tu Kal Chala Jaayega Toh Main Kya Karunga....

Tere Jaane Ki Khushi Aur Dil Udaas Hain
durr Hum Hue Toh Kya Dil Toh Dil Ke Paas Hain
tu Kal Chala Jaayega Toh Main Kya Karunga - 2
tu Yaad Bahut Aayega - 2 Toh Main Kya Karunga
tu Kal Bichhad Jaayega Toh Main Kya Karunga - 2
tu Muhjko Bhul Jaayega Toh Main Kya Karunga
tu Kal Chala Jaayega

teri Yaad Ko Kahi Durr Chhod Aaun Main- 2
iss Kadar Pila Mujhe Tujhko Bhul Jaaun Main - 2
tujhko Bhul Jaun Main
hosh Magar Aayega Toh Main Kya Karunga - 2
tu Yaad Bahut Aayega Toh Main Kya Karunga
tu Kal Chala Jaayega

tere Jaisa Kaun Hai Aur Kiska Naam Lu - 2
laa Main Issi Baat Par Aur Ek Jaam Lu - 2
aur Ek Jaam Lu
jaam Chhalak Jaayega Toh Main Kya Karunga - 2
tu Muhjko Bhul Jaayega Toh Main Kya Karunga
tu Kal Chala Jaayega

bhul Jaana Tu Mujhe Zindagi Sanwarna - 2
yaad Na Karna Mujhe Haske Din Gujarna - 2
haske Din Gujarna
tera Gam Rulayega Toh Main Kya Karunga - 2
tu Yaad Bahut Aayega Toh Main Kya Karunga
tu Kal Chala Jaayega Toh Main Kya Karunga
tu Yaad Bahut Aayega Toh Main Kya Karunga
tu Kal Bichhad Jaayega Toh Main Kya Karunga
tu Muhjko Bhul Jaayega Toh Main Kya Karunga
tu Kal Chala Jaayega

Chithhi na koyi sandesh ....... :(

Ironically a lot many of good songs in this genre are from modern Hindi cinema which usually doesn't happen to my lists. Those of you who have listened to this one can tell me , haven't you listened it repeatedly at a time and still couldn't get enough of it?

Chithhi na koyi sandesh
Hoo, chithhi na koi sandesh
Jaane woh kaun sa desh jaha tum chale gaye
Chithhi na koyi sandesh
Jaane woh kaun sa desh jaha tum chale gaye
Chithhi na koyi sandesh
Jaane woh kaun sa desh jaha tum chale gaye
Jaha tum chale gaye
Is dil pe laga ke thhes jaane woh kaun sa desh
Jaha tum chale gaye...

Ek aah bhari hogi hamne na suni hogi
Jaate jaate tumne awaaz to di hogi
Har waqt yehi hai gham, us waqt kaha the hum
Kaha tum chale gaye
Chithhi na koi sandesh jaane woh kaun sa desh
Jaha tum chale gaye jaha tum chale gaye
Is dil pe laga ke thhes jaane woh kaun sa desh
Jaha tum chale gaye...

Har cheez pe ashkon se likha hai tumhaara naam
Ye raste ghar galiyaan tumhe kar na sake salaam
Hai dil mein reh gayi baat, jaldi se chhuda kar haath
Kaha tum chale gaye
Chithhi na koi sandesh jaane woh kaun sa desh
Jaha tum chale gaye jaha tum chale gaye
Is dil pe laga ke thhes jaane woh kaun sa desh
Jahan tum chale gaye...

Ab yaadon ke kaante is dil mein chubhte hain
Na dard thhaherta hai na aanson rukte hain
Tumhe dhhundhh raha hai pyaar, hum kaise karein iqraar
Kaha tum chale gaye
Chithhi na koi sandesh jaane woh kaun sa desh
Jaha tum chale gaye jaha tum chale gaye
Is dil pe laga ke thhes jaane woh kaun sa desh
Jahan tum chale gaye...
Ho kahan tum chale gaye -3

Ondu Sanna Aase ...........

(Ondu Sanna Aase Baduka Nungithe
Preethi Bayasi Hrudaya Tappu Maadithe..) - 2
Kanda Kanasu Kanninalle Karagithe.. - 2
Yaava Shaapa Benna Bidade Kaadide..
Hudhugalaaradantha Novu Edeyali..
Thumbi Kanna Neere Soojiyaagide..
Ondu Sanna Aase Baduka Nungithe
Preethi Bayasi Hrudaya Tappu Maadithe..


Manadi Tumbiro Andhakaarake, Bedari Eega Maathu Sattide
Beru Muridiro Marada Manasina Bhaavadanthe Jeeva Naralide..
Haaralendu Horata Jodi Hakkige, Daivavene Kallu Beesi Koothide..
Ondu Sanna Aase Baduka Nungithe
Preethi Bayasi Hrudaya Tappu Maadithe..


Marevenendaru Mareyalaagade Manase Eega Vyaagravaagidhe
Suliya Suttalu Taane Tirugutha Silukalendu Praana Kaadidhe..
Manada Hasiya Gode Mele Geechida, Gaayaveega Maayadanthe Kaadidhe..


