Tributes paid to Rajkumar on his 97th birth anniversary in Kalaburagi
On the occasion of the 97th birth anniversary of the legendary actor late Rajkumar, fans paid heartfelt tributes through soulful renditions of his iconic film songs, many of which were originally sung by the actor himself.
The event was organised on Thursday at the Kannada Bhavan in Kalaburagi under the joint auspices of the district administration, the Department of Information and Public Relations and the District Kannada Sahitya Parishat.
Singers Kiran Patil and Kaveri Hiremath captivated the audience by performing film songs made popular by Rajkumar.
The musical tribute began with Jenina Holeyo, Haalina Maleyo, Sudheyo Kannada Savi Nudiyo… from the film Chalisuva Modagalu.
The programme continued with hits such as Karedaru Kelade Sundarane from Sanadi Appanna, Hridayadali Idenidu Nadiyondu Oodide from Devatha Manushya, and O Priyatama Karuneya Toreya from Kavirathna Kalidasa.
A special mention was the popular number Bombe Heluthaithe, Matte Heluthaithe Neene Rajakumara from the movie Rajakumara featuring Puneeth Rajkumar, the son of Rajkumar.
Speaking at the event, Protocol Tahsildar Pampayya from the Deputy Commissioner's office highlighted Rajkumar's unwavering dedication to Kannada films noting that he never acted in films of any other language, a testament to his deep love for Kannada. 'His children too have followed his footsteps, making significant contributions to Kannada films,' he said.
District Kannada Sahitya Parishat president Vijayakumar Patil Tegalatippi described Rajkumar as not merely an actor but a symbol of Karnataka's cultural pride.
'He was a beacon during the Gokak agitation and remains an inspiration through his language loyalty and contributions,' Mr. Tegalatippi remarked.
The event also saw the presence of Dattappa Saganur, Assistant Director of the Department of Kannada and Culture, D.K. Rajaratna, Ravi Miraskar from the Information and Public Relations Department, Shivraj Andagi from Kannada Sahitya Parishat and Raghavendra V. Kulkarni and Dharmanna Dhanni from Dr. Rajkumar Fans Association.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Time of India
2 hours ago
- Time of India
South celebs share heartfelt wishes as Shivarajkumar marks 40 years as an actor
Kannada superstar Shivarajkumar has been part of the film industry for 40 years, and celebs from across South cinema sent in their heartfelt wishes. Amid the Kannada language row, Kamal Haasan wished Shivarajkumar in a video message. 'I don't know how Shivanna's career of 40 years went by so soon. He is someone who introduced himself to me as my fan. Today, he has grown into a star, a superstar who is carrying on the legacy of his father,' he spoke in Tamil. Kamal then briefly switched to Kannada, saying, 'Shivanna, hope you are keeping well. Take care, be happy and do more films. Let's talk again — both of us together — on your 50th anniversary. I'll still be there, and our love will still be there. Convey my well wishes to everybody.' Actors like Chiranjeevi, Nagarjuna, Sudeep, Nani, Vijay Deverakonda and Dhruva Sarja sent their wishes through video messages. Director Nelson, of Jailer fame and musician Devi Sri Prasad also wished the actor.


Time of India
2 hours ago
- Time of India
Kannada web series has finally found its space on OTT: Kushee Ravi
Kushee Ravi , known for her roles in films like Dia, Pindam and Case of Kondana, features in the lead role in a web series that has pushed Kannada content into the national OTT space. With Ayyana Mane marking the beginning of a hopeful journey in the history of Kannada content on OTT, Kushee tells us all about her experience on the set, and more. Read on: 'IT FEELS LIKE THE KANNADA INDUSTRY HAS BEEN SIDELINED ON OTT, THIS HAS TO CHANGE' 'I have heard people say Kannada content lacks pan-India appeal or scale. Others mention payment models or long approval processes. But no one gives a clear answer. It feels like we're being sidelined, and that needs to change,' states Kushee. 'I SAID YES TO AYYANA MANE IMMEDIATELY' Ramesh Indira, the director of the series, narrated the story beautifully and I imagined myself as Jaji (the character she plays on the show). I didn't know it was for OTT, and that too, a national platform. 'I DID MY RESEARCH BEFORE PLAYING THE ROLE OF JAJI' I'd never played a woman like Jaji before — vulnerable, yet fiercely strong. I spoke to my mother and grandmother to understand the emotional nuances of a woman adjusting to a new family. I also watched a lot of '90s films, especially Sudharani ma'am's and Soundarya ma'am's, to grasp the subtlety needed for this role. by Taboola by Taboola Sponsored Links Sponsored Links Promoted Links Promoted Links You May Like Villa For Sale in Dubai Might Surprise You Villas in Dubai | Search ads Learn More Undo (Picture Courtesy: Facebook) 'WE HAD A VERY HEALTHY COMPETITION ON AYYANA MANE SET' With this show, I got to work alongside a dynamic cast, and each of us pushed the other to perform better. It wasn't ego-driven; it was just a mutual desire to bring our best to the table. It was a very healthy competition among all of us. 'KEY TO SUCCESS LIES IN CRAFTING STORIES THAT ARE ROOTED AND RELATABLE' There's this assumption that TV audiences won't move to OTT, but I disagree. The key to success lies in crafting stories that are rooted and relatable. As long as the content is compelling, audiences will find it, whether it's on TV or OTT. 'AN EIGHT-HOUR RULE DOESN'T WORK IN THIS INDUSTRY IN THE LONG RUN' Weighing in on the ongoing topic of actresses, especially new mothers, who have asked for an eight-hour work schedule during shoots, Kushee, who is also a mother, says, 'An eight-hour rule doesn't work in this industry. From early morning call to late into the night, shoots are unpredictable. Flexibility is important on both sides, from the actors and directors. For new moms, setting time boundaries is valid, but there shouldn't be one rule for all. '


