Friday, March 11, 2016

Locally Laid - A Horror-Tragi-Comedy Love Story that Teaches ...


Never before have a I read a non-fiction book that made me laugh, cry, and squirm so much, while still leaving me feeling like I had been through an intense learning experience.


Locally LaidLocally laid is an entertaining read. As most of the blurbs explain, it covers the story of how Lucie and her husband Jason, neither with much farming experience, decided to tackle building a sustainable egg business in, of all places, northern Minnesota. Lucie’s description of the decision making process and the trials and tribulations of setting up the farm are laugh-out-loud funny at times. There are also moments of horror and sadness – a tragicomedy if there ever was one. Despite seemingly having legitimate reasons for frustration, anger, and despair, Lucie never comes across as patronizing or even self-congratulatory at their eventual (somewhat) success. I never detected much self-pity in the story and Lucie’s always positive, bubbly personality comes through well in her writing. It is clear that the family’s love and passion allowed them to pull off this incredible feat through some difficult and even terrifying times. Lucie and her husband’s skill sets also appear to be a match made in heaven – Jason as the wonkinsh, competitive, hardworking dreamer and Lucie as the talented writer and social-media savvy marketing chick. But Lucie’s story of dealing with what initially seems like an insane idea is always believable. As a city slicker, I found myself completely able to understand, appreciate, and relate with her reactions to the regular challenges posed in the launching of the business.

And through all the humor and pathos, the book provides some interesting and eye-opening facts about locally sourced food. I, for one, had always excused mega-scale, specialized producers of food as necessary to feed a burgeoning world population. I admittedly dismissed some of the efforts at organic, small-scale, locally farmed food as the privilege of the wealthy who could afford to pay for more expensive food and look down their noses at the poor who were forced to eat unhealthy, processed foods because they were cheap. The book explains the high cost of cheap food on a societal level. Not only are the mega-farm systems apparently not particularly efficient, but their processes are not very sustainable in the longer run. Perhaps, also, the very system that keeps food prices low is also exactly what is keeping the people poor and unable to afford the luxury of locally-sourced food from mid-sized farms. Stronger local economies may actually reduce the need for ultra-cheap food while also lowering the risk of rising food prices once agricultural resources are exhausted from over-exploitation.

Besides being an exceptionally entertaining and educational read for locavores, the book should be required reading for any aspiring entrepreneur. It vividly communicates a fact that is well known to most entrepreneurs and academics studying entrepreneurship – that starting up and running a business is hard. It takes a physical and psychological fortitude that not everyone can stomach. If the book gives one aspiring entrepreneur a more realistic view of creating a company from scratch (yes, I had to throw at least one weak pun in there), it would have achieved an important goal. Building a business is often viewed by the naïve as a get-rich-quick scheme where you control your own time and are lord and master of your domain. In reality, most businesses depend not only on the pluck, determination, (and sometimes foolishness) of the entrepreneur, but the support of a vast network of friends and well-wishers – something amply demonstrated in this book.

Ultimately, what touched me most was that the book reads as a love story. It shows Lucie’s love of community, a better world, family, and most importantly her husband Jason. The couple deal with uncertainty, exhaustion, and family emergencies with an unfailing spirit that would have broken many people and most marriages. But somehow, even at the depths of despair and hurt, you always know they are there for each other. The book is clearly a touching love story and parts of it will fill your eyes with happy tears.


As a person who has lived in Duluth for over twenty years now, I like to think of Lucie as a Duluthian now. Her love of the community is evident in the book and we have readily embraced her and the business. Having now read her book, I can confidently say, local chicks are better.

Buy it here.

Friday, January 29, 2016

Prof. R. Srinivasan (Part 5)

Please see Part 1Part 2, Part 3, and Part 4of this profile of my great-grandfather.



PART 5
Prof. R. Srinivasan
(1887-1975)
-------------------
Patron & Promoter of Music
-------------------

Father was a well-known musicologist also. He served as the examiner for the music college in Tiruvanantapuram. Later, after moving to Madras, he was, consecutively for seven years, the Chairman of the Board of Examiners of the Central Music College (now the Government College of Music) when Musiri was its Principal. The likes of Chembai, Semmangudi and Budalur Krishnamurthy Sastry were members of the Board. They all had great faith in and respect for Father's knowledge. Chambai used to say that nothing further could be said after "Professorval" had given his opinion. In fact, the great musicians had respect for his opinions, and hardly anyone would oppose his views.