Ondu Sanna Aase Baduka Nungithe
Preethi Bayasi Hrudaya Tappu Maadithe..
Kanda Kanasu Kanninalle Karagithe.. - 2
Yaava Shaapa Benna Bidade Kaadide..
Hudhugalaaradantha Novu Edeyali..
Thumbi Kanna Neere Soojiyaagide

Madhuvana Karedare - Inti Ninna Preetiya

ಮಧುವನ ಕರೆದರೆ ತನುಮನ ಸೆಳೆದರೆ ಶರಣಾಗು ಆದರೆ....(೨)
ಬಿರುಗಾಳಿಯಲ್ಲಿ ತೇಲಿ ಹೊಸ ಗಳಿಗೆ
ಬಂದಿದೆ
ಕನಸೊಂದು ಮೈಮುರಿದು ಬಾ ಬಳಿಗೆ
ಎಂದಿದೆ
ಶರಣಾಗು......ಆದರೆ.....ಸೆರೆಯಾಗು.....ಆದರೆ
ಮಧುವನ.....(೨)

ಆ ಆ ಆ..ಕಂಗಳಲ್ಲಿ
ಕನಸಿನ ಕುಲುಮೆ ಹೊಳೆಯುತ್ತಿದೆ ಜೀವದ ಒಲುಮೆ
ಬೆಳಕಲಿ ನೋಡು ಆದರೆ
ಮೈಯಲ್ಲಾ ಚಂದ್ರನ ಗುರುತು
ಹೆಸರೆಲ್ಲೋ ಹೋಗಿದೆ ಮರೆತು
ನಾನ್ಯಾರೋ ಹೇಳು ಆದರೆ......
ಮಧುವನ.....(೨)

ಮನಸ್ಸಿನ ಹಸಿ ಬಣ್ಣಗಳಲ್ಲಿ
ನೀನೆಳೆವ ರೇಖೆಗಳಲ್ಲಿ
ನಾ ಮೂಡಬೇಕು ಆದರೆ..... ಎ ಎ ಎ
ಎದುರಿದ್ದು ಕರೆಯುವೇ ಏಕೆ
ಜೊತೆಯಿದ್ದು ಮರೆಯುವೆ ಏಕೆ
ನಿನ್ನೊಲವು ನಿಜವೇ ಆದರೆ ...... ಎ ಎ ಎ
ಮಧುವನ ಕರೆದರೆ ತನುಮನ ಸೆಳೆದರೆ ಶರಣಾಗು ಆದರೆ....(೨)

ಬಿರುಗಾಳಿಯಲ್ಲಿ ತೇಲಿ ಹೊಸ ಗಳಿಗೆ ಬಂದಿದೆ
ಕನಸೊಂದು ಮೈಮುರಿದು ಬಾ ಬಳಿಗೆ ಎಂದಿದೆ
ಶರಣಾಗು......ಆದರೆ.....ಸೆರೆಯಾಗು.....ಆದರೆ
ಮಧುವನ.....(೨)

Cave Temple - Sri KESHAVANATHESHVARA Moodgal,Kradi Village , Kundapur Tq

HOW TO REACH ---
There are are two ways to reach Moodgal temple.

One ---- Kundapur- Kollur State Highway, After Vandse – Chittooru, take right turn towards Sri Kshetra MARANAKATTE, proceed to KERAADI village. After keradi the journey is very tedious and adventures. Last 2 kms journey will be of steep hill and forest. It is possible to travel by Motar cycle by this way.

Other way is from – Siddapura – Kamalashile – hallihole – Chakra maidana. Then climb up the hill top to reach the Moodgal Temple. Here one can travel by Jeep, Car or by Two wheelers. It is around 18 KMS from Siddapur.

The Address : Sri Keshavanatheshvara Temple- Moodgal, KERADI Post Kradi Village , Kundapur Tq
For more details Contact: Sri Raghavendra Kunjathaya (Archaka)
Mob No. . 98804 62076
CDMA No. 96324 75220

Kalinga Navada..as 'Yuga Pravartaka'

Kalinga Navada was born in 1958 at Gundmi (Kundapur Taluk) to Padmavathi and Ramachandra Navada . He was the Bhagavatha in Uppoor's troupe from 1971 to 1976 and worked for the Vijayashri Mela of Perdoor in 1977. He spent majority of his career with Amriteshwari Mela and the Saligrama Mela.In 1990 he lost his life in a tragic road mishap.

Known for his melodious voice, modularity, and the depth, late G R Kalinga Navada continues to live in the people's mind for his contribution towards Yakshagana.He had an attractive voice with good depth and melody, Navada brought new life to yakshagana singing. With a proper hold on theatre, Navada innovated new ragas to reduce the monotony and increase the attraction thus bringing a special effect in Yakshagana. With a fusion of new ragas like Revathi, Kalavathi, Chaand, and Bihag with old ones, Navada carved a special place for himself in this field.

