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Science & Tech
Satish Dhawan
Engineer. Peacenik. Guru.
(25 September 1920 - 3 January 2002)
Karma yogi is a curious descriptor for a man who aimed for the moon, invoking the virtues of faith rather than science. Nevertheless, his colleagues at ISRO saw fit to refer to Professor Satish Dhawan—a man whose first love was teaching, and who was a good one at that—as such. His devotion to his work demanded this quiet reverence.
Dhawan, a visionary scientist and the architect of India’s space programme, passed away at the age of 81. He is revered as the father of experimental fluid dynamics in India. He is remembered with deep respect and admiration.
Born on 25 September 1920 in Srinagar, Satish Dhawan displayed an early aptitude for science and engineering. He obtained a Bachelor's degree in Mathematics and Physics from the University of the Punjab in Lahore. He then moved to the United States, where he got a Master's degree in Aeronautical Engineering from the University of Minnesota, followed by a PhD from the California Institute of Technology (Caltech). Dhawan honed his skills at Caltech. This would later play a crucial role in his scientific career.
Dhawan returned to India in 1951 and joined the Indian Institute of Science (IISc) in Bangalore. Here, he established the country’s first supersonic wind tunnel. It was used to fine-tune the Tejas fighter jet, several years before the plane became combat-worthy. In 1962, he became the Director of IISc. He held the position for nearly two decades and fostered an environment of research excellence and innovation.
Dhawan’s rigour and thinking out of the box, characteristics required of a man preparing for a moonshot, came to the fore when he was called upon to judge the airworthiness of the HS-748 aircraft being used by Indian Airlines.
Dhawan also contributed heavily to boundary layer research, which was crucial to understand airflow over surfaces, a key aspect in designing planes and rockets. He laid the groundwork for much of India's advancements in aerospace. Dhawan also set up India’s first jet propulsion laboratory and initiated advanced research in turbulence and flow stability. This consolidated his role as a pioneer in aerospace engineering.
However, Dhawan's most enduring legacy lies with ISRO. In 1972, he succeeded Vikram Sarabhai as the Chairman of the organisation, a position he accepted under the condition that he would continue to lead IISc.
During his tenure at ISRO, he oversaw the development of the SLV-3 (Satellite Launch Vehicle), which successfully launched the Rohini satellite into orbit in 1980. India thus became one of the few nations capable of launching satellites.
His leadership style was marked by his hands-on approach and his emphasis on indigenous development. Dhawan’s insistence on indigenous technology was commendable. P. Balaram, an ex-director of IISc, wrote, ‘The space program has a wonderfully romantic history, with Satish Dhawan as the guiding force.’
An anecdote from his tenure at ISRO highlights Dhawan’s humility and leadership. When the first experimental flight of the SLV-3 failed in 1979, he faced the media and took full ownership, shielding his team from criticism. However, when the mission succeeded the following year, he ensured that the team received all the credit.
Dhawan mentored numerous scientists. Prominent among his protégés was A.P.J. Abdul Kalam, who later became the President of India. Kalam recalled Dhawan as a guiding light whose encouragement was crucial in his own journey as a scientist. Dhawan was awarded the Padma Vibhushan, India’s second-highest civilian award, in 1981. He had received the Padma Bhushan ten years earlier.
Despite these honours, he remained humble, always putting the collective success of his teams over personal recognition. His colleagues remember him as a man of few words but with profound impact.
Dhawan passed away on 3 January 2002. His passing was a loss to the scientific community, but his achievements live on through the thriving space programme he helped build and the many lives he touched with his wisdom and leadership.
-
Satish Dhawan
Engineer. Peacenik. Guru.
(25 September 1920 - 3 January 2002)
Karma yogi is a curious descriptor for a man who aimed for the moon, invoking the virtues of faith rather than science. Nevertheless, his colleagues at ISRO saw fit to refer to Professor Satish Dhawan—a man whose first love was teaching, and who was a good one at that—as such. His devotion to his work demanded this quiet reverence.
Dhawan, a visionary scientist and the architect of India’s space programme, passed away at the age of 81. He is revered as the father of experimental fluid dynamics in India. He is remembered with deep respect and admiration.
Born on 25 September 1920 in Srinagar, Satish Dhawan displayed an early aptitude for science and engineering. He obtained a Bachelor's degree in Mathematics and Physics from the University of the Punjab in Lahore. He then moved to the United States, where he got a Master's degree in Aeronautical Engineering from the University of Minnesota, followed by a PhD from the California Institute of Technology (Caltech). Dhawan honed his skills at Caltech. This would later play a crucial role in his scientific career.
Dhawan returned to India in 1951 and joined the Indian Institute of Science (IISc) in Bangalore. Here, he established the country’s first supersonic wind tunnel. It was used to fine-tune the Tejas fighter jet, several years before the plane became combat-worthy. In 1962, he became the Director of IISc. He held the position for nearly two decades and fostered an environment of research excellence and innovation.
Dhawan’s rigour and thinking out of the box, characteristics required of a man preparing for a moonshot, came to the fore when he was called upon to judge the airworthiness of the HS-748 aircraft being used by Indian Airlines.Dhawan also contributed heavily to boundary layer research, which was crucial to understand airflow over surfaces, a key aspect in designing planes and rockets. He laid the groundwork for much of India's advancements in aerospace. Dhawan also set up India’s first jet propulsion laboratory and initiated advanced research in turbulence and flow stability. This consolidated his role as a pioneer in aerospace engineering.
However, Dhawan's most enduring legacy lies with ISRO. In 1972, he succeeded Vikram Sarabhai as the Chairman of the organisation, a position he accepted under the condition that he would continue to lead IISc.
During his tenure at ISRO, he oversaw the development of the SLV-3 (Satellite Launch Vehicle), which successfully launched the Rohini satellite into orbit in 1980. India thus became one of the few nations capable of launching satellites.
His leadership style was marked by his hands-on approach and his emphasis on indigenous development. Dhawan’s insistence on indigenous technology was commendable. P. Balaram, an ex-director of IISc, wrote, ‘The space program has a wonderfully romantic history, with Satish Dhawan as the guiding force.’
An anecdote from his tenure at ISRO highlights Dhawan’s humility and leadership. When the first experimental flight of the SLV-3 failed in 1979, he faced the media and took full ownership, shielding his team from criticism. However, when the mission succeeded the following year, he ensured that the team received all the credit.
Dhawan mentored numerous scientists. Prominent among his protégés was A.P.J. Abdul Kalam, who later became the President of India. Kalam recalled Dhawan as a guiding light whose encouragement was crucial in his own journey as a scientist. Dhawan was awarded the Padma Vibhushan, India’s second-highest civilian award, in 1981. He had received the Padma Bhushan ten years earlier.
Despite these honours, he remained humble, always putting the collective success of his teams over personal recognition. His colleagues remember him as a man of few words but with profound impact.
Dhawan passed away on 3 January 2002. His passing was a loss to the scientific community, but his achievements live on through the thriving space programme he helped build and the many lives he touched with his wisdom and leadership.
Sports
Rusi Surti
Indian cricket’s braveheart.
(25 May 1936 – 13 January 2013)
Rusi Surti was described as the "poor man's Garry Sobers". Perhaps a better way would have been to call Sobers' the West Indian Rusi Surti!
The Sobers' comparison was not as far-fetched as it would seem. Like the great West Indian, Surti was left-handed and could swing, seam and spin the ball. All this while batting anywhere in the order. And let's not even mention the fact that he was a superb fielder in the slips and on the outfield. Perhaps the only thing he couldn't do at a world-class level was keep wickets!
Although he was born in Gujarati to a Parsi family, Surti's formative years were spent in that other great haven of Parsis: Mumbai. A valuable member of not one, but two Ranji trophy teams (the other being Rajasthan), he also made a then-unusual move to a professional club in England. His three years there proved memorable for the club and him: he scored runs freely and the club's officials found him to be a fine gentleman, perhaps the highest compliment an Englishman could pay another.
Surti's Test career spanned the 1960s: he made his debut versus Pakistan in 1960 and ended it in 1969 against Australia. Coincidentally, both matches happened at the Brabourne stadium.
Surti separated himself from his peers with his courage during a five-Test tour of the West Indies in 1962. Facing some of the most dangerous bowlers in the world — on tailor-made pitches that made batting extremely difficult — Surti held his own. When some top-order batsmen lost their nerves, he volunteered to bat up the order. His captain Nari Contractor called him "a captain’s man and prepared to do anything for the team."
Surti's career peaked in the late 1960s, during a tour of Australia and New Zealand. He topped the run charts for India across eight tests, with an excellent average of 45.50, and also picked up 22 wickets. He scored a vital 44 in the fourth innings chase at Dunedin, leading to an Indian victory. It was the first time that India had won an overseas Test.
However, it was in the domestic circuit that Surti truly shone, particularly in the Ranji Trophy, where he established himself as a formidable all-rounder. His fearless batting style, combined with his left-arm orthodox spin, made him a key player for the Bombay cricket team, where he became a vital part of a squad brimming with talent.
His all-round statistics, though not eye-popping, tell a story of versatility—he took 42 wickets, often stepping up when the team needed him most. He played a total of 26 Tests, scoring 1,263 runs at an average of 28.70. Agonisingly, his highest score in Tests was a 99 versus New Zealand. Farokh Engineer, another Parsi who was Surti's contemporary, described him as "one of the best fielders I've seen."
Off the field, Rusi Surti was known for his humility and warmth. After retiring from international cricket, Surti continued to be involved in the sport as a coach and selector.
Surti's legacy extends beyond his on-field achievements; he is remembered as a man who played the game with passion and integrity. He was an integral part of the Indian team in an era where match winners were hard to find in India. Above all, he understood why and how the game should be played. His fearless approach inspired many young cricketers who aspired to emulate his all-round capabilities.
He ended his domestic career in Queensland, Australia. He holds the distinction of being the first Indian international to feature in the Sheffield Shield. Later in life, he also settled there. After all, his approach to the game had endeared him to the Aussies.
The cricket community remembers Rusi Surti not just for the runs he scored or the matches he played, but for the indomitable spirit he brought to cricket and life.
The former captain Chandu Borde summed up Surti best: "Jigar baaz" (braveheart).
-
Rusi Surti
Indian cricket’s braveheart.
(25 May 1936 – 13 January 2013)
Rusi Surti was described as the "poor man's Garry Sobers". Perhaps a better way would have been to call Sobers' the West Indian Rusi Surti!
The Sobers' comparison was not as far-fetched as it would seem. Like the great West Indian, Surti was left-handed and could swing, seam and spin the ball. All this while batting anywhere in the order. And let's not even mention the fact that he was a superb fielder in the slips and on the outfield. Perhaps the only thing he couldn't do at a world-class level was keep wickets!
Although he was born in Gujarati to a Parsi family, Surti's formative years were spent in that other great haven of Parsis: Mumbai. A valuable member of not one, but two Ranji trophy teams (the other being Rajasthan), he also made a then-unusual move to a professional club in England. His three years there proved memorable for the club and him: he scored runs freely and the club's officials found him to be a fine gentleman, perhaps the highest compliment an Englishman could pay another.
Surti's Test career spanned the 1960s: he made his debut versus Pakistan in 1960 and ended it in 1969 against Australia. Coincidentally, both matches happened at the Brabourne stadium.
Surti separated himself from his peers with his courage during a five-Test tour of the West Indies in 1962. Facing some of the most dangerous bowlers in the world — on tailor-made pitches that made batting extremely difficult — Surti held his own. When some top-order batsmen lost their nerves, he volunteered to bat up the order. His captain Nari Contractor called him "a captain’s man and prepared to do anything for the team."
Surti's career peaked in the late 1960s, during a tour of Australia and New Zealand. He topped the run charts for India across eight tests, with an excellent average of 45.50, and also picked up 22 wickets. He scored a vital 44 in the fourth innings chase at Dunedin, leading to an Indian victory. It was the first time that India had won an overseas Test.
However, it was in the domestic circuit that Surti truly shone, particularly in the Ranji Trophy, where he established himself as a formidable all-rounder. His fearless batting style, combined with his left-arm orthodox spin, made him a key player for the Bombay cricket team, where he became a vital part of a squad brimming with talent.