Father was a writer too. He regularly wrote articles for Tamil and English magazines. His articles for the Bhavan's Journal were later compiled and published as a book titled The Facets of Indian Culture.

Father has written a book on kathakalakshepam, in English. He collected a set of his own bhajans, as well as traditional bhajans, and this was published as a book by the Salem Theosophical Lodge. He wrote stories and articles on kavadi chindu, pop music, etc. for Tamil magazines like Kaveri, whoch was published in Kumbakonam, and also Kumudam.

Father was a composer too. He composed many songs in Tamil and Sanskrit. In those days, a composer would compose the lyrics, music, tala, everything. Not like today where the lyric is written by someone and the music composed by another, and so on.

I have published 51 of Father's compositions, with notation, as a book. This book was released in 1954 at Kalakshetra in Adyar by Musiri Subrahmania Iyer. Father was particular that the function be held where people of music were present, and rejected the suggestion by some friends that politicians should be invited. Tiger Varadachariar, Mysore Vasudevachar, and Buldur Krishnamurthy Sastrigal were some of the stalwarts who attended the function. That evening, I sang some of Father's compositions for an hour, with Varahur Muthuswamy Iyer (violin) and Karaikudi Muthu Iyer (mridanga) as accompanists. These two used to accmompany me in many of my concerts in Madras. The function was a big success. Rukmini Devi, whom father had known for long, was also present. Father also served as Director of Kalakshetra for one or two years.

Unfinished post - I found this "unpublished post" in 2022. I'll try and see if I can finish it one of these days.

Friday, August 15, 2014

Open Letter to the City of Duluth Parking Violations Bureau

I’ve always thought that parking enforcement officers get a bad rap. After all, no one likes getting a ticket, so the anger has to be directed somewhere. But at the same time, no one appreciates finding full parking lots where there is lax enforcement of time limits. The Urban Dictionary unfairly (or so I felt) defines a parking inspector as “The most pathetic type of person existing on the planet.” It’s not the parking inspector’s fault that you stayed beyond what you paid for, I thought. Other people need to park too, you know. I was generally on the side of the enforcement officer.

And then something like this happens. I had a 7 PM appointment and pulled into the parking lot and purchased a 3-hour parking ticket at the large lot in front of the Dewitt-Seitz building. The place was busy and I thought I’d be safe with a 3-hour parking permit. In any case, by the time it expired, it would be almost 10 PM and parking is unlikely to be an issue. I thought.

At 10 PM, I realized that I was out of time and came out to my car after a wonderful dinner with a friend. A ticket had been issued at 9:54 PM. When I checked my parking receipt, it showed that I had parked at 6:45 pm and so the spot rental was set to expire at 9:45 PM. Nine minutes after the parking sticker was set to expire, someone thought it necessary to ticket me for a parking time violation.

Okay, so I overstayed my permit by 16 minutes (it was 10:01 when I got to the car). But, isn’t this being a little unfairly overzealous? I understand the need for enforcement when Canal Park is busy. Really, I do. I want to ensure that parking spots are released to the people who are willing to pay for them when parking is hard to come by. It’s only fair. But by the time I got out at 10 PM, the lot was mostly empty. There were maybe 20-30 cars in the lot and most of the spots were empty. Yet, the parking enforcement officer felt the need to ticket me for being 9 minutes past the time I had paid for? Does that seem reasonable and friendly and good use of resources?


Why do they even have parking enforcement officers prowling the lot at 10 PM? Really? It certainly isn’t to ensure that there is space for people to park their cars. The only way the city can justify having parking enforcement in the lot that late is if the officer issues enough tickets to cover their salary. This is what gives a city the reputation of being unfriendly to tourists and out to make a buck at the expense of any individual who falls victim to carefully laid traps.

A second definition on urban dictionary claims a parking inspector is, “A person employed to be a pain in the ballsack and only really exists to raise revenue for councils.” I am slowly beginning to believe that common sense and fairness are giving way to this definition of a parking inspector.