In terms of his contributions and innovations he can be rated as one of the best in his field. He brought in the lost audiences back to Yakshagana.

Yakshagana...true people's theatre..!

One of the theatre forms generally described as folk but possessing a strong classical connection is the Yakshagana. It is a typical folk form of drama in this region, just as Kathakali is in neighbouring Kerala. Unlike the stylised costumes and masks of Kathakali, Yakshagana is a true people's theatre, commonly staged in the paddy fields at night and the themes are the same as all over India, the Ramayana, the Mahabharata and mythological tales from the Puranas. In predominantly rural areas with little or no transportation, Yakshagana enjoys immense popularity and its exponents are honoured just as great stage artistes are.
Although the name signifies the music of celestial beings, Yakshagana is an amalgam of the sky with the earth. here is both mystery and robustness about this form in which singing and drumming merge with dancing, and words with gestural interpretation, and players clad in costumes of striking colour and contours. It is the cherished cultural possession of the coastal districts of Karnataka.

Dr. K.S. Karanth is the foremost authority on Yakshagana and has been working on all its aspects, amely--dance, music, and literature, since 1930. He has led the way to a deep and systematic study of this art form. He has spent decades travelling to remote villages within Karnataka to inspect and study every Yakshagana manuscript, the earliest going back to A.D. 1651. With his fine literary judgement and aesthetic sensibility, he has traced the changing trends in the performance of Yakshagana. He has interacted with hundreds of Yakshagana artistes to find out what customs in training and interpretation had prevailed earlier and had fallen into disuse and deserved to be resuscitated. He has put together his findings in the shape of two standard books Yakshagana-Bayalata (1958) in Kannada, and Yakshagana in Kannada and English (1975).

Amma ninna edeyaaLadalli gaaLakke sikka meenu.....

Amma ninna edeyaaLadalli gaaLakke sikka meenu.....

composed by B R Lakshman Rao, this song is about the carving in the heart of the child to grow beyond the shackles of affection, and to explore new frontiers in life!

As you read on you can feel the underlying force trying to pull you off from that motherhood bonding,but it nevertheless realizes the everlasting bonding that is not possible to cut....

here it goes in Kannada...

ಅಮ್ಮ, ನಿನ್ನ ಎದೆಯಾಳದಲ್ಲಿ
ಗಾಳಕ್ಕೆ ಸಿಕ್ಕ ಮೀನು
ಮಿಡುಕಾಡುತಿರುವೆ ನಾನು
ಕಡಿಯಲೋಲ್ಲೆ ನೀ ಕರುಳಬಳ್ಳಿ
ಒಲವೂಡುತಿರುವ ತಾಯೆ,
ಬಿಡದ ಬುವಿಯ ಮಾಯೆ

ನಿನ್ನ ರಕ್ಷೆಗೂಡಲ್ಲಿ ಬೆಚ್ಚಗೆ
ಆಡಗಲಿ ಎಷ್ಟು ದಿನ ?
ದೂಡು ಹೊರಗೆ ನನ್ನ
ಓಟ ಕಲಿವೆ, ಒಳನೋಟ ಕಲಿವೆ,
ನಾಕಲಿವೆ ಊರ್ಧ್ವ ಗಮನ,
ಓ ಆಗಾಧ ಗಗನ

ಮೇಲೆ ಹಾರಿ, ನಿನ್ನ ಸೆಳೆತ ಮೀರಿ,
ನಿರ್ಭಾರಸ್ಥಿತಿಗೆ ತಲುಪಿ
ಬ್ರಹ್ಮಾಂಡವನ್ನೇ ಬೆದಕಿ
ಇಂಧನ ತೀರಲು,
ಬಂದೇ ಬರುವೆನು
ಮತ್ತೆ ನಿನ್ನ ತೊಡೆಗೆ,
ಮೂರ್ತ ಪ್ರೇಮದೆಡೆಗೆ

-ಬಿ ಆರ್ ಲಕ್ಷ್ಮಣರಾವ್.

In English....

amma, ninna edeyaaLadalli
gaaLakke sikka mInu
miDukaaDutiruve naanu
kaDiyalOlle nI karuLabaLLi
olavUDutiruva taaye,
biDada buviya maaye

ninna rakShegUDalli beccage
aaDagali eShTu dina ?
dUDu horage nanna
OTa kalive, oLanOTa kalive, naa
kalive Urdhva gamana,
O aagaadha gagana

mEle haari, ninna seLeta mIri,
nirbhaarasthitige talupi
brahmaaMDavannE bedaki
iMdhana tIralu, baMdE baruvenu
matte ninna toDege,
mUrta prEmadeDege

bhaagyada lakshmi baarammaa....