His all-round statistics, though not eye-popping, tell a story of versatility—he took 42 wickets, often stepping up when the team needed him most. He played a total of 26 Tests, scoring 1,263 runs at an average of 28.70. Agonisingly, his highest score in Tests was a 99 versus New Zealand. Farokh Engineer, another Parsi who was Surti's contemporary, described him as "one of the best fielders I've seen."
Off the field, Rusi Surti was known for his humility and warmth. After retiring from international cricket, Surti continued to be involved in the sport as a coach and selector.
Surti's legacy extends beyond his on-field achievements; he is remembered as a man who played the game with passion and integrity. He was an integral part of the Indian team in an era where match winners were hard to find in India. Above all, he understood why and how the game should be played. His fearless approach inspired many young cricketers who aspired to emulate his all-round capabilities.
He ended his domestic career in Queensland, Australia. He holds the distinction of being the first Indian international to feature in the Sheffield Shield. Later in life, he also settled there. After all, his approach to the game had endeared him to the Aussies.
The cricket community remembers Rusi Surti not just for the runs he scored or the matches he played, but for the indomitable spirit he brought to cricket and life.
The former captain Chandu Borde summed up Surti best: "Jigar baaz" (braveheart).
Entertainment
Amrish Puri
Mogambo Khush Hua
(22 June 1932 - 12 January 2005)
The Google Doodle on 22 June 2019 was a black and white sketch of a man, with dark and dense eyebrows, and a thick moustache, and swept back grey-white hair. Dressed in a smart kurta and shawl, he stood proudly, head held high. The text that accompanied this sketch said, ‘If at first you don’t succeed, try, try again—and you might end up like Indian film actor Amrish Puri.’
A popular and beloved pan-Indian actor, it seems impossible that something like a ‘try again’ maxim could ever be applied to Amrish Puri. His larger-than-life presence seemed to be made to grace big screens and enchant audiences. He appeared to be effortlessly in character regardless of what role he played. However, it wasn’t always so.
Puri, born in Punjab in 1932, was bewitched by the world of cinema in his teens. In his early twenties, inspired by the success of his cousin KL Saigal in Hindi cinema, Puri ventured out to try his luck in tinsel town. His brothers, Madan and Chaman Puri were already trying to make their way in the industry. Puri’s first attempt was disastrous. He was rejected in his very first screen test in 1953 at the age of twenty-one. The director dismissed him for his “harsh” face and “scary” voice. Puri was told that he could never play the lead. Disappointed but unwilling to depend on anyone else for his livelihood, Puri took up a position at the Employees State Insurance Corporation (ESIC).
Cinema did not take a backseat for Puri. While he could not land film roles, he continued to work in theatre with respected directors like Girish Karnad and Satyadev Dubey. Puri also lent his voice to radio shows. Where cinema had brushed him off for his raspy voice, radio welcomed him, claiming his voice was “God-given”. This was something that pleased Puri’s father who saw cinema as being a degrading career. To him, radio and stage shows had honour and required real skill.
Puri, however, didn’t give up. He eventually started his film acting career at the age of 41. He would go on to act in over four hundred films. His first on-camera role was courtesy of producer Yash Johar. Puri’s unique baritone gave him the opportunities for several roles as villain, which he took up and performed to magnificence. In some cases, Puri’s bad boy characters became more memorable than the heroes of the films. ‘Mogambo khush hua!’ is still is people’s lips after all these years. It is said that a good villain elevates the hero, but when the villain was Amrish Puri, one could not help but be charmed and forget about the hero altogether.
He was not limited to playing the evil type. He was a versatile actor and played roles such as that of Sunny Deol’s upright father in Ghatak, and a strict, custom-bound patriarch in Dilwale Dulhania Le Jayenge with aplomb. Even his comic role on Chachi 420 alongside Kamal Haasan was flawless.
Puri, well-remembered for the villains he made us love, was a Pyaar ka dushman on screen. However, the story of how he met his future wife Urmila Divekar and convinced his family and got married, was a Bollywood romance come to life. He was very fond of her and complimented her, saying, ‘iss ghar ki hero toh meri biwi hi hai.'
Loved at home, loved at work and loved by his fans, Puri’s death on 12 January 2005 was mourned across the country. He is survived by his children, Rajiv and Namrata Puri.
-
Amrish Puri
Mogambo Khush Hua
(22 June 1932 - 12 January 2005)
The Google Doodle on 22 June 2019 was a black and white sketch of a man, with dark and dense eyebrows, and a thick moustache, and swept back grey-white hair. Dressed in a smart kurta and shawl, he stood proudly, head held high. The text that accompanied this sketch said, ‘If at first you don’t succeed, try, try again—and you might end up like Indian film actor Amrish Puri.’
A popular and beloved pan-Indian actor, it seems impossible that something like a ‘try again’ maxim could ever be applied to Amrish Puri. His larger-than-life presence seemed to be made to grace big screens and enchant audiences. He appeared to be effortlessly in character regardless of what role he played. However, it wasn’t always so.
Puri, born in Punjab in 1932, was bewitched by the world of cinema in his teens. In his early twenties, inspired by the success of his cousin KL Saigal in Hindi cinema, Puri ventured out to try his luck in tinsel town. His brothers, Madan and Chaman Puri were already trying to make their way in the industry. Puri’s first attempt was disastrous. He was rejected in his very first screen test in 1953 at the age of twenty-one. The director dismissed him for his “harsh” face and “scary” voice. Puri was told that he could never play the lead. Disappointed but unwilling to depend on anyone else for his livelihood, Puri took up a position at the Employees State Insurance Corporation (ESIC).
Cinema did not take a backseat for Puri. While he could not land film roles, he continued to work in theatre with respected directors like Girish Karnad and Satyadev Dubey. Puri also lent his voice to radio shows. Where cinema had brushed him off for his raspy voice, radio welcomed him, claiming his voice was “God-given”. This was something that pleased Puri’s father who saw cinema as being a degrading career. To him, radio and stage shows had honour and required real skill.
Puri, however, didn’t give up. He eventually started his film acting career at the age of 41. He would go on to act in over four hundred films. His first on-camera role was courtesy of producer Yash Johar. Puri’s unique baritone gave him the opportunities for several roles as villain, which he took up and performed to magnificence. In some cases, Puri’s bad boy characters became more memorable than the heroes of the films. ‘Mogambo khush hua!’ is still is people’s lips after all these years. It is said that a good villain elevates the hero, but when the villain was Amrish Puri, one could not help but be charmed and forget about the hero altogether.
He was not limited to playing the evil type. He was a versatile actor and played roles such as that of Sunny Deol’s upright father in Ghatak, and a strict, custom-bound patriarch in Dilwale Dulhania Le Jayenge with aplomb. Even his comic role on Chachi 420 alongside Kamal Haasan was flawless.
Puri, well-remembered for the villains he made us love, was a Pyaar ka dushman on screen. However, the story of how he met his future wife Urmila Divekar and convinced his family and got married, was a Bollywood romance come to life. He was very fond of her and complimented her, saying, ‘iss ghar ki hero toh meri biwi hi hai.'
Loved at home, loved at work and loved by his fans, Puri’s death on 12 January 2005 was mourned across the country. He is survived by his children, Rajiv and Namrata Puri.
- Sports
- Entertainment
Sports
T Balaram
A beautiful player of the beautiful game.
(30 November 1936 – 16 February 2023)
No single story could capture the triumph and tragedy of T Balaram, but this one, from his early days, comes close: it is the story of how he acquired his first pair of boots.
At the time, football boots were a luxury that Balaram’s family couldn’t afford. Determined to play, young Balaram sought out a cobbler who promised he could fashion a pair using old police boots.
Balaram found a traffic policeman and pestered him for an old pair of boots. Although he tried to shoo Balram away, the cop finally gave up and gave him an old pair of boots.
Overjoyed, Balaram took the worn boots to the cobbler, who asked for the precious sum of two rupees to repair them and make them suitable for football. Balram lied to his mother, saying he needed the money for textbooks.
With his newly patched-up boots, Tulsidas Balaram soon made a name for himself on the local football scene. By the time he was 19, his talent had caught the attention of legendary Indian coach Syed Abdul Rahim during a local tournament in Secunderabad.
Tulsidas Balaram, who breathed his last in 2023, was the last surviving member of Indian football's golden trinity, the other two being Chuni Goswami and PK Banerjee. Known for his versatility, Balaram could fit in any position, pre-empting the 'Total football' that would be made famous by the Dutch teams of the 1970s.
A master of ball control, he could score from almost any angle on the pitch. What makes these facts even more incredible is that Balaram did not get the chance to kick a proper football till he was nine years old.
The man who would terrorise defences in his pomp spent his childhood in a mud hut with a large family. Like many poor families, they struggled to make ends meet: his brother worked in a sub-depot that supplied vehicles to the army.
Indian coach Syed Abdul Rahim, who had spotted him, parachuted him into the 1956 Olympics squad, where he played only one match: in the semi-finals that India lost 4-1.
Although he was from Andhra Pradesh, he won three of his four Santosh trophies while playing for Bengal, with the last one coming as captain of the team. Although he almost played for Mohammedan Sporting, it was another club where he would make his name: East Bengal.
From then on, he won almost all honours he competed for: the IFA Shield, the Durand Cup,the Rovers Shield, and at the national level, a memorable gold at the Asian Games in 1962.
Then, at his peak, he was struck down.
In 1963, he was diagnosed with pleurisy - a condition that causes inflammation of the tissue that lines the chest cavity and the lungs. It made the simple act of playing football a life-threatening risk for Balaram, one that he couldn't take. So, he retired at the young age of 27, when a footballer usually enters his peak.
Balaram settled down in his adopted home of Kolkata, and never returned home to Secunderabad. He took up coaching and mentored upcoming footballers. Later in life, he became a fixture in Kolkata, adored by the locals for his achievements and humble demeanour.
The life and times of T Balaram are worthy of a Hollywood film, but no film could capture the greatness of the man. Rising from sheer poverty to becoming one of the best to play the game, to dealing with the shock and sorrow of suddenly being unable to do the one thing he loved the most, Balaram's life contains multitudes.
-
T Balaram
A beautiful player of the beautiful game.
(30 November 1936 – 16 February 2023)
No single story could capture the triumph and tragedy of T Balaram, but this one, from his early days, comes close: it is the story of how he acquired his first pair of boots.
At the time, football boots were a luxury that Balaram’s family couldn’t afford. Determined to play, young Balaram sought out a cobbler who promised he could fashion a pair using old police boots.
Balaram found a traffic policeman and pestered him for an old pair of boots. Although he tried to shoo Balram away, the cop finally gave up and gave him an old pair of boots.
Overjoyed, Balaram took the worn boots to the cobbler, who asked for the precious sum of two rupees to repair them and make them suitable for football. Balram lied to his mother, saying he needed the money for textbooks.
With his newly patched-up boots, Tulsidas Balaram soon made a name for himself on the local football scene. By the time he was 19, his talent had caught the attention of legendary Indian coach Syed Abdul Rahim during a local tournament in Secunderabad.
Tulsidas Balaram, who breathed his last in 2023, was the last surviving member of Indian football's golden trinity, the other two being Chuni Goswami and PK Banerjee. Known for his versatility, Balaram could fit in any position, pre-empting the 'Total football' that would be made famous by the Dutch teams of the 1970s.
A master of ball control, he could score from almost any angle on the pitch. What makes these facts even more incredible is that Balaram did not get the chance to kick a proper football till he was nine years old.
The man who would terrorise defences in his pomp spent his childhood in a mud hut with a large family. Like many poor families, they struggled to make ends meet: his brother worked in a sub-depot that supplied vehicles to the army.
Indian coach Syed Abdul Rahim, who had spotted him, parachuted him into the 1956 Olympics squad, where he played only one match: in the semi-finals that India lost 4-1.
Although he was from Andhra Pradesh, he won three of his four Santosh trophies while playing for Bengal, with the last one coming as captain of the team. Although he almost played for Mohammedan Sporting, it was another club where he would make his name: East Bengal.
From then on, he won almost all honours he competed for: the IFA Shield, the Durand Cup,the Rovers Shield, and at the national level, a memorable gold at the Asian Games in 1962.
Then, at his peak, he was struck down.