Thanks, City of Duluth. I have paid the ticket online and your parking inspector has made one more friendly step towards justifying his or her salary. I hope everyone sleeps well when they get home for a job well done.

Wednesday, May 1, 2013

R. Srinivasan: A Profile (Part 4)

Please see Part 1, Part 2, and Part 3 of this profile of my great-grandfather.

PART 4 

Prof. R. Srinivasan
(1887-1975)

------------------- 
Promoter of Music
------------------- 

Father was a Harikatha performer also. He had a close friend, named Rangu, I think, who used to sing quite well and Father used to say that he was his "first guru." Once, these two had attended a kathakalakshepam by someone in Srirangam. The performer committed some mistake and the boys had the audacity to laugh. The performer became very angry and retorted: "how dare you laugh? You would know the difficulty if you took the 'chipla' in your hands!" Father took this as a challenge and promised to do a Harikatha kalakshepam in the same place in a month's time. And he did! His friend gave him vocal support. This was the beginning. He was then 16 years old. After settling down in Tiruvanantapuram, he used to perform Harikatha regularly, especially during the Onam celebrations. He once performed Nandan Charitram for three days.

Father felt that Harikathas like Seetha Kalyanam, Rukmini Kalyanam, and Nandan Chritram were being repeated again and again. He also wanted to establish another point through his Harikathas, since some persons said that god showing himself to humans and working miracles all happened ages ago and only in stories and they were no longer relevant. Father believed that god is ever bestowing his blessings on his true bhaktas, So he was on the lookout for stories which would prove this. He selected some seven stories, developed them, composed songs for them and presented them in kathakalshepams. These were authentic stories which happened within the last 500 years.


  • Story 1: "Senan" was Akbar's barber. Lord Krishna gave him darsan. And through him, to Akbar also.
  • Story 2: Tulukka Nachiyar. She was a Muslim princess. When the Muslims invaded the area around Srirangam, there was an idol of Lord Ranganatha among their booty. Her nanny, a Hindu woman, told her many wonderful stories about the Lord. The princess was enamoured and woudl always play with this idol. When she attained marriageable age, her father arranged her wedding. But the princess announced that she was already wedded to Lord Ranganatha and would not marry anyone else. The father, taking this to be a mere child's prattle, went ahead with his preparations. At this, the princess, along with her nanny, left for Srirangam on horseback without anyone's knowledge. At the temple, she fell at the Lord's feet, saying, "I'm surrenderign myself to you, do what you will with me." And she became one with Him. [As evidence of this marriage, three practices associated with Muslims are in vogue at the temple even today. During abhisheka, a lungi is tied to the Moolavar [principal deity). The first neiveidyam in the morning is maida roti and butter. During the shodasopachara, when paan or betel leaf is offered to the Lord, the lime paste is applied on the smooth side as Muslims do, and not on the rough side, as done by the Hindus. Tulukka Nachiyar's sannidhi is in the first prakara, close to the main sanctum sanctorum, in precedence over the other consorts. In this first prakara, all the lamps are lit with ghee and not oil.]
  • Story 3: The Madurantakm Miracle. There is a temple for Seeta Devi near Madurantakam, not too far from Madras. It was in a dilapidated condition. For Lionel Place, the Collector of Chengalpettu who had seen churches of great splendour in his native England, this temple appeared most unimpressive. An elderly man told him, "This is Seeta Devi's temple, she is a giver of boons." When the Colonel asked him if she would grant even his wish, the old man answered, "She will indeed, if you ask with true faith." The Colonel said that if she could guard the lake from bursting during the monsoon, he would himself renovate the temple. When the monsoon arrived and with it the floods, he went and stood in person to check the bund, when Rama and Lakshmana gave him darsan. And the bund did not break. The lake was full to the brim, but did not overflow. So, to fulfill his promise, he rebuilt the temple out of his own money. One can see on the foundation stone even today, the following inscription: "Col. Lionel Place's dharmam." Prof. Srinivasan once performed this story in the temple precincts itself. And he composed a song in English for his story.
  • Story 4: At the Tirukoil in Kadirgamam in Sri Lanka (Subramania Swamy temple), a mother-daughter duo were doing the daily cleaning of the temple premises, getting flowers, etc. After the mother died, the girl continued this kainkaryam (service). She spent all her life there, and when she became very old, the trustees felt she should be given a pension and sent away and a new servant appointed. When she was informed of this, she could not bear that she would not be allowed to the work anymore. She appealed to the Lord: "I've been serving you since childhood. All I want is to serve you till I die. Is that too much to ask?" So crying, she fell unconscious at the Lord's feet. Next morning when she woke up, a miracle had taken place! She had regained the physical form of a 10-year old. She looked as she had when she first came to work at the temple. After which, of course, there was no question of retiring her due to old age, and she continued to serve her Lord. This incident was taken from a news item from a Ceylon newspaper, a cutting of which was sent to Father by a friend of his.
  • Story 5: This was based on Gopalankutty's story in the Malayalam Standard II text book. A boy, who was scared to take a forest path on the way to school, was advised by his mother to call to his elder brother Gopalan, who would accompany him and guard him. In all innocence, the boy called out to Gopalan and Lord Krishna in the guise of a shepherd accompanied him in the forest path. This continued daily. And finally, Krishna appeared before his unbelieving parents too and blessed them!
  • Story 6: There is a Sakshi Gopalan temple in Cuttack. A guru promised his daughter's hand in marriage to his disciple, with the Lord as their witness. Then the guru left on a long pilgrimage. On his return, the disciple reminded him of the promise. The guru tried to wriggle out of the promise, pretending not to remember. So the disciple called on god, who was their witness. God appeared in person and gave evidence that such a promise had indeed been made and got the guru's daughter married to the disciple.
  • Story 7: This story concerned Sree Raghavendra of Mantralaya. The large tract of land belonging to the temple was lying waste. So the Government wanted to acquire it and develop it for some useful purpose. Governor Monroe went there to inspect the land. When he went to a remote part, a sanyasi appeared before him and said: "This is lying unused now. But in later times, this place will become very famous. So please don't make any change or disturb this land now." Saying this, he disappeared. Monroe alone had seen the vision, not the others who accompanied him and when they tried to look for the sanyasi, they could find no one!
These were the stories that Father developed for his kathakalakshepam. I should mention that he composed some songs in the Hindustani mode for his kalakshepam.
More in Part 5