pallavi
bhAgyada lakShmI bArammA nammamma nI sau (bhAgyada)

caraNam 1
hejjaya mele hhejjeyanikkuta gejje kAlgaLa dhvaniya tOrutasajjana sAdhu pUjeya vELege majjigeyoLagina beNNeyante(bhAgyada)

caraNam 2
kanaka vrStiya kareyuta bAre mana kAmanaya siddhiya tOrEdinakara kOTi tEjadi hoLeva janakarAyana kumAri vEdha(bhAgyada)

caraNam 3
attittalagalade bhaktara maneyali nitya mahOtsava nitya sumangaLasatyava tOruva sAdhu sajjanara cittadi hoLevA puttaLi bombe(bhAgyada)

caraNam 4
sankhye illAda bhAgyava koTTu kankaNa kaiya tiruvuta bArekunkumAnkite pankaja lOcane venkaTaramaNana binkada rANI(bhAgyada)

caraNam 5
sakkare tuppada kAluve harisi shukravAradha pUjaya vELageakkareyuLLa aLagiri rangana cokka purandara viThalana rANI(bhAgyada)

Meaning :
Oh, Goddess of Fortune ! Laksmidevi ! Do come slowly with your anklets making the jingling sound! Come to us like butter emerging out of buttermilk when it is churned ! Come and shower on us a rain of gold and fufilll our aspirations ! Come with the brightness of countless number of rays of the sun ! Come and bless us; Oh, Devi, who has taken incarnation as Sitha ! Oh, lotus eyed Devi who is the pride of Mahavishnu! Come and appear before us wearing the shining golden bracelets on your wrists and the auspicious vermilion mark on your forehead! Oh, Consort of Purandaravithala ! Welcome to You who shine auspiciously in the hearts of great sages ! Oh, Queen of Alagiri Ranga! Come to our worship on Friday when streams of ghee and sugar will overflow !

Father of Carnatic Music--Purandara Dasa

Purandara Daasar - Purandara Daasar was a great composer of Carnatic music before the time of the Trinity of Tyagaraja, Dikshitar and Shyama Sastri. His songs were not in unreachable Sanskrit, but instead he preached the Vedas to millions by singing in Kannada. He was the one who standardized the early lessons in music and has given us many beautiful compositions on Vishnu and Krishna. His works include many different types of compositions, from bhajans and geetams to kritis. Purandara Daasar is believed to have systematized the early music lessons - sarali varisai, janTai varisai, geetams and also chose maayamaaLava gowLa as the raagam to be used for these. MaayamaaLavagowLa is an appropriate raaga because it is symmetric and has gamakams, so that students learn the basic elements of Carnatic music along with some more advanced concepts. His songs are simple, and easy to learn. He composed many geetams and keertanais and songs in kannaDa known as "dEvarnaama." Because of his role in so many fundamental aspects of this music, he is called the Pithamaha (Great Father) of Carnatic music.

Our knowledge of Purandaradasa's life stems mainly from the compositions of Vijaya dasa who lived a hundred and fifty years after the passing away of Purandaradasa. This is taken as authentic since Vijaya dAsa is believed to be the incarnation of Bhrigu muni, and an aparOksha gyani (having mystical powers). Vijayadasa had great faith in and devotion for Purandaradasa. It is believed that Purandaradasa himself appeared in Vijayadasa's dream and bestowed on him the ankitha 'Vijaya Vittala'.

Purandara Daasa was born in 1484 in Pandarpur, an obscure village near Purandargarh near Poona. He was originally named Shreenivaasa (or Krishnappa) Naayaka. His father's name was Varada Naik. Purandara Daasa was considered an avatar of Sage Narada - when he was studying, he learned music as well. At 16 he married Lakshmibai, and four years later his parents died. Purandara Daasa had 4 sons and a daughter. He worked as a money lender, continued the family business, and became prosperous, but he was infamous as a miser. They said he earned much money and he lived only to earn it. An incident in his life, however, changed him and he gave away all his wealth. From then on, he composed and lived by the popular saying "we must swim across suffering, win victory over it." It is said that Lord Vishnu decided that it was time for Srinivasa Nayaka (Purandara Daasa) to give up his love of money and become a saint. So he came to him as a poor brahmin looking for money for his son's thread ceremony. Nayaka did not give him the money, but the brahmin visited his shop again and again, and after six months, Purandara Daasa gave him a collection of useless, worn-out coins to get rid of him. The brahmin went away unhappily, but knowing Purandara Daasa's wife was a kind woman, he went directly from Purandara Daasa's shop to his house. He told Saraswathi his story and how her husband had sent him away with nothing. Saraswathi wanted to help the poor brahmin, but felt helpless since she could not give anything without her husband's permission. When she explained her helplessness, the brahmin asked if she had something given by her parents (which, presumably, she could give without asking for her husband's permission). She agreed and gave him the diamond nose-stud that her parents had given her. The brahmin took the ornament straight to Purandara Daasa's shop. When Purandara Daasa became angry with the brahmin for coming back, despite his instructions to the contrary, the brahmin clarified that he was there not to beg, but to pledge an ornament and take a loan. Purandara Daasa was skeptical and asked the brahmin to show him the ornament. When he saw the ornament, he was confused because he immediately recognized it as the one belonging to his wife. When Purandara Daasa asked him about it, the brahmin told him that it was a gift from a benefactor. Purandara Daasa asked the brahmin to come the next day and locked the ornament away. When he saw his wife without her ornament he questioned her about it. She tried to stall him, but he insisted on seeing it immediately. He was angry because he thought she had given away a valuable ornament to a beggarly brahmin. Saraswathi knew that her husband would punish her if she told him the truth. So she decided to commit suicide by drinking poison. Just as she was about to drink the poison, she heard a metallic sound. Lo and behold, the ornament was right there in the cup. She could not believe her eyes. Her heart filled with gratitude, she bowed before the idol of Krishna and took the ornament to her husband. Purandara Daasa was astounded as it was the very same ornament that he had safely locked away in his shop. He quickly ran back to the shop to check. The box where he had safely locked away the ornament was empty! He was now completely and totally dumbfounded. He went back to his house, and pressed his wife to tell him the truth. She told him everything that had happened. After deep thought, this Shreenivaasa Naayaka came to the conclusion that the brahmin was none other than God Himself. He recalled all the incidents of the previous six months. He was disgusted with himself, and his miserliness. He felt that his wife had conducted herself far more decently and generously than himself. Since it was his love of money that had made him ill-treat the Lord, he gave away all of his wealth with the Lord's name on his lips and began to compose music.

