dhanyasi leaves you in a trance. Lastly, long after you have found your craving to be unassailable, you are introduced to T.N.Rajaratnam Pillai. Such a haphazard introduction culminates in uneducated, baseless addiction of a coarse, maverick course.
The awe and the infatuating indulgence in the sensuous timbre and the delicate maneuvering have been so happened due to the disorderly acquisition of our tapes and LPs; and due to our random introduction to the art of nadaswaram.
As it is in the case of poetry, music caters to emotion, rather than to reasoning faculty. Once you start pampering your self with sensual indulgence, your faculties of reasoning take a beating. You become less pragmatic and more and more utopian.
–Siddineni Bhava Narayana
కొవ్వుపుంజి గురించి శారద అభిప్రాయం:
04/20/2012 4:49 pm
మంజుల గారూ, నాసీ గారూ, భావ నారాయణ గారూ,
అనువాదాన్ని చదివి మీ అభిప్రాయం పంచుకున్నందుకు ధన్యవాదాలు.
నాసీ, – మీరు ప్రస్తావించిన చలం కథ చదివిన గుర్తు లేదు. ఏం కథ అది?
భావ నారాయణ గారూ, – మీ థీసిస్ లో నా అభిమాన రచయితలున్నారు! వీళ్ళని పోలుస్తూ నేను కొన్నేళ్ళకింద విపుల పత్రికలో రాసిన వ్యాసం చదివి మీ అభిప్రాయం చెప్పగలరు వీలైతే! లిటరేచర్ విద్యార్థులైన మీ అభిప్రాయంతో నా వ్యాఖ్యానాన్ని validate చేసుకోవలన్న ఆశ, అంతే!
శారద
త్రిపురాంతకేశ్వరా! గురించి sridevi అభిప్రాయం:
04/20/2012 10:17 am
Namaskaram.
This is just wonderful. Is there anyway I can get the MP3 of this kruthi?
Thanks so much,
Sridevi
కినిమా పత్రిక నుంచి – 2 గురించి Sreenivas Paruchuri అభిప్రాయం:
04/20/2012 6:24 am
The following comment is more about TN Rajaratnam Pillai than on the original essay. First a couple of quick links … The magazine “Sruti” published by Music Academy in Madras brought out a special issue in December 1998, commemorating his birth centenary. It can be purchased on-line I believe. Then, Randor Guy, the phenomenal film/cultural historian has an informative writeup in The Hindu.
In fact, Rohiniprasad gaaru wrote some brief intro in his blog some years ago: A large number of his audio recordings are available on-line. Just give his name in Google. 20+ live concerts of his are available at sangeethapriya.org
To end, there is a good doctoral dissertation (Univ. of Washington, 1992) from Y. Terada; “Multiple Interpretations of a Charismatic Individual: The Case of the Great Nagasvaram Musician, TN Rajaratnam Pillai”. He also published a paper on TNR: T. N. Rajarattinam Pillai and Caste Rivalry in South Indian Classical Music; Ethnomusicology; Vol. 44, No. 3; 2000. Terada’s work goes beyond analyzing TNR’s music.
Regards, Sreenivas
స్నానాల గదిలో గురించి శారదా కిషోర్ అభిప్రాయం:
04/20/2012 5:09 am
ఆవిరి నిండిన ఈ గదిలో నేనొక్కదానినే
ఈ లైను. ఎవరికయినా యిక్కడ దొరికే ఏకాంతం మరెక్కడా దొరకదు. నీటితొట్టెలో నీళ్ళోసుకుంటూనే అర్కేమేడీసు పెద్ద ఫార్ములా కనిపెట్టాడు. ఈ కవిత ఆశు కవిత్వం లాగ ఉంది. ఇలాంటి కవితలు మరిన్ని రాస్తారని ఆశిస్తూ…