Sunday, April 7, 2013

R. Srinivasan: A Profile (Part 3)

Please see Part 1 and Part 2 of this profile of my great-grandfather.

PART 3
Prof. R. Srinivasan
(1887-1975)
-------------------
Patron & Promoter of Music
-------------------
The royal family of Travancore held Father in high esteem because of his sangeeta gnanam. He was often asked to assist the palace in arranging musical events.

When 16-year-old Chithira Tirunal ascended the throne, the cultural celebrations for the coronation function were all organised by Father. Kater, when the wedding of Kartigai Tirunal, Chithira Tiruanal's sister, took place over a periopd of seven or eight days, it was Father who organised all the concerts. Earlier, when the Regent Maharani was ruling the State, she presented Father, in recognition of his contributions, with a Veera Sanklai and a gold medal with the face of Chithira Tirunal embossed on it.

Father did a great deal for music and musicians, especially in Tiruvanantapuram. He was a good organiser and arranged performance opportunities for local musicians. He used to conduct an arts festival every year, spanning three or four days, at the Victoria Jubilee Town Hall. Featured in it were local talent as well as 'big' musicians from out of town, of Hindustani and Carnatic styles. Abdul Karim Khan performed one year. I remember he sang Kalaharana melara in Suddha Saveri. Also featured were dramas including English plays.

There was no connection between this arts festival and the temple concerts. It was after musicians had been appointed as Palace vidwans that they performed in the navaratri mandapam in the temple, during navaratri.

I can say that Father was a key figure in popularising music in Tiruvanantapuram. When he first arranged a concert with tickets in an auditorium, people asked: "Who will pay to listen to music?" With that beginning, if music has become so widely prevalent in Tiruvanantapuram, it was Father who was responsible.