Purandara Dasa had earned the name NavakOTi NaaraayaNaa, indicating his great riches. Then he began a new life with his family - his wife Saraswati, 4 sons (Varadappa, Gururaya, Abhinavappa and Gurmadhvapathi) and a daughter. Like him, his wife and children composed verses and songs. In course of time Purandaradasa came to Hampi and settled down with his wife and children. Every morning Purandaradasa went into the town wearing bells on his ankels and tulasi mala around his neck. He carried a tamboori in the hand and sang his Hari-keertanas sounding the tamboori with his fingers. He sang these songs to the accompaniment of tamboori and the bells tied to his ankles and went about the streets of the town. The people admired the listened to his songs. Purandaradasa accepted alms given to him during the wandering and led a life of renunication. He who had been called Navakoti Narayana now had willingly accepted the life of a saint and begged for his food. In 1525, Purandara Daasa became a disciple of the great Vyaasa Raayaa, who titled him "Purandara ViTThala," which became his signature, which he uses in all his compositions. Vyaasa Raaya praised him, saying "Among the devotees of Hari, Purandara Daasa is the greatest." Purandara Daasa expressed his gratitude by singing "My only refuge is the feet of Vyaasaraja. I was able to understand Purandara Vittala by his grace." The composer was also given the name Purandaropanishat and many other names. The title ViTThala refers to the Lord Vishnu, or Krishna.

Purandara Daasa is said to have composed 475,000 songs in both KannaDa and Sanskrit. PurandaradAsa adopted a simple, lucid KannaDa style with telling phrases and similes. He sang many rare ragas with among the most beautiful lyrics. He identified 84 ragas, including ragas such as kalyani, varali, todi, bhairavi, and saaveri, which are popular in use today. Tyaagaraaja's praise in "Prahalada Bhakti Vijayam" is for him and in fact, some of his famous songs are patterned after those by Purandara Daasa, such as Nanupaalimpa, based on Daasa's Bide ninnayya pada. Purandara Daasa also used a variety of musical types: kritis, keertanas - devotional songs, padams - a dance form using hero-heroine, plus many more rare forms. The verses he sang were his own compositiions on a variety of themes. Some of them described Sri Krishna's adventures in this world. Some others sang about God's kindness to man. A few more verses were simple compositions expounding the philosophy contained in the Vedas, Upanishads and Bhagavadgita in simple words. In yet other verses Purandaradasa praises Lord Krishna affectionately. In some verses Purandaradasa has even made fun of the Lord. His songs which preached surrender to Vittala have an elusive fragrance, poetic fervour, extraordinary logic and cutting satire. His music was popularized by M.L. Vasantakumari.

The gods his songs adored: Sri Vittala (Krishna) of Pandarapura is associated with Bhakthi and Bhajan movement since the time immemorial. Sri Vittala is still being adorned by large number of devotees barring caste, religion, sex etc. Sri Purandara Dasa has continued this tradition by keeping his ankita or mudra as Purandara Vittala, and his songs praise this Vittala, meaning Krishna or Vishnu. His songs also praised Ganesha, Saraswathi and other gods and goddesses, but the themes always returned to Vittala.

Purandara Dasa was the first of the Haridasas, or "servants of Sri Hari" also known as Vishnu or Krishna. All the Haridasas composed in KannaDa, a language used primarily in Karnataka, but Purandara Daasa established the precedent of composing in the vernacular or common tongue. All Haridasas were servants of God and their songs included the following messages:

* God is easily approachable by all. * God is to be praised and constantly remembered as our benefactor.
* Realising the true nature of God's benevolence towards us and offering even simple worship within the means available to one is more acceptable to Him than ritualistic or pompous ornamentation without mental participation.


Some of Purandara Dasa's lyrics are really memorable. For example, he writes, Kendake orale muttuvudunte?... Do ants cluster around a hot coal? Another line goes, Hasida bekku hatthiya tindanthe.. Describing a hungry cat eating cotton. These lyrics make it clear that Daasa was a poet as well as a scholar of musical form.