In 1963, he was diagnosed with pleurisy - a condition that causes inflammation of the tissue that lines the chest cavity and the lungs. It made the simple act of playing football a life-threatening risk for Balaram, one that he couldn't take. So, he retired at the young age of 27, when a footballer usually enters his peak.
Balaram settled down in his adopted home of Kolkata, and never returned home to Secunderabad. He took up coaching and mentored upcoming footballers. Later in life, he became a fixture in Kolkata, adored by the locals for his achievements and humble demeanour.
The life and times of T Balaram are worthy of a Hollywood film, but no film could capture the greatness of the man. Rising from sheer poverty to becoming one of the best to play the game, to dealing with the shock and sorrow of suddenly being unable to do the one thing he loved the most, Balaram's life contains multitudes.
Entertainment
Ameen Sayani
Grand Old Man of Indian Radio
(21 December 1932- 20 February 2024)
The dial would spin, and the needle would come to rest at the appropriate station. As the dulcet voice emerged, like a familiar hug from an old friend: ‘Namaste behno aur bhaiyon, main aapka dost Ameen Sayani bol raha hoon’ (‘Greetings, brothers and sisters; this is your friend Ameen Sayani speaking’), ears all over the country would perk up.
Ameen Sayani, the iconic voice that resonated across Indian households for decades, passed away on 20 February 2024 at the age of 91. His death marked the end of an era for Indian radio, where his voice was synonymous with melodious tunes and heartfelt connections. Known as the “Grand Old Man of Indian Radio”, the quantum of Sayani's contribution to the Indian entertainment industry bordered on the absurd. He played a part in over 50,000 radio programmes and 19,000 jingles!
Born on 21 December 1932, in Mumbai, Sayani was introduced to the world of broadcasting at a young age by his elder brother, Hamid Sayani, himself a renowned radio announcer. Ameen joined Radio Ceylon in the 1950s. His career took a monumental turn with the launch of the now legendary radio show, Binaca Geetmala which was hosted by him.
Binaca Geetmala was a countdown show on which the top Hindi film songs every week were aired. His charismatic personality, coupled with his deep knowledge of Hindi film music, made the show a phenomenon. Sayani's familiar greeting became instantly recognisable. The show had a significant following among Indians and other South Asian communities.
The initial idea was to create a countdown of popular songs, inspired by American radio shows. However, the charm and uniqueness of Sayani’s presentation style turned it into a phenomenon in Indian radio history.
Sayani also hosted and produced numerous other shows and was instrumental in popularising radio as a medium of entertainment and information. His ability to connect with the audience, irrespective of age or background, was perhaps his greatest virtue.
Sayani attributed his fluency and the ease with which he spoke to the years that he spent assisting his mother in editing and printing a fortnightly Urdu journal called Rahber (which means a guide in Urdu). In an interview, he once recalled a note Mahatma Gandhi had written to his mother: ‘I like the mission of Rahber to unite Hindi and Urdu. May it succeed.’
Ameen Sayani’s influence extended to mentoring talented youngsters. Several radio jockeys and announcers regarded Sayani as their friend, philosopher, and guide. However, an interesting anecdote that Sayani narrated in 2014, while hosting a show called Sitaron ki Jawaniyaan, revealed how he had denied a then-unknown Amitabh Bachchan an audition at AIR. Years later, perhaps to atone, when the release of Bachchan’s Shahenshah was delayed, Geetmala kept interest in the film alive by playing the song Andheri Raaton Mein for many months.
Ameen Sayani was honoured with the Padma Shri in 2009 for his exceptional contribution to Indian arts and culture. Despite such accolades, Sayani remained grounded, often attributing his success to the love and support of his listeners. In his later years, he remained active, contributing to radio documentaries and occasionally making special appearances on various media platforms.
Saregama released a ten-volume compilation album titled “Ameen Sayani Presents Geetmala Ki Chhaon Mein”, covering highlights of the program’s history. Alongside the songs, Sayani’s interviews with greats such as Lata Mangeshkar, Kishore Kumar, Mohammed Rafi, Mukesh, Manna Dey, etc were also featured. Anurag Chaturvedi, a journalist and author who knew Sayani well, once said, ‘Radio was king in those days, and he was the king of kings,’ told Al Jazeera.
Ameen Sayani is survived by his wife, son, and a legion of fans who will forever cherish the memories he created. His voice will forever echo in the hearts of those who grew up listening to him.
Sridevi
Miss Hawa Hawai
(13 August 1963 - 24 February 2018)
It is often speculated that Janhvi Kapoor was named after Urmila Matondkar’s character in Raj Kanwar’s Judaai, a film which dissected a strained household divided by marriage. This is not the case, in fact. The name is an abridged form of Janhavi, referring to the Ganga as a deity. It is this association with an abstract notion of purity that led to Sridevi naming her daughter thus. That she was so enamoured with her daughter’s name (as Janhvi revealed in an interview), is a reflection of her own moral rectitude. Sridevi was no ordinary soul. Long before she passed, she learnt to swim against the tide.
Sridevi, one of Indian cinema's brightest stars, passed away on 24 February 2018, leaving a void that will be hard to fill. Born Shree Amma Yanger Ayyapan on 13 August 1963 in Sivakasi, Tamil Nadu, she began her journey in the film industry as a child artist aged just four, in the Tamil film Thunaivan. Her role as Lord Murugan led film goers to treat her as an icon.
Her transition to Bollywood in the 1980s heralded a new era, making her one of the most celebrated actresses of her time.
Sridevi had a blend of talent, beauty, and theatrical versatility. She mesmerised audiences with her roles in films across many languages, including Tamil, Telugu, Malayalam, Kannada, and Hindi. Her performances in movies like Sadma (1983), Chandni (1989), and Lamhe (1991) exhibited her incredible range, from deep, emotional drama to light-hearted romance, and comedy. Her portrayal of a woman suffering from retrograde amnesia in Sadma is particularly memorable.
Sridevi was not only a gifted actress but also a phenomenal dancer and comedienne. Her iconic dance numbers like Hawa Hawai from Mr. India (1987) and Mere Haathon Mein from Chandni (1989) are still celebrated for their grace and energy. Mr. India, where she played the feisty reporter Seema, also showcased her comic ability, particularly in a scene where she emulated Charlie Chaplin.
Throughout her career, Sridevi was known for breaking the mould in a male-dominated industry. She was one of the few actresses who could make a film succeed solely through her star power, a feat rarely achieved by her contemporaries.
Directors and co-actors have spoken about her dedication to her craft. Yash Chopra, who directed her in Chandni and Lamhe, often referred to her as his muse, while Anil Kapoor, her co-star in many films, admired her work ethic and professionalism. Chopra once memorably said of her, ‘Sridevi is such a good actress that she merged into the character of my heroine “Chandni”. She made the character overpower her star image. That is her biggest asset. Imagine, an actress from the south has become a living character in the north! Now you have Chandni sarees, salwar kameez and even chudiyan.’
Despite a string of successes, Sridevi chose to walk away from Bollywood to tend to her personal life. She took a break from films in the late 1990s to focus on raising her daughters, Janhvi and Khushi. Her return to the silver screen with English Vinglish (2012) was met with acclaim. The film, directed by Gauri Shinde, saw her play Shashi, a homemaker who struggles to learn English to assert her own identity in a prejudiced world that judges her relentlessly. The role resonated with audiences worldwide. In real life, Sridevi was a polyglot who could hold forth in six languages.
Sridevi's sudden death due to a cardiac arrest while attending a family wedding in Dubai sent shockwaves through the film industry and her legion of fans. Tributes poured in from across the globe, highlighting not just her cinematic achievements, but also her warmth and kindness. Director Karan Johar called her “the queen of all hearts” and actor Kamal Haasan, her co-star in Sadma, remembered her as a dear friend and respected colleague who was always eager to learn. Critic Baradwaj Rangan said, ‘The film industry was a university for her.’
Sridevi’s legacy is one of breaking barriers and setting new standards in Indian cinema. Her extraordinary body of work continues to inspire new generations of actors and filmmakers. As India mourns the loss of its beloved “first female megastar,” her timeless performances remain etched in the hearts of millions, ensuring that her star will continue to shine brightly for years to come.
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Ameen Sayani
Grand Old Man of Indian Radio.
(21 December 1932- 20 February 2024)
The dial would spin, and the needle would come to rest at the appropriate station. As the dulcet voice emerged, like a familiar hug from an old friend: ‘Namaste behno aur bhaiyon, main aapka dost Ameen Sayani bol raha hoon’ (‘Greetings, brothers and sisters; this is your friend Ameen Sayani speaking’), ears all over the country would perk up.
Ameen Sayani, the iconic voice that resonated across Indian households for decades, passed away on 20 February 2024 at the age of 91. His death marked the end of an era for Indian radio, where his voice was synonymous with melodious tunes and heartfelt connections. Known as the “Grand Old Man of Indian Radio”, the quantum of Sayani's contribution to the Indian entertainment industry bordered on the absurd. He played a part in over 50,000 radio programmes and 19,000 jingles!Born on 21 December 1932, in Mumbai, Sayani was introduced to the world of broadcasting at a young age by his elder brother, Hamid Sayani, himself a renowned radio announcer. Ameen joined Radio Ceylon in the 1950s. His career took a monumental turn with the launch of the now legendary radio show, Binaca Geetmala which was hosted by him.
Binaca Geetmala was a countdown show on which the top Hindi film songs every week were aired. His charismatic personality, coupled with his deep knowledge of Hindi film music, made the show a phenomenon. Sayani's familiar greeting became instantly recognisable. The show had a significant following among Indians and other South Asian communities.
The initial idea was to create a countdown of popular songs, inspired by American radio shows. However, the charm and uniqueness of Sayani’s presentation style turned it into a phenomenon in Indian radio history.
Sayani also hosted and produced numerous other shows and was instrumental in popularising radio as a medium of entertainment and information. His ability to connect with the audience, irrespective of age or background, was perhaps his greatest virtue.
Sayani attributed his fluency and the ease with which he spoke to the years that he spent assisting his mother in editing and printing a fortnightly Urdu journal called Rahber (which means a guide in Urdu). In an interview, he once recalled a note Mahatma Gandhi had written to his mother: ‘I like the mission of Rahber to unite Hindi and Urdu. May it succeed.’Ameen Sayani’s influence extended to mentoring talented youngsters. Several radio jockeys and announcers regarded Sayani as their friend, philosopher, and guide. However, an interesting anecdote that Sayani narrated in 2014, while hosting a show called Sitaron ki Jawaniyaan, revealed how he had denied a then-unknown Amitabh Bachchan an audition at AIR. Years later, perhaps to atone, when the release of Bachchan’s Shahenshah was delayed, Geetmala kept interest in the film alive by playing the song Andheri Raaton Mein for many months.
Ameen Sayani was honoured with the Padma Shri in 2009 for his exceptional contribution to Indian arts and culture. Despite such accolades, Sayani remained grounded, often attributing his success to the love and support of his listeners. In his later years, he remained active, contributing to radio documentaries and occasionally making special appearances on various media platforms.
Saregama released a ten-volume compilation album titled “Ameen Sayani Presents Geetmala Ki Chhaon Mein”, covering highlights of the program’s history. Alongside the songs, Sayani’s interviews with greats such as Lata Mangeshkar, Kishore Kumar, Mohammed Rafi, Mukesh, Manna Dey, etc were also featured. Anurag Chaturvedi, a journalist and author who knew Sayani well, once said, ‘Radio was king in those days, and he was the king of kings,’ told Al Jazeera.Ameen Sayani is survived by his wife, son, and a legion of fans who will forever cherish the memories he created. His voice will forever echo in the hearts of those who grew up listening to him.
-
Sridevi
Miss Hawa Hawai.
(13 August 1963 - 24 February 2018)
It is often speculated that Janhvi Kapoor was named after Urmila Matondkar’s character in Raj Kanwar’s Judaai, a film which dissected a strained household divided by marriage. This is not the case, in fact. The name is an abridged form of Janhavi, referring to the Ganga as a deity. It is this association with an abstract notion of purity that led to Sridevi naming her daughter thus. That she was so enamoured with her daughter’s name (as Janhvi revealed in an interview), is a reflection of her own moral rectitude. Sridevi was no ordinary soul. Long before she passed, she learnt to swim against the tide.