Hindustan Times
4 hours ago
- Hindustan Times
Review: An Unkindness of Ghosts by Rivers Solomon
Super, a 2010 Kannada film, imagines a strange but apt utopia. In its make-believe world, India has become a superpower in 2030. Indians are prosperous and have 'white servants' with the latter doing all the menial jobs and begging on the streets. The film's imagination is so limited that it cannot even imagine a utopia without poverty and discrimination. Today, as blundering billionaires seek to establish utopias on Mars, one can only wonder what dystopia that would entail for the rest of us. Rivers Solomon imagines one such world in An Unkindness of Ghosts. In the novel, humanity — or what is left of it — has been hurtling through space in a ship called Matilda for over 300 years. They had to leave their former home, the Great Lifehouse, after an unexplained catastrophe; their purported destination, the Promised Land, seems increasingly elusive. Matilda holds tens of thousands of people organised in alphabetical decks. The lighter-skinned live in the upper decks, where they luxuriate in wildlife sanctuaries, lakes, beaches, and sports fields. The darker-skinned underclass in the lower decks have to bear constant abuse, violence, and surveillance by guards. There are nightly headcounts, missing which leads to dire punishments. The protagonist, Aster, is a resident of Q deck and thus, low in the pecking order. Her mother, Lune, mysteriously disappeared when she was young. The journals, notes, and sketches she left behind seem like 'eccentric ramblings' to Aster, who suspects she might have had early-onset dementia. Her friend and bunkmate, Giselle, however, has a different explanation. Aster assists Theo, the Surgeon General of the ship, who has trained her in medicine. For many in the lower decks, Aster's is the only medical care they can access. Her services include abortions for those in the lower deck who become pregnant after rapes by upper-deck men. She also has a secret garden and laboratory, where she cultivates plants and synthesises medicines. The worldbuilding in the novel focuses more on social relations than on technological advancements. Solomon's stratified society has many analogues with slavery in the United States. There are occasional forays into scientific curiosities and unfamiliar technologies, but the author glosses over them quickly. There are no elaborate explanations for how a spaceship with tens of thousands of people has functioned for centuries, why life on the Great Lifehouse collapsed, or where exactly they are headed. It seems as ad hoc as our era's billionaire space race and dreams of colonising Mars. Aster takes things too literally and consequently, has trouble understanding what people want to say. She is also queer: 'a boy and a girl and a witch all wrapped into one very strange, flimsy, indecisive body'. Her friends, Theo and Giselle, also do not conform to the ship's strict codes. Aster describes Theo as an 'otherling' and 'gender malcontent'. He is part of the upper decks and close to the Sovereign ('the Heavens' chosen ruler') despite his questionable background. However, his sympathies lie with Aster and her ilk. The powerful in Matilda use religion to justify the worst abuses, but Theo is deeply religious and we often find him praying. Giselle frequently disappears and breaks the rules, suffering brutal punishments. She is unable to come to terms with the world around her and becomes increasingly disturbed. It is these characters and their interpersonal relationships that make the novel compelling. Solomon plunges the reader into this unfamiliar world with little the beginning, this leaves the reader feeling adrift. But as the protagonists uncover Matilda's secrets, it gives way to the joy of discovery. Blackouts have become common on the ship, leaving lower-deck residents to contend with frigid temperatures. Some even suffer from frostbite-induced gangrene, requiring amputations. Aster believes the timing of the blackouts aligns too neatly with a mysterious illness for it to be a mere coincidence. Towards the end, the narrative changes its cadence. Many momentous things happen in quick succession and the intricate plotting gives way to abrupt resolutions. The book also relies on the trope of a heroic individual almost single-handedly changing things. As a result, the ending, though satisfying, feels a bit contrived. Still, it is heartening to see a character for whom the reader has been rooting realise the unimaginable in a world skewed against her. Fictional characters like Aster are rare. Her neurodivergence is not a plot point, but an intrinsic part of who she is. In fact, the novel does not even use the term to describe her — rather, the author makes it evident from plentiful clues tossed into the narrative. We see the world through Aster's lens and as Solomon puts it, she sees the world 'sideways'. Not all characters are as deftly delineated. The new Sovereign's hate for Aster seems irrational at times. There are clues though: the Sovereign, obsessed with Theo, is jealous of the latter's close relationship with Aster. He cannot stand her resolute defiance either. While these might not seem like motivation enough for someone as powerful as he is, there are multiple real-life instances of autocrats obsessing over trifling matters. Today, across countries, despots are making arbitrary decisions with far-reaching ramifications for people who have no stake in Unkindness of Ghosts shows how resistance against their unbridled power can take many forms — sometimes bloody, sometimes with heartbreaking consequences, but also, often joyful. Syed Saad Ahmed is a Boston Congress of Public Health Thought Leadership Fellow 2024. He speaks five languages and has taught English in France.