His death: Scholars think that Purandara lived for about 80 years (until 1564). On the basis of the verse in the name of Madvapathi his son it is held that Purandaradasa must have passed away a year before the fall of Vijaynagar. Taking it as authentic, his death anniversary is celebrated on the New Moon Day, in the second fortnight of Pushya.

Some of the compositions are as follows

aanalEkara (geetam) - sudda saavEri

amma nimma manegaLalli - sowraashTram

aparaadi naanalla - rEvati

bandadella barali - kaapi

bhaagyada lakshmi baarammaa - shree, madyamaavati

bhayasamaya (geetam) - dEsaakshi - PD

candracooDa - raagamaalika

dayamaaDO dayamaaDO - kalyaaNi

dEva banda - shankaraabharaNam

dEvaki nandana - raagamaalika

dharma shravaNavEtake - durga

dharmavE jayavemba - shenjuruTTi

gajavadanaa bEDuvE - hamsadwani

gOvindaa ninna - jana sammOdhini

hari naaraayaNa - rEvati

hari smaraNe maaDO - yamunaa kalyaaNi

jagadOddhaaraNaa - dhanakaapi, kaapi

jaya jaya jaya jaanakikaantaa - naaTTai

kaNDEnaa gOvindanaa - candrakowns

koDu bEga divyamati - saraswati, vasantaa

ksheeraabdi kannige - raagamaalika

mareya bEDa manavE - kamaas

maaraayaNaa - sudda dhanyaasi

nambi keTTavar illavO - kalyaaNi

neenyaakO ninna - raagamaalika

ninnane nambi - bhairavi

ninne nOdi - tODi

Odi baarayya - bhairavi

raama mantrava - jonpuri

raama raama raama raama - raagamaalika

sakala graha bala - aThaaNaa

sanna hejegaliTTu - valaci

sharanu siddhi vinaayaka - sowraashTram

sharaNu sakalOddhaara - naaTTai

simharoopanaada - kEdaara gowLa

shreenivaasa neenE - aananda bhairavi

taamboolava koLLu - reeti gowLa

taaraka bindigE - sowraashTram, tilang

tamboori meeTTidava - sindu bhairavi

tirupati vEnkaTaramaNa-kharaharapriyaa

venkaTaacalanilayam - sindu bhairavi

vEnkaTaramaNane baarO - shankaraabharaNam

yaadava nee baa - karnaaTaka dEvagaandhaari

yaare rangana - hindOLam

Lyrics of purandra dasa kriti Pillangoviya Cheluva Krishnana...

piLLangOviya celuva.

P : piLLangOviya celuva krSNana elli nODidiri rangana elli nODidiri
A: elli nODidaralli tAnilla dillavendu balla jANaru

C1: nandagOpana mandiragaLa sandugondinali canda candada gOpa bAlara vrndA vrnadadali sundarAngada sundariyara hindu mundinali andadAkaLa kanda karugaLa manda mandeyali

2: shrI gurUkta sadA sumangaLa yOga yOgadali AgamArtadoLage mADuva yAga yAgadali shrIge bhagyanAgi vartipa bhOga bhOgadali bhAgavataru sadA bAgi pADuva rAga rAgadali

3: I caracaradoLage janangaLa Ace Iceyali kEcarendrana sutana rathada cauka pIThadali nAcade mAdhava emba bhaktara vAcakangaLali vIcukonDada purandara viTTalana lOcanAgradali

MEANING:
pallavi : pillangOviya cheluva kriShNana elli nODidhiri rangana elli nODidhiri?

meaning: Hey folks! Where you have seen that beautiful krishna playing theflute?

anupallavi: elli nODidha alli thaan illa dhillavendu baalla jaanaru

meaning: people generally know that whenever one sees merely with plaineyes, no way krishna can be there (interpretation- with plain eyes, if yousee, krishna can not be there, but with lot of devotion if you see, then heis there)

caranam 1: nandhagOpana mandhiragaLa sandhugondinali chandha chandhahaGOpaala baalara vrundhAvanadadali sundharaangadha sundhariyara hindhumundhinali andhadhAkala kandharugaLa mundhe mundheyali shrI guru ukthasadhaa

meaning: gurus say, always krishna is there living in the alleys of templesof king NandhagOpa, in the brindhaavanam with cute gopaala kids, in front ofand in the rear of those nicely built beautiful lanes of aaippaadi.

caraNam 2: su mangala yOga yOgadhali aagamarthadhoLage maaDuva yaaga yaagadhali shreegebhagya naasha vaarthipa bhOga bhOghadhalli bhagavatharu sadhaa baagipaaDutha raagaraagadhali

meaning: gurus also add, he is always there where sumangaLa yOga is carriedout. He is there in the yaagas done as per rules prescribed in the aagamasaasthraas - viz. yaagnas conducted as per rules with the motives of generalwelfare of all. He is also there as the wick in us to enjoy the desires thusslowly destroying these desires after enjoying it. He is there in the songsof all those bhaagavathas always singing in praise of that krishna.

caraNam 3: charaachara dhoLage janangalaache eecheyali kEcharEndranasuthana rathadachauka peetadhali naachade maadhava emba bhaktharavaachakangaLali meechukonDadha purandhara vitthalana lOchanaagradhali

meaning: he is there in the universe beyond people's mind / wishes. He isseated there in the chariots of Arjuna, the son of Indhra without anyshyness. Here he is in the tongues of his bhakthaa this purandhara vittalawho calls him lovingly as maadhavaa. He is in the edges of the eyes of this[bhaktha] purandhara vittala.