Sridevi, one of Indian cinema's brightest stars, passed away on 24 February 2018, leaving a void that will be hard to fill. Born Shree Amma Yanger Ayyapan on 13 August 1963 in Sivakasi, Tamil Nadu, she began her journey in the film industry as a child artist aged just four, in the Tamil film Thunaivan. Her role as Lord Murugan led film goers to treat her as an icon.
Her transition to Bollywood in the 1980s heralded a new era, making her one of the most celebrated actresses of her time.
Sridevi had a blend of talent, beauty, and theatrical versatility. She mesmerised audiences with her roles in films across many languages, including Tamil, Telugu, Malayalam, Kannada, and Hindi. Her performances in movies like Sadma (1983), Chandni (1989), and Lamhe (1991) exhibited her incredible range, from deep, emotional drama to light-hearted romance, and comedy. Her portrayal of a woman suffering from retrograde amnesia in Sadma is particularly memorable.
Sridevi was not only a gifted actress but also a phenomenal dancer and comedienne. Her iconic dance numbers like Hawa Hawai from Mr. India (1987) and Mere Haathon Mein from Chandni (1989) are still celebrated for their grace and energy. Mr. India, where she played the feisty reporter Seema, also showcased her comic ability, particularly in a scene where she emulated Charlie Chaplin.
Throughout her career, Sridevi was known for breaking the mould in a male-dominated industry. She was one of the few actresses who could make a film succeed solely through her star power, a feat rarely achieved by her contemporaries.
Directors and co-actors have spoken about her dedication to her craft. Yash Chopra, who directed her in Chandni and Lamhe, often referred to her as his muse, while Anil Kapoor, her co-star in many films, admired her work ethic and professionalism. Chopra once memorably said of her, ‘Sridevi is such a good actress that she merged into the character of my heroine “Chandni”. She made the character overpower her star image. That is her biggest asset. Imagine, an actress from the south has become a living character in the north! Now you have Chandni sarees, salwar kameez and even chudiyan.’
Despite a string of successes, Sridevi chose to walk away from Bollywood to tend to her personal life. She took a break from films in the late 1990s to focus on raising her daughters, Janhvi and Khushi. Her return to the silver screen with English Vinglish (2012) was met with acclaim. The film, directed by Gauri Shinde, saw her play Shashi, a homemaker who struggles to learn English to assert her own identity in a prejudiced world that judges her relentlessly. The role resonated with audiences worldwide. In real life, Sridevi was a polyglot who could hold forth in six languages.
Sridevi's sudden death due to a cardiac arrest while attending a family wedding in Dubai sent shockwaves through the film industry and her legion of fans. Tributes poured in from across the globe, highlighting not just her cinematic achievements, but also her warmth and kindness. Director Karan Johar called her “the queen of all hearts” and actor Kamal Haasan, her co-star in Sadma, remembered her as a dear friend and respected colleague who was always eager to learn. Critic Baradwaj Rangan said, ‘The film industry was a university for her.’
Sridevi’s legacy is one of breaking barriers and setting new standards in Indian cinema. Her extraordinary body of work continues to inspire new generations of actors and filmmakers. As India mourns the loss of its beloved “first female megastar,” her timeless performances remain etched in the hearts of millions, ensuring that her star will continue to shine brightly for years to come.
- Science & Tech
- Sports
- Entertainment
Science & Tech
Venkataraman Radhakrishnan
A Sailor Among the Stars
(18 May 1929- 3 March 2011)
If ever an Indian was born into circumstances that encouraged him to be a great scientist, it was Venkataraman Radhakrishnan.
When he was just a year old, his father, the immortal Chandrasekhara Venkata Raman, was awarded the Nobel Prize in Physics, the first Asian and non-white person to be honoured thus. A life full of discovery and adventure awaited the young boy. He may have been overshadowed in the public eye by a cousin of his — Subrahmanyan Chandrasekhar, who was also a Nobel laureate — but that did not mean he lived a life any less extraordinary.
To call Professor Radhakrishnan a scientist would be less accurate than calling him a Renaissance man. After all, how many scientists built and learnt to operate lightweight aircraft and sailboats? That was when he was not off hang gliding, of course. Once, he even sailed across the world’s largest body of water: the Pacific Ocean.
The man who would universally be known by the affectionate nickname ‘Rad’, was a rarity among his contemporaries. While his peers collected academic degrees as a hobby, Rad would get by with a simple bachelor’s degree (he would get an honorary doctorate in the 1990s). It was no barrier to his success. His paper measuring the polarisation swing of the Vela pulsar, (a pulsar is a highly magnetised rotating neutron star that emits beams of electromagnetic radiation out of its magnetic poles.) gave birth to the widely used magnetic pole model for pulsar radio emission. The paper is considered a classic today.
In the 1950s, he moved to Sweden, giving three years of his life and taking away experience and the knowledge of fluent Swedish. In the 1970s, he decided to return to his roots, joining the Raman Research Institute in Bangalore. It needed some leadership after its founder — his father — had passed away. He played a major role in revitalising the place, making it respectable again in the eyes of the scientific community.
It is easy to forget the scientist at the core of this man who wore many hats at once. But it is important to remember that he was one of the most respected radio astronomers in the world, with path-breaking work to show for it. He contributed original work on the subject of pulsars and interstellar hydrogen, among other things. This was also seen in the many roles he played in scientific organisations from the United States to Europe to Australia.
He did critical work at home too, helping the Tata Institute of Fundamental Research (TIFR), one of the nation’s leading research institutes, to develop a radio telescope. Some of the components of the telescope were built at his beloved Raman Research Institute in Bengaluru.
Above all, ‘Rad’ understood what science was all about, and worked hard to promote the scientific spirit. He was beloved by colleagues and collaborators for his graciousness and his efforts to take everyone, even the least, along on this wonderful journey. A member of the Royal Swedish Academy of Sciences, he had no shortage of admirers at home or abroad.
In the end, Rad proved that he was no ordinary mortal. At the age of 82, six months before his passing, he announced that he would circumnavigate the world solo, in a yacht named after his wife. It was not meant to be, but the radical Rad will always be a cosmic voyager
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Venkataraman Radhakrishnan
A Sailor Among the Stars
(18 May 1929- 3 March 2011)
If ever an Indian was born into circumstances that encouraged him to be a great scientist, it was Venkataraman Radhakrishnan.
When he was just a year old, his father, the immortal Chandrasekhara Venkata Raman, was awarded the Nobel Prize in Physics, the first Asian and non-white person to be honoured thus. A life full of discovery and adventure awaited the young boy. He may have been overshadowed in the public eye by a cousin of his — Subrahmanyan Chandrasekhar, who was also a Nobel laureate — but that did not mean he lived a life any less extraordinary.
To call Professor Radhakrishnan a scientist would be less accurate than calling him a Renaissance man. After all, how many scientists built and learnt to operate lightweight aircraft and sailboats? That was when he was not off hang gliding, of course. Once, he even sailed across the world’s largest body of water: the Pacific Ocean.
The man who would universally be known by the affectionate nickname ‘Rad’, was a rarity among his contemporaries. While his peers collected academic degrees as a hobby, Rad would get by with a simple bachelor’s degree (he would get an honorary doctorate in the 1990s). It was no barrier to his success. His paper measuring the polarisation swing of the Vela pulsar, (a pulsar is a highly magnetised rotating neutron star that emits beams of electromagnetic radiation out of its magnetic poles.) gave birth to the widely used magnetic pole model for pulsar radio emission. The paper is considered a classic today.
In the 1950s, he moved to Sweden, giving three years of his life and taking away experience and the knowledge of fluent Swedish. In the 1970s, he decided to return to his roots, joining the Raman Research Institute in Bangalore. It needed some leadership after its founder — his father — had passed away. He played a major role in revitalising the place, making it respectable again in the eyes of the scientific community.
It is easy to forget the scientist at the core of this man who wore many hats at once. But it is important to remember that he was one of the most respected radio astronomers in the world, with path-breaking work to show for it. He contributed original work on the subject of pulsars and interstellar hydrogen, among other things. This was also seen in the many roles he played in scientific organisations from the United States to Europe to Australia.
He did critical work at home too, helping the Tata Institute of Fundamental Research (TIFR), one of the nation’s leading research institutes, to develop a radio telescope. Some of the components of the telescope were built at his beloved Raman Research Institute in Bengaluru.
Above all, ‘Rad’ understood what science was all about, and worked hard to promote the scientific spirit. He was beloved by colleagues and collaborators for his graciousness and his efforts to take everyone, even the least, along on this wonderful journey. A member of the Royal Swedish Academy of Sciences, he had no shortage of admirers at home or abroad.
In the end, Rad proved that he was no ordinary mortal. At the age of 82, six months before his passing, he announced that he would circumnavigate the world solo, in a yacht named after his wife. It was not meant to be, but the radical Rad will always be a cosmic voyager
Sports
PK Banerjee
The Man with the Golden Feet
(23 June 1936 -20 March 2020)
In 1969, FIFA organised a 14-week training course for aspiring coaches in Asia led by German football manager Dettmar Cramer. Four of the forty-two candidates who attended the training program in Japan were from India. Only two out of these four completed the course and received first-class degrees. One of them was the Indian footballer PK Banerjee, the man who won a record four consecutive Calcutta League titles.
When PK Banerjee stepped onto the field, the air hummed with anticipation. The spectators would watch with rapt attention and hopeful gazes, pinning their dreams of victory on him. Banerjee was always flamboyantly dressed. His printed shirts and large steel-framed glasses were impossible to ignore. He didn’t need the clothes to make him stand out, though. His boisterous personality and his soccer skills were enough.
The 1936-born Banerjee is fondly remembered today as PK or PK da. At birth, he had been named Prodipto Kumar. Prodipto became Pradip later in life due to a “clerical error” at his alma mater, Patna University.
Banerjee was born near Jalpaiguri, West Bengal. His phenomenal record as a football player makes it inconceivable for one to imagine any other life for him. Banerjee came from a humble background and had humbler goals. He played for Kolkata’s Aryan Club for a season and had even received offers from three other clubs, but Banerjee joined the less glamorous Eastern Railway instead. He had a big family to look after and had been desperate for a job. A steady income from the Eastern Railways looked better to him than a fledgling career in football.
Banerjee won the Calcutta Football League with Eastern Railway in 1958. Though his club career lacked trophies with major clubs, he established himself as a top player and a leader for India. Through the 1960s, Banerjee helped the Indian football team gain international recognition. He led the team in the 1960s Olympics. Two years later, Banerjee guided the team to Gold in the 1962 Asian Games.
As the Indian team made its mark, Banerjee was forging his own path ahead. He, along with Chuni Goswami and Tulsidas Balaram came to be known as the Holy Trinity of Indian football. After he retired as a player, he stepped into the role of the coach. He has coached good players such as Bhaichung Bhutia, who believes that ‘there was no bigger name in Indian football than PK Banerjee, to learn from.’.
On the personal front, the adoration that PK da had for Aarti, his wife of nearly 40 long years, was well known. Their romance was sudden. Once, Banerjee had to visit her father to apologise for his absence from an event where he was the chief guest. His future father-in-law, charmed by Banerjee’s humbleness, offered his daughter’s hand. Banerjee, already charmed by the girl, requested his parents to accept the match. His courtship with Aarti lasted five long years, marked by long drives on scooters. Their wedding was a momentous event, attended by many celebrities.
Banerjee suffered the loss of his wife in 2003. He overcame this personal tragedy and continued to be a vibrant presence in Indian football. This “Guardian Angel” of Indian football succumbed to sepsis and multiple organ failure on 20 March 2020. He is survived by his brother, Prasun Banerjee, a politician and former footballer, and his daughters, Paula and Purna. His family was overwhelmed with calls and messages on his death. A legend on the pitch, Banerjee ignited a passion for the beautiful game in countless hearts across India.
-
PK Banerjee
The Man with the Golden Feet.
(23 June 1936 -20 March 2020)
In 1969, FIFA organised a 14-week training course for aspiring coaches in Asia led by German football manager Dettmar Cramer. Four of the forty-two candidates who attended the training program in Japan were from India. Only two out of these four completed the course and received first-class degrees. One of them was the Indian footballer PK Banerjee, the man who won a record four consecutive Calcutta League titles.