On one occasion, the Palace authorities called Father and asked for his ideas to make Swati Tirunal's compositions popular. In Travancore, there were many schools, even in small villages in the interior, and music was a compulsory subject in the curriculum. Father's idea was to start a summer school in the capital, where all the music teachers from these schools would be taught Swati Tirunal's compositions so that they, in turn, teach the songs to the children in their schools. I don't remember the year. The principal of this summer school was Narayanan Kutty Bhagavatar, a violin vidwan. (He along with his two younger brothers -- flutist Padmanabha Iyer and Bhagavateeswaran, who played the mridangam and also the veena -- were known as the Tiruvanantapuram brothers. His daughter is the wife of mridanga chakravarti T.K. Murthy). The summer school was conducted for two years. But it was not successful. There was no follow-up to ascertain the results in the field. The Maharani was not satisfied. It was then that Father suggested that they start a regular school -- the Swati Tirunal Music Academy -- bring a renowned vidwan from outside as the Principal and appoint professors of music as well. The proposal was accepted and implemented by the Government. Harikesanallur Muthiah Bhagavatar came as the first Principal of the Academy at the personal request of Father. There were four professors: K.R. Kumaraswamy, N.V. Narayana Bhagavatar (a disciple of Muthiah Bhagavatar), N.G. Seetharaman (Musiri's disciple), and C.S. Krishna Iyer from Palakkad. After about four years, Muthiah Bhagavatar also worked hard to bring out a book of Swati Tirunal's compositions with notation. But he could not complete the work because he fell ill. Then Semmangudi Srinivasa Iyer became the Principal. It was during his tenure that this book was published. Later, additional volumes were brought out. In this way Swati Tuirunal's compositions became popular. It helped a great deal that great musicians assisted in preparing the correct pathantara for the songs.

It was also on Father's suggestion that senior musicians were appointed as palace vidwans, Ariyakudi, Musiri, Semmangudi, Papa Venkataramaiah and Tanjavur Vaidyanatha Iyer were among those who were appointed.

A music festival began to be conducted during the nine days of the Navaratri, in a special place in the the Padmanabhaswamy Temple. Musicians would perform every evening in front of the deity. Swati Tirunal's Navaratri kritis were given prominence -- the particular composition of that day would be the main item -- in the place of ragam-tanam-pallavi. The Maharaja and the Maharani would themselves be present on those occasions. There was a separate enclosure for invitees. As a child, I attended many of these performances, The festival was the idea of the Maharani, a very shrewd and intelligent lady. Whatever suggestions she gave would be such that no one could argue about it.

These Navaratri concerts were another way of propogating Swati Tirunal's songs. Father had a part in organising these programmes also. During the festival period, he also arranged concerts in our own house in which local musicians participated.

All vidwans who visited Tiruvanantapuram would invariably stay in our house. And while staying with us, they sometimes used to give performances in the evening. Ariyakudi Ramanuja Iyengar, Musiri Subrahmania Iyer, among others, have stayed with us and I got the opportunity to move closely with these stalwarts.

All the vidwans used to laugh and joke with us. Rajamanickam Pillai, especially, was very entertaining.

In playing host to the musicians, Father had the full support of my mother. Catering to the needs of all the guests was not an easy task! My mother used to make tinsful of sweets and savouries in preparation for their arrival. Father had given them so much liberty that they would arrive asking: "What have you made specially for us, Manni?" Their timings were erratic , and they themselves would have visitors, and we had to cater to them as well! Of course, we had a cook, but my mother needed immense patience to manage all this very well. For example, Ariyakudi Ramanuja Iyengar preferred to have his dinner after his concert. In those days, concerts used to begin at eight in the evening and end at midnight, and he used to have his dinner at one o'clock in the morning! Such was the supportive role played by my mother, in allowing Father to entertain the musicians and give them the run of our house! Servants also used to be very cooperative in those days, which we cannot expect in today's world.

Father's love of music found expression in many ways. If anyone went by singing, even if it was a beggar, he would call him and give him, food, clothing, etc. One day, a husband-wife 'bairagi' duo came a-singing. Their songs were so good that Father learnt two of then by making the duo sing them three or four times. Not conversant with Hindi, he wrote lyrics in Sanskrit or Tamil to the same tunes.

Later, when we were in Madras, we used to hold bhajan singing sessions every Ekadasi day. Many friends used to attend. Papanasam Sivan too attended a number of these functions.