Neenillade Nanagenide?

The album has got a late-'70s - early-'80s feel to it: a time when bhavageethe was at its best. A period when the best of Kannada poetry was set to timeless tunes, rendered by musicians who loved poetry just as much as they loved music. This album captures, in its sound, that essence.
As I listened to this compilation what came to my mind were those songs treading the bhavageethe-ghazal line like "Mattade besara ade sanje ade ekanta... ", "Ella maretiruvaaga illa sallada nevava". They carried a sense of silence in them. Many of the compositions in "Neenillade nanagenide" have that same sense of space, though there isn't much of a sparkle in the lyrics. It also gives you the much-needed reprieve, particularly when you're feeling exhausted by bhavageethes tossed around by an over-zealous orchestra, with mostly synthetic sounds.
"Elli hoguve nee nilla baarade" is my personal favourite simply for the manner in which it has been conceived, completely in sync with the lyrics with M.D. Pallavi doing a fantastic job of it. The composition is full of unanticipated moments: it shifts not just in terms of register, but also in perspective. In fact, the violins change the whole standpoint so beautifully. Pallavi negotiates the subtleties in composition with great finesse.
The opening of the song has a lovely chord progression on the guitar. Much like the unforgettable phrase in the lovely "Tum itna jo muskara rahe ho" in the film Arth. The build-up on the tabla is equally striking. "Ninna nage biridaga", also by Pallavi, is again marked by bright and unexpected moves and glides. In fact it redeems the rather grovelling lines, so complete with submission. The violins deserve a special mention in this particular song.

I created the following transliteration by listening to the rendering by M. D. Pallavi.
ನೀನಿಲ್ಲದೇ ನನಗೇನಿದೆ
ಮನಸೆಲ್ಲ ನಿನ್ನಲ್ಲೇ ನೆಲೆಯಾಗಿದೆ
ಕನಸೆಲ್ಲ ಕಣ್ಣಲ್ಲೇ ಸೆರೆಯಾಗಿದೆ

ನಿನಗಾಗಿ ಕಾದು ಕಾದು ಪರಿತಪಿಸಿ ನೊಂದೇ ನಾನು
ಕಹಿಯಾದ ವಿರಹದ ನೋವು ಹಗಲಿರುಳು ತಂದೇ ನೀನು
ಎದೆಯಾಸೆ ಎನೋ ಎಂದು ನೀ ಕಾಣದಾದೇ
ನಿಶೆಯೊಂದೇ ನನ್ನಲ್ಲಿ ನೀ ತುಂಬಿದೆ
ಬೆಳಕೊಂದೇ ನಿನ್ನಿಂದ ನಾ ಬಯಸಿದೆ

ಒಲವೆಂಬ ಕಿರಣ ಬೀರಿ ಒಳಗಿರುವ ಬಣ್ಣ ತೆರೆಸಿ
ಒಣಗಿರುವ ಎದೆನೆಲದಲ್ಲಿ ಭರವಸೆಯ ಜೀವ ಹರಿಸಿ
ಸೆರೆಯಿಂದ ಬಿಡಿಸಿ ನನ್ನ ಆತಂಕ ನೀಗು
ಹೊಸ ಜೀವ ನಿನ್ನಿಂದ ನಾ ತಾಳುವೆ
ಹೊಸ ಲೋಕ ನಿನ್ನಿಂದ ನಾ ಕಾಣುವೆ

If you enjoy the song by imagining the object of the song to be your lover, you can feel a certain set of emotions; if you enjoy the song by imagining the object of the song to be God, you can feel a certain different set of emotions. Isn't this song wonderful!

Love Bubbles for u!!!!

This is really beautiful!!!!

I Lov this one!!!!

A KISS IN THE RAIN


In the morning when i wake up,
And look around for her,
There she stands besides the bed,
Beautiful,Like a Kiss in the rain.

When i feel that i have lost,
when i feel blue and lonely,
I feel her touch on my shoulders ,
soothing,
Like a Kiss in the rain.

Besides the lake i sit and think,
Of joining her in the heavens,
I look in the waters and there I see,
She's lookin' at me with her deep blue eyes,
Mesmerizing,
Like a kiss in the rain.