When PK Banerjee stepped onto the field, the air hummed with anticipation. The spectators would watch with rapt attention and hopeful gazes, pinning their dreams of victory on him. Banerjee was always flamboyantly dressed. His printed shirts and large steel-framed glasses were impossible to ignore. He didn’t need the clothes to make him stand out, though. His boisterous personality and his soccer skills were enough.
The 1936-born Banerjee is fondly remembered today as PK or PK da. At birth, he had been named Prodipto Kumar. Prodipto became Pradip later in life due to a “clerical error” at his alma mater, Patna University.
Banerjee was born near Jalpaiguri, West Bengal. His phenomenal record as a football player makes it inconceivable for one to imagine any other life for him. Banerjee came from a humble background and had humbler goals. He played for Kolkata’s Aryan Club for a season and had even received offers from three other clubs, but Banerjee joined the less glamorous Eastern Railway instead. He had a big family to look after and had been desperate for a job. A steady income from the Eastern Railways looked better to him than a fledgling career in football.
Banerjee won the Calcutta Football League with Eastern Railway in 1958. Though his club career lacked trophies with major clubs, he established himself as a top player and a leader for India. Through the 1960s, Banerjee helped the Indian football team gain international recognition. He led the team in the 1960s Olympics. Two years later, Banerjee guided the team to Gold in the 1962 Asian Games.
As the Indian team made its mark, Banerjee was forging his own path ahead. He, along with Chuni Goswami and Tulsidas Balaram came to be known as the Holy Trinity of Indian football. After he retired as a player, he stepped into the role of the coach. He has coached good players such as Bhaichung Bhutia, who believes that ‘there was no bigger name in Indian football than PK Banerjee, to learn from.’.
On the personal front, the adoration that PK da had for Aarti, his wife of nearly 40 long years, was well known. Their romance was sudden. Once, Banerjee had to visit her father to apologise for his absence from an event where he was the chief guest. His future father-in-law, charmed by Banerjee’s humbleness, offered his daughter’s hand. Banerjee, already charmed by the girl, requested his parents to accept the match. His courtship with Aarti lasted five long years, marked by long drives on scooters. Their wedding was a momentous event, attended by many celebrities.
Banerjee suffered the loss of his wife in 2003. He overcame this personal tragedy and continued to be a vibrant presence in Indian football. This “Guardian Angel” of Indian football succumbed to sepsis and multiple organ failure on 20 March 2020. He is survived by his brother, Prasun Banerjee, a politician and former footballer, and his daughters, Paula and Purna. His family was overwhelmed with calls and messages on his death. A legend on the pitch, Banerjee ignited a passion for the beautiful game in countless hearts across India.
Entertainment
Ustad Vilayat Khan
Aftab-e-Sitar
(28 August 1928- 13 March 2004)
Fingers dancing over the strings of his sitar, Ustad Vilayat Khan transformed ragas into sublime acoustic experiences. His music transcended barriers. Khan’s talent, nurtured from when he was a child, blossomed and took the world by storm as he grew older and thrilled people all over the world, from the royal court of Gauripur to stages in music festivals.
Vilayat Khan was born into a family of musicians with a lineage that can be traced back to Tansen, Akbar’s court musician. He belonged to the Imdadkhani-Etawah Gharana, known for producing some of the biggest names in instrumental music. Khan garnered so much fame and adoration that the gharana is fondly known as the Vilayatkhani Gharana today.
Khan was born in a musically-inclined family. His forefathers were musicians going back to at least five generations before him and the family tradition continues even today through his sons Ustad Shujaat Khan and Hidayat Khan, and his nephew Ustad Rais Khan.
His father’s untimely death when Khan was only ten years old made him turn to his mother’s family for lessons. He was taught by his mother, and his maternal grandfather and uncle. They were not string players though—they were vocalists, and that is what helped Khan develop his unique gayaki ang, a new stream among sitar players. Khan was very talented. He started performing in concerts at the age of six, even recording an album when he was only eight years old. By the time Khan was out of his teens, people were flocking to see him in droves. Large venues were made to look inadequate. His concerts were all sold out. Loudspeakers were installed outside auditoriums for those who couldn’t get seats.
When he had mastered the sitar, he changed the design of the instrument by reducing the number of strings, thereby confining the instrument to its true treble register. The lower register was left to the surbahar, a type of bass sitar that was also played by other family members.
Khan refused recognition and awards. He was awarded the Padma Shri, the Padma Bhushan and the Padma Vibhushan in 1964, 1968, and 2000 respectively but outright refused to accept them. He was not making a political statement but was simply trying to emphasise that he had strict standards for those allowed to judge him and his art. For Khan, the committees that conferred such awards were not competent enough to judge him. The only titles he accepted were that of the “Bharat Sitar Samrat” by the Artistes Association of India and “Aftab-e-Sitar” (Sun of the Sitar) from President Fakhruddin Ali Ahmed. All this might sound like he was a difficult person to deal with, but he was merely someone who knew his art inside out, and wanted it to be given the respect and honour it was due from those who truly understood it.
He once said, ‘You have to play assuming no one in the audience knows anything about your music; you have to play for yourself, and slowly you start listening to your playing and enjoying your own music. That’s when your audience connects with the music.’
Khan poured his whole life into his art, and left behind a massive legacy when he died on 13 March 2004. His melodies, his innovative techniques, his genius and passion for his art survive through his disciples.
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Ustad Vilayat Khan
Aftab-e-Sitar.
(28 August 1928- 13 March 2004)
Fingers dancing over the strings of his sitar, Ustad Vilayat Khan transformed ragas into sublime acoustic experiences. His music transcended barriers. Khan’s talent, nurtured from when he was a child, blossomed and took the world by storm as he grew older and thrilled people all over the world, from the royal court of Gauripur to stages in music festivals.
Vilayat Khan was born into a family of musicians with a lineage that can be traced back to Tansen, Akbar’s court musician. He belonged to the Imdadkhani-Etawah Gharana, known for producing some of the biggest names in instrumental music. Khan garnered so much fame and adoration that the gharana is fondly known as the Vilayatkhani Gharana today.
Khan was born in a musically-inclined family. His forefathers were musicians going back to at least five generations before him and the family tradition continues even today through his sons Ustad Shujaat Khan and Hidayat Khan, and his nephew Ustad Rais Khan.
His father’s untimely death when Khan was only ten years old made him turn to his mother’s family for lessons. He was taught by his mother, and his maternal grandfather and uncle. They were not string players though—they were vocalists, and that is what helped Khan develop his unique gayaki ang, a new stream among sitar players. Khan was very talented. He started performing in concerts at the age of six, even recording an album when he was only eight years old. By the time Khan was out of his teens, people were flocking to see him in droves. Large venues were made to look inadequate. His concerts were all sold out. Loudspeakers were installed outside auditoriums for those who couldn’t get seats.
When he had mastered the sitar, he changed the design of the instrument by reducing the number of strings, thereby confining the instrument to its true treble register. The lower register was left to the surbahar, a type of bass sitar that was also played by other family members.
Khan refused recognition and awards. He was awarded the Padma Shri, the Padma Bhushan and the Padma Vibhushan in 1964, 1968, and 2000 respectively but outright refused to accept them. He was not making a political statement but was simply trying to emphasise that he had strict standards for those allowed to judge him and his art. For Khan, the committees that conferred such awards were not competent enough to judge him. The only titles he accepted were that of the “Bharat Sitar Samrat” by the Artistes Association of India and “Aftab-e-Sitar” (Sun of the Sitar) from President Fakhruddin Ali Ahmed. All this might sound like he was a difficult person to deal with, but he was merely someone who knew his art inside out, and wanted it to be given the respect and honour it was due from those who truly understood it.
He once said, ‘You have to play assuming no one in the audience knows anything about your music; you have to play for yourself, and slowly you start listening to your playing and enjoying your own music. That’s when your audience connects with the music.’
Khan poured his whole life into his art, and left behind a massive legacy when he died on 13 March 2004. His melodies, his innovative techniques, his genius and passion for his art survive through his disciples.
- Science & Tech
- Entertainment
Science & Tech
Shakuntala Devi
The Human Calculator
(4 November 1929 - 21 April 2013)
Children under the age of six can barely do basic arithmetic. In this context, the event of a young girl doing lightning-quick mental maths, giving out answers in mere seconds was narrated by those who witnessed it as being near magical. This young girl was Shakuntala Devi, born 4 November 1929.
While her mythological namesake was the daughter of the celebrated Sage Vishwamitra, Shakuntala Devi could not lay claim to a prestigious lineage of any kind. The earthly lass was the daughter of a man who worked as a trapeze artist, a lion tamer, a tightrope walker and a magician. With no formal education, Devi did not pick up what other school-going children of her age were learning. However, she was blessed with a brilliant mind that was faster than the computers available at the time—she beat UNIVAC, the first digital computer.
Her peculiar ability was revealed to her father when he engaged in card tricks with her. He realised that Devi won not by cheating, but through her knack for remembering the cards and calculating probability. This quickly turned into the Shakuntala Show where her father put her up as the exhibit. Devi, like her father, was rebellious by nature. While he rebelled against his family to work in a circus, she would later rebel against her father, who tried to shackle her into a life as a performer.
Devi’s journey into fame started when she was just six. From displaying her skills at the University of Mysore, she moved to Europe and New York, where the presentation of her unerring calculations drew wide applause. She astounded people wherever she went. In an interview with the BBC in 1950, Devi answered a question posed to her by broadcast journalist Leslie Mitchell and, in a shocking turn of events, was declared to be wrong for the first time ever. After verification of the answer, however, Mitchell had to admit that ‘she was right and the BBC wrong!’ There was absolutely no room for doubt about her ability then. Devi was aptly called the “Human Computer” after this interview. One would think that such a title would be a great honour, but not for Devi! She believed that the human mind was far more capable than a computer and did not like being compared to one.
Many questioned her genius, and asked how she did it, but Devi had no answer. All she could say was that it was ‘God’s gift. A divine ability.’ This was perhaps true because there was no one back then, nor has there been anyone like her since, who can do what she did.
Mathematics is deemed difficult and dry, and not many like it, but Devi found joy in numbers. Arthur Jensen, a researcher who worked with her, described her as being ‘alert, extroverted, affable and articulate’ while her daughter, Anupama Banerji, fondly remembers her as being a fun person who had a tendency for showmanship even in a subject that people found boring.
While Devi is understandably most well known for her unique computer-like brain, she was also just a woman who enjoyed sarees, danced to Fred Astaire songs, struggled with the demands of motherhood, and even had a parallel career as an astrologist. She wrote many books on various subjects. Mathematics, of course, dominated her writing, but she also wrote cookbooks, puzzle books, and works on astrology.
Devi died on 21 April 2013. Her daughter, Anupama, narrated her mother’s life to director Anu Menon who created the film Shakuntala (2020) for the silver screen.
While Devi might be known for her mathematical genius, it is important to remember that her life was more than the sum of the numbers she calculated.
-
Shakuntala Devi
The Human Calculator.
(4 November 1929 - 21 April 2013)
Children under the age of six can barely do basic arithmetic. In this context, the event of a young girl doing lightning-quick mental maths, giving out answers in mere seconds was narrated by those who witnessed it as being near magical. This young girl was Shakuntala Devi, born 4 November 1929.
While her mythological namesake was the daughter of the celebrated Sage Vishwamitra, Shakuntala Devi could not lay claim to a prestigious lineage of any kind. The earthly lass was the daughter of a man who worked as a trapeze artist, a lion tamer, a tightrope walker and a magician. With no formal education, Devi did not pick up what other school-going children of her age were learning. However, she was blessed with a brilliant mind that was faster than the computers available at the time—she beat UNIVAC, the first digital computer.
Her peculiar ability was revealed to her father when he engaged in card tricks with her. He realised that Devi won not by cheating, but through her knack for remembering the cards and calculating probability. This quickly turned into the Shakuntala Show where her father put her up as the exhibit. Devi, like her father, was rebellious by nature. While he rebelled against his family to work in a circus, she would later rebel against her father, who tried to shackle her into a life as a performer.