Father was fond of Hindustani music too. He had gramaphone records of some of the well-known singers of those days. He made me learn two of Bal Gandharva's songs, which were his favourites, and would listen to my singing them often. We didn't know Hindi or Marathi, but I just picked up the words as I heard them and sang, giving importance to the tune. The two songs were Malaa madan basey in Mand and Murthy manta in Bheempalasi. Then whenever I used to sing tukkadas in Mand raga, I used to incorporate the brigas I had learned from Bal Gandharva's songs.

Thursday, July 21, 2011

R. Srinivasan: A Profile (Part 2)

Please see yesterday's post for Part 1 of this profile of my great-grandfather.

PART 2
Prof. R. Srinivasan
(1887-1975)
-------------------
Patron & Promoter of Music
-------------------
[from L to R] My grandmother, her father
(Prof. Srinivasan) and her mother
Father was equally, if not more interested in music, as in studies. He did not have any formal training in music from any guru. But purely by his own effort, he acquired a vast knowledge of the subject. During utsavams and processions of deities, great nagaswara vidwans like Semponnarkoil Ramaswamy Pillai used to perform. He would follow a procession till it did the rounds of the four streets and the deity returned to the temple precincts and only then come home to bed. This must have been the main influence, but, of course, he must have had 'poorva janma vasanai' [karmic influence] too, enough to overcome my grandparents' apathy. My grandparents were the kind who would ask: "What is the price of a tola of sangeetam?!!"

Father was a very contented man. He was just not interested in making money, though he earned very well for those days. He had a number of job offers, but took up teaching as Assistant Professor of Mathematics in a college in Tiruvanantapuram. The standard pay was only 100 rupees a month, but the Dewan of Travancore, who personally canvassed Father's services, increased it to 150 rupees specially for him! Father took up the post in 1910, I think. He was known as 'Professor Srinivasan' even after he became Principal, which was the position he held when he retired. He stayed in Tiruvanantapuram till 1948.

In Tiruvanantapuram, all the people -- in college, in the palace, in the Government -- has great respect, love, and affection for Father. There were only seven or eight students in his B.A. Honours class. he would teach them in such a way that they barely noticed the passage of time and were astounded when they realised how much they had learnt! He was also feared and respected as he was a very strict disciplinarian. Even though I am his only child, he used to be very strict with me too. He used to say: "If there had been more children, each one could be different, but you, as an only child, should have all the good qualities."

Father was also an actor. Even in his school days, he was conducting dramas with some of his friends. Though he was himself not conducting such programmes in his Madras days, he used to attend many concerts and dramas there. In fact his uncle was concerned that he was not paying enough attention to his studies. When questioned, he would retort: "You see my marks and then question me." And, as he always stood first, there was not much that anyone could say! The love for drama continued in Tiruvanantapuram. He organised a drama troupe with some of his friends; I think it was called the Amateur Dramatics Club. He would take up any role from beggar to king. He mostly took female roles. He used to wear a sari very gracefully. When he selected saris for my mother, he would consider whether it would be suitable for his female roles too! Sankara Subbier, who later became Justice Sankara Subbier in Tiruvanantapuram, was a very close friend of his. In the drama 'Manohara,' Subbier used to be Padmavati and Father Vasantasena. I have many photos of scenes from his plays and also of his lady-part roles. [See photo on front cover shown in Part 1]

Since Father used to sing well, he also would take roles in which the actor had to sing. In one play, there was a scene in the king's durbar and Father gave a regular kutcheri! In fact, I remember that the scene required a fat bhagavatar and Father tied pillows onto his middle to appear bulky!

Father was connected with various other activities as well. He was very active in the scouts movement and was the Scouts Commissioner for some years. He was also connected with the YMCA, the YWCA, and the Tamil Sangam. He was, too, one of the trustees of the Sanatana Dharma School in Alleppey. He worked a great deal for theosophy too. In those days, many regarded theosophists as non-believers who had no faith in our religious traditions. Father worked towards removing this misconception. He used to explain: "Theo means god; it is not that the theosophists have no faith in god, but they reject superstitions. They keep the essentials and do away with the meaningless rituals." The theosophists' motto is: "There is no religion higher than Truth," and they believed in "universal brotherhood." Father propogated this theosophy all over Kerala. he was also a great admirer and follower of Dr. Annie Besant, whom he knew personally. Every year during the annual conference in Madras, my parents and I used to come to Madras to attend it.