In the night when in my bed,
I'm crying that now she's gone forever,
Again she comes in my dreams,
to remind me,
She's left me something to live for,
THAT KISS IN THE RAIN

FACTS TO MAKE EVERY Indian PROUD

Q. Who is the GM of Hewlett Packard (hp) ?

A. Rajiv Gupta

Q. Who is the creator of Pentium chip (needs no introduction as 90% of the today's computers run on it)?

A. Vinod Dahm

Q. Who is the third richest man on the world?

A. According to the latest report on Fortune Magazine, it is Azim Premji, who is the CEO of Wipro Industries. The Sultan of Brunei is at 6 th position now.

Q. Who is the founder and creator of Hotmail (Hotmail is world's No.1 web based email program)?

A. Sabeer Bhatia

Q. Who is the president of AT & T-Bell Labs (AT & T-Bell Labs is the creator of program languages such as C, C++, Unix to name a few)?

A. Arun Netravalli

Q. Who is the new MTD (Microsoft Testing Director) of Windows 2000, responsible to iron out all initial problems?

A. Sanjay Tejwrika

Q. Who are the Chief Executives of CitiBank, Mckensey & Stanchart?

A. Victor Menezes, Rajat Gupta, and Rana Talwar.

Q. We Indians are the wealthiest among all ethnic groups in America, even faring better than the whites and the natives.
There are 3.22 millions of Indians in USA (1.5% of population). YET,
38% of doctors in USA are Indians.
12% scientists in USA are Indians.
36% of NASA scientists are Indians.
34% of Microsoft employees are Indians.
28% of IBM employees are Indians.
17% of INTEL scientists are Indians.
13% of XEROX employees are! Indians.

Some of the following facts may be known to you.
These facts were recently published in a German magazine, which deals with WORLD HISTORY FACTS ABOUT INDIA.

1. India never invaded any country in her last 1000 years of history.

2. India invented the Number system. Zero was invented by Aryabhatta.

3. The world's first University was established in Takshila in 700BC. More than 10,500 students from all over the world studied more than 60 subjects. The University of Nalanda built in the 4 th century BC was one of the greatest achievements of ancient India in the field of education.

4. According to the Forbes magazine, Sanskrit is the most suitable language for computer software.

5. Ayurveda is the earliest school of medicine known to humans.

6. Although western media portray modern images of India as poverty striken and underdeveloped through political corruption, India was once the richest empire on earth.

7. The art of navigation was born in the river Sindh 5000 years ago. The very word "Navigation" is derived from the Sanskrit word NAVGATIH.

8. The value of pi was first calculated by Budhayana, and he explained the concept of what is now k! nown as the Pythagorean Theorem. British scholars have last year (1999) officially published that Budhayan's works dates to the 6 th Century which is long before the European mathematicians.

9. Algebra, trigonometry and calculus came from India . Quadratic equations were by Sridharacharya in the 11 th Century; the largest numbers the Greeks and the Romans used were 106 whereas Indians used numbers as big as 10 53.

10. According to the Gemmological Institute of America, up until 1896, India was the only source of diamonds to the world.

11. USA based IEEE has proved what has been a century-old suspicion amongst academics that the pioneer of wireless communication was Professor Jagdeesh Bose and not Marconi.

12. The earliest reservoir and dam for irrigation was built in Saurashtra.

13. Chess was invented in India .

14. Sushruta is the father of surgery. 2600 years ago he and health scientists of his time conducted surgeries like cesareans, cataract, fractures and urinary stones. Usage of anaesthesia was well known in ancient India .

15. When many cultures in the world were only nomadic forest dwellers over 5000 years ago, Indians established Harappan culture in Sindhu Valley ( Indus Valley Civilisation).

16. The place value system, the decimal system was developed in India in 100 BC.


Quotes about India .

We owe a lot to the Indians, who taught us how to count, without which no worthwhile scientific discovery could have been made.
-----Albert Einstein.

India is the cradle of the human race, the birthplace of human speech, the mother of history, the grandmother of legend and the great grand mother of tradition.
------Mark Twain.

If there is one place on the face of earth where all dreams of living men have found a home from the very earliest days when man began the dream of existence, it is India .
-----French scholar Romain Rolland.

India conquered and dominated China culturally for 20 centuries without ever having to send a single soldier across her border.
-----Hu Shih (former Chinese ambassador to USA )

ALL OF THE ABOVE IS JUST THE TIP OF THE ICEBERG, THE LIST COULD BE ENDLESS.

Say proudly, I AM AN INDIAN.

Here is a Poetry

Vision of a Dream

Swirling clouds among misty mountain tops
Beams of light piercing the veil of silence
Amidst the voiceless tumult of far away storms
Breathing the freshness of the first drops of dew
Fragrance which hits the sweetest spots
Of a mind lost in its limitless deep gaze
In the profound story of a soul wandering
Through the jungles towards an unseen goal
First glimpsed in the eyes that made it speak
A language unknowingly known to itself
Uncovered by the slightest breeze of her sight
Oh heaven oh earth oh life why are you so beautiful?

about me

I am Adiga Manjunath alwaz loving, caring and smiling.......im from small village called Halady near Kundapura, coastal region of karnataka.

That's all about me!!!!