Devi’s journey into fame started when she was just six. From displaying her skills at the University of Mysore, she moved to Europe and New York, where the presentation of her unerring calculations drew wide applause. She astounded people wherever she went. In an interview with the BBC in 1950, Devi answered a question posed to her by broadcast journalist Leslie Mitchell and, in a shocking turn of events, was declared to be wrong for the first time ever. After verification of the answer, however, Mitchell had to admit that ‘she was right and the BBC wrong!’ There was absolutely no room for doubt about her ability then. Devi was aptly called the “Human Computer” after this interview. One would think that such a title would be a great honour, but not for Devi! She believed that the human mind was far more capable than a computer and did not like being compared to one.
Many questioned her genius, and asked how she did it, but Devi had no answer. All she could say was that it was ‘God’s gift. A divine ability.’ This was perhaps true because there was no one back then, nor has there been anyone like her since, who can do what she did.
Mathematics is deemed difficult and dry, and not many like it, but Devi found joy in numbers. Arthur Jensen, a researcher who worked with her, described her as being ‘alert, extroverted, affable and articulate’ while her daughter, Anupama Banerji, fondly remembers her as being a fun person who had a tendency for showmanship even in a subject that people found boring.
While Devi is understandably most well known for her unique computer-like brain, she was also just a woman who enjoyed sarees, danced to Fred Astaire songs, struggled with the demands of motherhood, and even had a parallel career as an astrologist. She wrote many books on various subjects. Mathematics, of course, dominated her writing, but she also wrote cookbooks, puzzle books, and works on astrology.
Devi died on 21 April 2013. Her daughter, Anupama, narrated her mother’s life to director Anu Menon who created the film Shakuntala (2020) for the silver screen.
While Devi might be known for her mathematical genius, it is important to remember that her life was more than the sum of the numbers she calculated.
Entertainment
Kelucharan Mohapatra
The Odyssey of Kelubabu
(8 January 1926 -7 April 2004)
Kelucharan Mohapatra’s body was his instrument, flowing, rapturous, and always in tune. The dance he worshipped—that he literally pledged allegiance to in blood—bowed back in deference.
The legendary Odissi dancer and guru passed away on 7 April 2004, in Bhubaneswar, at the age of 78. His contributions to the dance form have been profound and transformative, ensuring that it is recognised globally.
Kelucharan Mohapatra, affectionately known as Kelubabu, was born in a family of patachitrakars (traditional scroll painters) in a small village near Puri. He was introduced to the arts at an early age. He was interested in the gotipua tradition, where young boys dressed as women performed devotional dances. At the age of 14, driven by a desire to master the art, Mohapatra left home to join the Raas party of Mohan Sundar Devgoswami. Under Devgoswami's mentorship, he honed his skills not just as a dancer but also as a percussionist, mastering instruments like the pakhawaj and tabla. He was highly dedicated to his guru. It is said that he once sneaked out at night to play cards to earn money for his ailing mentor!
He later joined the Annapurna Theatre in Cuttack. It was during this time that he met and married Vishnupriya, a fellow dancer. She partnered him in many performances, and they spread the joy and intricacy of Odissi together.
One of Mohapatra's significant contributions was his role in the formalisation of Odissi as a classical dance form. Alongside other stalwarts like Guru Pankaj Charan Das, Guru Deba Prasad Das, and Guru Mayadhar Raut, he played a pivotal role in structuring the dance, blending traditional elements with a modern approach. These collaborators signed a symbolic oath in their own blood, indicating their dedication to Odissi.
He was a revered guru to many prominent dancers, including Sanjukta Panigrahi, Kumkum Mohanty, Sonal Mansingh, Madhavi Mudgal, and Protima Bedi. All of them carried forward his teachings and spread Odissi across the world. As a teacher, he was known for his precision, grace, and the unique ability to blend classical rigour with expressive storytelling.
He was known for his engaging performances, like the time he descended from the stage at Delhi's Kamani Auditorium to interact directly with his audience—an anecdote that shows he desired for a deeper connection with his audience.
Mohapatra continued to teach and perform as he grew older, despite facing health issues. He established Srajan, an institution to honour and promote Odissi. It is now run by his son Ratikant Mohapatra.
Kelucharan Mohapatra was a visionary who worked tirelessly to elevate Odissi. During his lifetime he received the Padma Shri, Padma Bhushan, and Padma Vibhushan, some of India's highest civilian awards. As one of his disciples, Madhavi Mudgal, aptly put it, ‘He was a guru who was genuine and sincere. They just don't make them like that any more.’ With his passing, the world has lost a beacon of classical dance. Long live Kelubabu.
Rishi Kapoor
The Forever Shayar
(4 September 1952 - 30 April 2020)
The ever-beloved “Chintuji”, the mischievous but stern Rishi Kapoor, a middle child of the Kapoor dynasty, passed away on 30 April 2020 at the age of 67. He was the son of the legendary tramp, actor-director Raj Kapoor, and Krishna Raj Kapoor. Rishi Kapoor's charm and versatility endured through many decades and endeared him to many.
Rishi was not an ordinary child. His early years were spent, or mis-spent as some would say, frolicking around R.K. Studios, the venerable Mumbai institution established by his father. There, in the make-up room, he’d grow a moustache with a pencil. Rishi’s uncle, Shashi Kapoor, recalled that, after a hearty spanking, Rishi would bound off to the mirror to see what he looked like when in tears. This bit of harmless narcissism—a desire to know and control what others feel when they look at you—is perhaps the most primal of the drives that make an actor tick. While he was made to sit atop a cupboard (serving a punishment), Rishi would break out into moves that he had seen Dharmendra enact on screen. He was a born performer.
Rishi Kapoor's journey in cinema began as a child actor in his father's films Shree 420 and Mera Naam Joker (1970), where he portrayed the younger version of the lead actor. He won the National Film Award for Best Child Artist. His debut as a lead actor in Bobby (1973) catapulted him to stardom. The romantic drama, directed by Raj Kapoor, showcased his boyish charm, and he became the heartthrob of the 1970s and 1980s.
Kapoor starred in several blockbusters such as Kabhi Kabhie (1976), Amar Akbar Anthony (1977), Karz (1980), Prem Rog (1982), and Chandni (1989). His charismatic performances blended with emotional depth earned him a devoted fan base.
Kapoor was known for his dedication to his craft and his ability to adapt to changing times. In the 2000s, he transitioned to character roles, and delivered notable performances in films like Do Dooni Chaar (2010), Agneepath (2012), Kapoor & Sons (2016), and 102 Not Out (2018).
His role in Kapoor & Sons, as a 90-year-old patriarch, was noted for its authenticity and humour. This film held a special place in Rishi’s heart, because he noticed that his own sprawling clan, and the bickering, on-screen Kapoors were rather alike. In this, he also noted his bond with his grandfather, Raj, and Raj’s bond with his, saying perhaps grandparents and grandchildren do make for better friends.
Rishi Kapoor's personal life was as vibrant as his professional one. He married actress Neetu Singh in 1980, and their on-screen chemistry translated into a loving partnership off-screen. They had two children, Riddhima and Ranbir, the latter also a leading actor in Bollywood.
His online presence was an interesting aspect of his life. He often tweeted his unfiltered opinions on various subjects, endearing himself to fans with his blunt honesty. His autobiography, Khullam Khulla: Rishi Kapoor Uncensored, published in 2017, doubled down on this candid-speak, offering insights into his life, career, and the film industry.
Amitabh Bachchan, his co-star in several films, fondly remembered him as a jovial and spirited person. He tweeted that he felt destroyed at the death of his old friend.
In 2018, Kapoor was diagnosed with leukaemia and subsequently underwent treatment in New York. His battle with the disease was marked by resilience and optimism. His wife Neetu was by his side throughout the ordeal. Kapoor's return to India in 2019 was met with widespread relief and joy from his fans, but his health continued to be a concern.
Rishi Kapoor's death marked the end of an era in Bollywood. He was a legendary actor who delighted audiences with his versatility and natural charm.
-
Kelucharan Mohapatra
The Odyssey of Kelubabu.
(8 January 1926 -7 April 2004)
Kelucharan Mohapatra’s body was his instrument, flowing, rapturous, and always in tune. The dance he worshipped—that he literally pledged allegiance to in blood—bowed back in deference.
The legendary Odissi dancer and guru passed away on 7 April 2004, in Bhubaneswar, at the age of 78. His contributions to the dance form have been profound and transformative, ensuring that it is recognised globally.Kelucharan Mohapatra, affectionately known as Kelubabu, was born in a family of patachitrakars (traditional scroll painters) in a small village near Puri. He was introduced to the arts at an early age. He was interested in the gotipua tradition, where young boys dressed as women performed devotional dances. At the age of 14, driven by a desire to master the art, Mohapatra left home to join the Raas party of Mohan Sundar Devgoswami. Under Devgoswami's mentorship, he honed his skills not just as a dancer but also as a percussionist, mastering instruments like the pakhawaj and tabla. He was highly dedicated to his guru. It is said that he once sneaked out at night to play cards to earn money for his ailing mentor!
He later joined the Annapurna Theatre in Cuttack. It was during this time that he met and married Vishnupriya, a fellow dancer. She partnered him in many performances, and they spread the joy and intricacy of Odissi together.
One of Mohapatra's significant contributions was his role in the formalisation of Odissi as a classical dance form. Alongside other stalwarts like Guru Pankaj Charan Das, Guru Deba Prasad Das, and Guru Mayadhar Raut, he played a pivotal role in structuring the dance, blending traditional elements with a modern approach. These collaborators signed a symbolic oath in their own blood, indicating their dedication to Odissi.
He was a revered guru to many prominent dancers, including Sanjukta Panigrahi, Kumkum Mohanty, Sonal Mansingh, Madhavi Mudgal, and Protima Bedi. All of them carried forward his teachings and spread Odissi across the world. As a teacher, he was known for his precision, grace, and the unique ability to blend classical rigour with expressive storytelling.
He was known for his engaging performances, like the time he descended from the stage at Delhi's Kamani Auditorium to interact directly with his audience—an anecdote that shows he desired for a deeper connection with his audience.
Mohapatra continued to teach and perform as he grew older, despite facing health issues. He established Srajan, an institution to honour and promote Odissi. It is now run by his son Ratikant Mohapatra.
Kelucharan Mohapatra was a visionary who worked tirelessly to elevate Odissi. During his lifetime he received the Padma Shri, Padma Bhushan, and Padma Vibhushan, some of India's highest civilian awards. As one of his disciples, Madhavi Mudgal, aptly put it, ‘He was a guru who was genuine and sincere. They just don't make them like that any more.’ With his passing, the world has lost a beacon of classical dance. Long live Kelubabu.
-
Rishi Kapoor
The Forever Shayar.
(4 September 1952 - 30 April 2020)
The ever-beloved “Chintuji”, the mischievous but stern Rishi Kapoor, a middle child of the Kapoor dynasty, passed away on 30 April 2020 at the age of 67. He was the son of the legendary tramp, actor-director Raj Kapoor, and Krishna Raj Kapoor. Rishi Kapoor's charm and versatility endured through many decades and endeared him to many.
Rishi was not an ordinary child. His early years were spent, or mis-spent as some would say, frolicking around R.K. Studios, the venerable Mumbai institution established by his father. There, in the make-up room, he’d grow a moustache with a pencil. Rishi’s uncle, Shashi Kapoor, recalled that, after a hearty spanking, Rishi would bound off to the mirror to see what he looked like when in tears. This bit of harmless narcissism—a desire to know and control what others feel when they look at you—is perhaps the most primal of the drives that make an actor tick. While he was made to sit atop a cupboard (serving a punishment), Rishi would break out into moves that he had seen Dharmendra enact on screen. He was a born performer.
Rishi Kapoor's journey in cinema began as a child actor in his father's films Shree 420 and Mera Naam Joker (1970), where he portrayed the younger version of the lead actor. He won the National Film Award for Best Child Artist. His debut as a lead actor in Bobby (1973) catapulted him to stardom. The romantic drama, directed by Raj Kapoor, showcased his boyish charm, and he became the heartthrob of the 1970s and 1980s.
Kapoor starred in several blockbusters such as Kabhi Kabhie (1976), Amar Akbar Anthony (1977), Karz (1980), Prem Rog (1982), and Chandni (1989). His charismatic performances blended with emotional depth earned him a devoted fan base.