Wednesday, July 20, 2011

R. Srinivasan: A Profile (Part 1)


I mentioned my great-grandfather in a previous post. My grandmother had given me a photocopy of a magazine called "Sruti," which bills itself as "India's premier music and dance magazine." It is focused on classical Indian music and the cover story in May 1995 was all about my great-grandfather, Professor R. Srinivasan. Yes, that's him on the cover (if you read the article, you will discover that at the turn of the century, women were not allowed to act on stage and so men had to play women's roles. That's him in some play!). The article is based on an interview with my grandmother (his daughter) and is quite detailed in its profile. As part of my desire to archive and make easily accessible information about my family history, I have transcribed the entire article below exactly as it appeared in the magazine, errors and all. I even checked on the magazine's web site and found the issue is not available to buy or read online. So, at the moment, this seems to fall under the "fair use" guidelines. I'll get the whole thing online in multiple parts (it's quite long). So, without further ado ...

PART 1
Prof. R. Srinivasan
(1887-1975)
-------------------
Patron & Promoter of Music
-------------------
Prof. R. Srinivasan was a connoisseur, promoter and patron of music and a gracious host to musicians when he was living in Tiruvanantapuram. His daughter Kamala Krishnamurthy, now living in Bombay, recently recalled to Sruti, his multifaceted personality, activities and achievements, in an interview conducted -- and later translated from Tamil -- by GAYATHRI SUNDARESAN. Excerpts:

My father, the late Prof. R. Srinivasan, was a versatile person. He had interest in many different fields. It was usually more than a passing interest. Whatever he took up, he had to do it thoroughly and as perfectly as possible. He was very fond of two dicta, which he would often repeat. One was: "One need not do extraordinary things, but do ordinary things extraordinarily well." The other was: "Trifles make perfection, but perfection is not trifle." He followed these in all that he did.

An example of this would be photography. He was a very good photographer. He started this hobby only in 1938 [when he was 51 years of age], but he did well right from the start. He would not only shoot the pictures but also develop and print them himself. He would do each step himself, beginning with developing upto the framing of the photograph. He had bought all the equipment needed for this -- the chemicals, trays of various sizes to wash the negatives, huge bottles for the chemicals, enlarger, and so on. He used a small room next to the bathroom as a dark room, for much water was needed for the process. He would cover the windows with black cloth and do his work after 7:30 pm. I used to be his assistant.

I remember that he made a set of "smoke pattern" photographs during the Kattigai festival, in which the smoke rising from the lamps lit for the occasion were captured by him on film. He sent them to the Illustrated Weekly of India and received a prize for the same. His subjects varied, and included birds, animals, and flowers. Secenery too. Let me tell you to what extent he went in his mad love for photography! He did not know swimming. He would not even take a 'samudra snanam' [a dip in the ocean] which is considered auspicious. Such a man, in order to capture the Kanyakumari temple at an angle from the sea, went on a catamaran to position himself properly for the shot.

This is how he would do everything, perfectly, not neglecting even a minute detail.

Father was born in Srirangam. He studied in the school there and later in Tiruchi. When he was studying in St. Joseph's College, his teachers concluded that an outstanding student like him should go to Madras where he would have more worthy students to compete with. In Madras, he stayed with his maternal uncle in Triplicane and was given admission in mid-term, considering his high grades. He stood first always, and B.N. Rao [Bengal Narasinga Rao, who later became Sir Bengal and served as a diplomat] would come second. He stood first in the Presidency in M.A. (Mathematics). He got a gold medal and a scholarship to study for the ICS examination. In those days, one had to go to London to take the ICS examination. The parents had to give their consent but my grandfather refused to do so, saying that he could not bear to be separated from his son for such a long time. Father never complained that my grand-father spoiled his future. He would say" "I always wanted to become a teacher. So God made this happen; my father was only an instrument." He also felt that, although he might have acquired name and fame by joining the ICS, he would not have been able to work on music or theosophy.