Kapoor was known for his dedication to his craft and his ability to adapt to changing times. In the 2000s, he transitioned to character roles, and delivered notable performances in films like Do Dooni Chaar (2010), Agneepath (2012), Kapoor & Sons (2016), and 102 Not Out (2018).
His role in Kapoor & Sons, as a 90-year-old patriarch, was noted for its authenticity and humour. This film held a special place in Rishi’s heart, because he noticed that his own sprawling clan, and the bickering, on-screen Kapoors were rather alike. In this, he also noted his bond with his grandfather, Raj, and Raj’s bond with his, saying perhaps grandparents and grandchildren do make for better friends.
Rishi Kapoor's personal life was as vibrant as his professional one. He married actress Neetu Singh in 1980, and their on-screen chemistry translated into a loving partnership off-screen. They had two children, Riddhima and Ranbir, the latter also a leading actor in Bollywood.
His online presence was an interesting aspect of his life. He often tweeted his unfiltered opinions on various subjects, endearing himself to fans with his blunt honesty. His autobiography, Khullam Khulla: Rishi Kapoor Uncensored, published in 2017, doubled down on this candid-speak, offering insights into his life, career, and the film industry.
Amitabh Bachchan, his co-star in several films, fondly remembered him as a jovial and spirited person. He tweeted that he felt destroyed at the death of his old friend.
In 2018, Kapoor was diagnosed with leukaemia and subsequently underwent treatment in New York. His battle with the disease was marked by resilience and optimism. His wife Neetu was by his side throughout the ordeal. Kapoor's return to India in 2019 was met with widespread relief and joy from his fans, but his health continued to be a concern.
Rishi Kapoor's death marked the end of an era in Bollywood. He was a legendary actor who delighted audiences with his versatility and natural charm.
- Sports
- Entertainment & Culture
Sports
Balbir Singh Sr.
The Golden Yardstick
(31 Dec 1923 - 25 May 2020)
As a youngster, Balbir Singh Sr.’s fate was sealed by imperial fiat! Sir John Bennett, then Inspector-General of the Punjab Police, was hell-bent on signing up Singh for the Punjab Police team, also offering him the post of Assistant Sub-Inspector as part of the bargain. Singh had no desire to be a part of a cruel arm of the state, particularly one that had incarcerated his own father and his comrades for daring to speak out in favour of their nation’s liberty. The oppressor’s yoke was trying to force itself upon him and lay claim to his talents. Singh demurred, and joined the Central Public Works Department hockey team instead.
One day, while perusing the dailies, Sir John discovered that the player whom he desired badly was playing hockey in New Delhi. Not to put up with this slight to an officer of His Majesty’s court, Sir Bennett immediately dispatched his minions, to arrest and bring Singh back to Punjab. He was given two choices—play hockey for the Punjab Police or suffer the rigours of prison. So, it came to be that one of the brightest stars in the constellation of Indian hockey found himself serving a sentence on the field, stick in hand, with furtive eyes always on the lookout for the ball.
Balbir Singh Sr., one of the most celebrated figures in Indian hockey, passed away on 25 May 2020 at the age of 96. His illustrious career spanned several decades.
Balbir Singh Sr. was born in the small Punjab town of Haripur Khalsa. Once he started playing competitive hockey, he quickly rose through the ranks, ultimately representing India on the international stage. Singh made his Olympic debut in the 1948 London Games, where his skills as a forward helped India secure the gold medal. He scored two goals in the final against Great Britain in a significant victory that came shortly after India's independence.
Singh's success in the Olympics continued in the 1952 Helsinki Games, where he played a pivotal role in India's gold medal win. In the final against the Netherlands, Singh scored five goals, setting a record for the most goals scored by an individual in an Olympic final, a record that still stands.
He led the Indian team in the 1956 Melbourne Olympics. Despite a fractured right hand, he played through the pain to guide India to a 1-0 victory over Pakistan in the final, securing his third consecutive Olympic gold medal. This victory was particularly poignant as it marked India's sixth consecutive Olympic gold in hockey.
After he hung up his boots, Singh was the manager of the Indian team that won the bronze medal at the inaugural Hockey World Cup in 1971, and later in 1975, when India won the tournament. His tactical acumen was instrumental in these achievements.
During the 1952 Olympics, Singh credited his fellow players for their support and emphasised the importance of teamwork over individual achievements. This attitude endeared him to fans and fellow players alike, earning him respect both on and off the field.
Singh also nurtured future generations of hockey players. He frequently visited schools and training camps, sharing his knowledge and inspiring young athletes.
Balbir Singh Sr shaped the contours of Indian hockey. The statistical heft of his achievements is immense. He is survived by his family, including his grandson Kabir. His legacy will continue to inspire and guide future generations of hockey players.
-
Balbir Singh Sr.
The Golden Yardstick.
(31 Dec 1923 - 25 May 2020)
As a youngster, Balbir Singh Sr.’s fate was sealed by imperial fiat! Sir John Bennett, then Inspector-General of the Punjab Police, was hell-bent on signing up Singh for the Punjab Police team, also offering him the post of Assistant Sub-Inspector as part of the bargain. Singh had no desire to be a part of a cruel arm of the state, particularly one that had incarcerated his own father and his comrades for daring to speak out in favour of their nation’s liberty. The oppressor’s yoke was trying to force itself upon him and lay claim to his talents. Singh demurred, and joined the Central Public Works Department hockey team instead.
One day, while perusing the dailies, Sir John discovered that the player whom he desired badly was playing hockey in New Delhi. Not to put up with this slight to an officer of His Majesty’s court, Sir Bennett immediately dispatched his minions, to arrest and bring Singh back to Punjab. He was given two choices—play hockey for the Punjab Police or suffer the rigours of prison. So, it came to be that one of the brightest stars in the constellation of Indian hockey found himself serving a sentence on the field, stick in hand, with furtive eyes always on the lookout for the ball.
Balbir Singh Sr., one of the most celebrated figures in Indian hockey, passed away on 25 May 2020 at the age of 96. His illustrious career spanned several decades.
Balbir Singh Sr. was born in the small Punjab town of Haripur Khalsa. Once he started playing competitive hockey, he quickly rose through the ranks, ultimately representing India on the international stage. Singh made his Olympic debut in the 1948 London Games, where his skills as a forward helped India secure the gold medal. He scored two goals in the final against Great Britain in a significant victory that came shortly after India's independence.
Singh's success in the Olympics continued in the 1952 Helsinki Games, where he played a pivotal role in India's gold medal win. In the final against the Netherlands, Singh scored five goals, setting a record for the most goals scored by an individual in an Olympic final, a record that still stands.
He led the Indian team in the 1956 Melbourne Olympics. Despite a fractured right hand, he played through the pain to guide India to a 1-0 victory over Pakistan in the final, securing his third consecutive Olympic gold medal. This victory was particularly poignant as it marked India's sixth consecutive Olympic gold in hockey.
After he hung up his boots, Singh was the manager of the Indian team that won the bronze medal at the inaugural Hockey World Cup in 1971, and later in 1975, when India won the tournament. His tactical acumen was instrumental in these achievements.
During the 1952 Olympics, Singh credited his fellow players for their support and emphasised the importance of teamwork over individual achievements. This attitude endeared him to fans and fellow players alike, earning him respect both on and off the field.
Singh also nurtured future generations of hockey players. He frequently visited schools and training camps, sharing his knowledge and inspiring young athletes.
Balbir Singh Sr shaped the contours of Indian hockey. The statistical heft of his achievements is immense. He is survived by his family, including his grandson Kabir. His legacy will continue to inspire and guide future generations of hockey players.
Entertainment
Kaifi Azmi
A Kaifiyat
(14 January 1919- 10 May 2002)
Kaifi Azmi, one of the most revered Urdu poets and lyricists of the 20th century, passed away on 10 May 2002, at the age of 83. Born Syed Athar Hussain Rizvi in 1919 in the small village of Mijwan in Azamgarh, Uttar Pradesh, Azmi's life and work were marked by his deep commitment to social justice, humanism, and the power of the written word.
Azmi was drawn to literature and activism from a young age. Although his family had hoped he would pursue a career in religious scholarship, the young Azmi was inspired by the Indian independence movement and the progressive literary ideals of the time. He joined the Communist Party of India and became a key figure in the Progressive Writers' Association, a collective of writers who used their art to challenge social injustices. Azmi once said that he cared not for the date of his birth, but only that he had been born in an enslaved India, became old in an independent and secular India, and hoped to die in a socialist India.
Azmi's poetry, known for its lyrical beauty and powerful social commentary, addressed themes such as poverty, communal harmony, and human dignity. His first collection of poems, Jhankar, was published in 1943, and he quickly gained a reputation as a poet of the people. One of his most famous poems, Aurat, called for the liberation and empowerment of women. Another one, Makan, rages about how the homeless are exploited and coerced into building ostentatious houses for the rich.
His foray into Bollywood began in the early 1950s, when financial necessity led him to write lyrics for films. Azmi's songs are celebrated for their poetic elegance and emotional depth. Some of his most memorable works include Dhire dhire machal from Anupama, Chalte chalte yun hi koi from Pakeezah, and Koi ye kaise bataye from Arth. During the making of Kaagaz Ke Phool, director Guru Dutt requested a song that captured the essence of the film's melancholic beauty. Azmi wrote Waqt ne kiya kya haseen sitam in a single night, a testament to his poetic genius and deep understanding of human emotions. So moved was Dutt by the beauty and pathos of the song that he rewrote a portion of his film to accommodate it.
Azmi's contribution to Indian cinema extended beyond songwriting. He wrote the screenplay for the critically acclaimed film Garm Hawa, which depicted the plight of a Muslim family in post-Partition India. The film, based on an unpublished story by Ismat Chughtai and directed by M.S. Satyu, was a landmark in Indian cinema for its sensitive portrayal of communal tensions. Azmi was awarded both the National Film Award as well the Filmfare Award for his searing and uncompromising narrative. He also turned in a moving performance in Saeed Akhtar Mirza’s award-winning film, Naseem, as an elderly man trying to come to terms with communal violence.
In addition to his literary and cinematic achievements, Azmi was also known for his social work. He worked tirelessly to improve the lives of the underprivileged in his native village of Mijwan. He established the Mijwan Welfare Society, which focused on providing education and vocational training to women and children, ensuring they had opportunities for a better future.
Azmi's personal life was as rich and textured as his poetry. He was married to Shaukat Kaifi, an accomplished actress, and their daughter, Shabana Azmi, is one of India's most respected actresses and activists. The family was deeply involved in the arts and social causes, creating a legacy of cultural and social contributions that continues to inspire.
Kaifi Azmi's legacy is one of profound empathy, artistic brilliance, and unwavering commitment to social justice. The words of this titan continue to call us to action to make a more just and humane world.
Vijay Tendulkar
The Other Master
(6 January 1928 - 19 May 2008)
Vijay Tendulkar, an iconoclast whose presence loomed large over the Indian stage, made his last bow on 19 May 2008, at the age of 80. Known for his erudite and analytical plays, Tendulkar relentlessly probed at the margins of social and political ills through his works, leaving an indelible mark on Marathi literature.
Born on 6 January 1928, in Kolhapur, Maharashtra, Tendulkar's fascination with literature and theatre began early. His father, a progressive thinker who ran a small publishing business, provided him access to a wealth of books which fuelled his passion for storytelling. He wrote his first play at the tender age of 11, setting the stage for a prolific career.
Once upon a time, Vijay Tendulkar was waiting his turn at the Vile Parle railway station in Mumbai, at one with the multitude that this lifeline serviced. One imagines him, furtive and restless, trying to spot the narratives stitched into the many pockets of the platform. He was rudely interrupted by a group of young dramatists. They asked to be shown to a place where they could stage a mock-trial of President Lyndon Johnson of the United States. This absurd encounter influenced one of Tendulkar’s most acclaimed plays, Shantata! Court Chalu Aahe (Silence! The Court is in Session). Here, Tendulkar read the world around him, saw what no one else did, and distilled its essence in trenchant prose.
He visited Gujarat during its years of student militancy, Bihar in the thick of Jayprakash Narayan’s anti-corruption movement, and Musahari to experience the incandescent rage of the Naxalites. In his own words, he attempted "to look at violence from all possible angles".
His breakthrough came in 1961 with the play Shrimant, but it was Shantata! Court Chalu Aahe in 1967 that established him as a formidable voice. The play, which dealt with the systemic oppression of women and the hypocrisy of the judicial system, shocked audiences with its stark depiction of a reality that was often wilfully ignored. It was a harbinger of the socially conscious narratives that would become Tendulkar's hallmark.
Tendulkar wrote over 30 full-length plays and numerous one-act plays, short stories, and screenplays. His works often addressed controversial subjects such as state-sanctioned violence, sexual oppression, and political corruption.
Plays like Ghashiram Kotwal (1972), which depicted the abuse of power, and Sakharam Binder (1972), which explored sexual exploitation and male chauvinism, were both acclaimed in certain quarters and thought of as divisive in some others. As per Rajinder Nath of the Abhiyan theatre group, ‘He is the first playwright who made sex and violence respectable on the Indian stage.’
Tendulkar's collaboration with noted directors of his time like Satyadev Dubey and Amol Palekar brought his texts to life on stage and screen. He was also a key figure in the Indian New Wave cinema—he wrote the screenplays for landmark films such as Manthan (1976) and Akrosh (1980). "Tendulkar made us aware of the possibilities of the spoken word," said Amol Palekar.
Tendulkar’s routine always started early, near dawn, perusing the day’s dailies with a blue pencil and a pair of scissors in hand. His daughter Sushma, a film actress, assisted her father in locating and clipping out reports which pique his interest.
In many cases, these news reports, especially those that reported unsavoury events, that inspired his stories. The origins of Nishant, a film directed by Shyam Benegal, can be traced back to a piece about a school teacher’s wife being waylaid in Andhra Pradesh. The screenplay of Govind Nihalani’s Aakrosh was also similarly influenced.
Tendulkar was committed to address uncomfortable truths. ‘To displease none is to die,’ he declared. His work earned him numerous accolades, including the Padma Bhushan and the Sangeet Natak Akademi Award.
Tendulkar was known for his humility and introspective nature. He was a private individual who avoided the limelight, choosing to sharpen his craft in seclusion. His personal tragedies, including the untimely loss of his son Raju and daughter Priya, only compounded the profound rage that can be sensed in his oeuvre.
Vijay Tendulkar's passing brought down the curtain on an important act in the history of Indian theatre, but his voice lives on, a testament to his belief in the power of storytelling to provoke thought and inspire change.
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Kaifi Azmi
A Kaifiyat
(14 January 1919- 10 May 2002)
Kaifi Azmi, one of the most revered Urdu poets and lyricists of the 20th century, passed away on 10 May 2002, at the age of 83. Born Syed Athar Hussain Rizvi in 1919 in the small village of Mijwan in Azamgarh, Uttar Pradesh, Azmi's life and work were marked by his deep commitment to social justice, humanism, and the power of the written word.
Azmi was drawn to literature and activism from a young age. Although his family had hoped he would pursue a career in religious scholarship, the young Azmi was inspired by the Indian independence movement and the progressive literary ideals of the time. He joined the Communist Party of India and became a key figure in the Progressive Writers' Association, a collective of writers who used their art to challenge social injustices. Azmi once said that he cared not for the date of his birth, but only that he had been born in an enslaved India, became old in an independent and secular India, and hoped to die in a socialist India.
Azmi's poetry, known for its lyrical beauty and powerful social commentary, addressed themes such as poverty, communal harmony, and human dignity. His first collection of poems, Jhankar, was published in 1943, and he quickly gained a reputation as a poet of the people. One of his most famous poems, Aurat, called for the liberation and empowerment of women. Another one, Makan, rages about how the homeless are exploited and coerced into building ostentatious houses for the rich.
His foray into Bollywood began in the early 1950s, when financial necessity led him to write lyrics for films. Azmi's songs are celebrated for their poetic elegance and emotional depth. Some of his most memorable works include Dhire dhire machal from Anupama, Chalte chalte yun hi koi from Pakeezah, and Koi ye kaise bataye from Arth. During the making of Kaagaz Ke Phool, director Guru Dutt requested a song that captured the essence of the film's melancholic beauty. Azmi wrote Waqt ne kiya kya haseen sitam in a single night, a testament to his poetic genius and deep understanding of human emotions. So moved was Dutt by the beauty and pathos of the song that he rewrote a portion of his film to accommodate it.
Azmi's contribution to Indian cinema extended beyond songwriting. He wrote the screenplay for the critically acclaimed film Garm Hawa, which depicted the plight of a Muslim family in post-Partition India. The film, based on an unpublished story by Ismat Chughtai and directed by M.S. Satyu, was a landmark in Indian cinema for its sensitive portrayal of communal tensions. Azmi was awarded both the National Film Award as well the Filmfare Award for his searing and uncompromising narrative. He also turned in a moving performance in Saeed Akhtar Mirza’s award-winning film, Naseem, as an elderly man trying to come to terms with communal violence.
In addition to his literary and cinematic achievements, Azmi was also known for his social work. He worked tirelessly to improve the lives of the underprivileged in his native village of Mijwan. He established the Mijwan Welfare Society, which focused on providing education and vocational training to women and children, ensuring they had opportunities for a better future.
Azmi's personal life was as rich and textured as his poetry. He was married to Shaukat Kaifi, an accomplished actress, and their daughter, Shabana Azmi, is one of India's most respected actresses and activists. The family was deeply involved in the arts and social causes, creating a legacy of cultural and social contributions that continues to inspire.
Kaifi Azmi's legacy is one of profound empathy, artistic brilliance, and unwavering commitment to social justice. The words of this titan continue to call us to action to make a more just and humane world.
-
Vijay Tendulkar
The Other Master
(6 January 1928 - 19 May 2008)
Vijay Tendulkar, an iconoclast whose presence loomed large over the Indian stage, made his last bow on 19 May 2008, at the age of 80. Known for his erudite and analytical plays, Tendulkar relentlessly probed at the margins of social and political ills through his works, leaving an indelible mark on Marathi literature.
Born on 6 January 1928, in Kolhapur, Maharashtra, Tendulkar's fascination with literature and theatre began early. His father, a progressive thinker who ran a small publishing business, provided him access to a wealth of books which fuelled his passion for storytelling. He wrote his first play at the tender age of 11, setting the stage for a prolific career.
Once upon a time, Vijay Tendulkar was waiting his turn at the Vile Parle railway station in Mumbai, at one with the multitude that this lifeline serviced. One imagines him, furtive and restless, trying to spot the narratives stitched into the many pockets of the platform. He was rudely interrupted by a group of young dramatists. They asked to be shown to a place where they could stage a mock-trial of President Lyndon Johnson of the United States. This absurd encounter influenced one of Tendulkar’s most acclaimed plays, Shantata! Court Chalu Aahe (Silence! The Court is in Session). Here, Tendulkar read the world around him, saw what no one else did, and distilled its essence in trenchant prose.
He visited Gujarat during its years of student militancy, Bihar in the thick of Jayprakash Narayan’s anti-corruption movement, and Musahari to experience the incandescent rage of the Naxalites. In his own words, he attempted "to look at violence from all possible angles".
His breakthrough came in 1961 with the play Shrimant, but it was Shantata! Court Chalu Aahe in 1967 that established him as a formidable voice. The play, which dealt with the systemic oppression of women and the hypocrisy of the judicial system, shocked audiences with its stark depiction of a reality that was often wilfully ignored. It was a harbinger of the socially conscious narratives that would become Tendulkar's hallmark.
Tendulkar wrote over 30 full-length plays and numerous one-act plays, short stories, and screenplays. His works often addressed controversial subjects such as state-sanctioned violence, sexual oppression, and political corruption.
Plays like Ghashiram Kotwal (1972), which depicted the abuse of power, and Sakharam Binder (1972), which explored sexual exploitation and male chauvinism, were both acclaimed in certain quarters and thought of as divisive in some others. As per Rajinder Nath of the Abhiyan theatre group, ‘He is the first playwright who made sex and violence respectable on the Indian stage.’
Tendulkar's collaboration with noted directors of his time like Satyadev Dubey and Amol Palekar brought his texts to life on stage and screen. He was also a key figure in the Indian New Wave cinema—he wrote the screenplays for landmark films such as Manthan (1976) and Akrosh (1980). "Tendulkar made us aware of the possibilities of the spoken word," said Amol Palekar.
Tendulkar’s routine always started early, near dawn, perusing the day’s dailies with a blue pencil and a pair of scissors in hand. His daughter Sushma, a film actress, assisted her father in locating and clipping out reports which pique his interest.
In many cases, these news reports, especially those that reported unsavoury events, that inspired his stories. The origins of Nishant, a film directed by Shyam Benegal, can be traced back to a piece about a school teacher’s wife being waylaid in Andhra Pradesh. The screenplay of Govind Nihalani’s Aakrosh was also similarly influenced.
Tendulkar was committed to address uncomfortable truths. ‘To displease none is to die,’ he declared. His work earned him numerous accolades, including the Padma Bhushan and the Sangeet Natak Akademi Award.
Tendulkar was known for his humility and introspective nature. He was a private individual who avoided the limelight, choosing to sharpen his craft in seclusion. His personal tragedies, including the untimely loss of his son Raju and daughter Priya, only compounded the profound rage that can be sensed in his oeuvre.
Vijay Tendulkar's passing brought down the curtain on an important act in the history of Indian theatre, but his voice lives on, a testament to his belief in the power of storytelling to provoke thought and inspire change.
- Sports
- Business
Sports
Milkha Singh
The uncrowned king of the track.
(November 1929 – 18 June 2021)
During the upheaval of Partition, a young Sikh boy watched with horror as his father was killed. The last words he heard were: “Bhaag, MIlkha, Bhaag!”
Run he did, all the way to becoming the greatest runner that India had ever seen. Milkha Singh was India’s first individual star athlete, but he was also much more than that.
Born in Govindpura, Punjab, the horrors of Partition marked a traumatic beginning for him. Although his passport listed his date of birth as November 1932, in his autobiography he says he didn’t actually know the date. Separated from his family during the upheaval, he fled to Delhi, carrying the scars of loss and uncertainty.
He worked at a roadside restaurant before joining the Indian army. Seeking solace and purpose, he found his calling in athletics. His early years were spent in obscurity, but determination drove him to the tracks, where he would ultimately carve his name in golden letters.
At his first Olympics in 1956, the young Milkha’s chance meeting with champion Charles Jenkins proved to be a turning point. He returned to India determined to turn himself into “a running machine”.
Singh's rise in athletics was meteoric. He burst onto the international scene at the 1958 Asian Games in Tokyo, where he clinched the gold medal in the 400 metres. Until 2014, he was the only Indian male to have an individual athletics Commonwealth Games gold.
The 1960 Rome Olympics would bring Milkha the highest of highs, as well as the lowest of lows. In one of the greatest races that the Olympics has ever seen, Otis Davis of the US clinched gold, beating Germany’s Carl Kaufmann by one-hundredth of a second. Malcom Spence of South Africa finished third with a time of 45.6 seconds.
Competing against the world's best, Milkha narrowly missed out on a medal, finishing fourth in a race that would haunt him for years. His timing of 45.73s was a national record that stood for 40 years. Later, he called it the worst memory of his life, after the death of his parents.
He did not let that moment drag him down; he went on to secure three gold medals at the 1962 Asian Games—two in individual events and one as part of the relay team.
In 1960, he did the unthinkable: making a Pakistani leader praise an Indian athlete. After seeing Pakistan’s champion sprinter destroyed by Milkha in a race, an awestruck Ayub Khan described Milkha as ‘the Flying Sikh’.
Milkha’s training regimen was famously hard: he ran barefoot to develop his speed, living up to the belief that hard work and perseverance were paramount to success. His training sessions, often involving gruelling runs at dawn, became the stuff of legends.
Off the track, Milkha's humility and kindness endeared him to many. He remained grounded despite his fame, and often attributed his success to the love and support of his family and his coach, who nurtured his talent. His marriage to the athlete Nirmal Kaur added another dimension to his life; together, they shared a deep love for sports (she was a national level volleyball player) and a commitment to promoting athletics in India.
As Singh aged, his focus shifted towards inspiring the next generation. He dedicated his later years to mentoring young athletes and promoting sports across the country. He established Milkha’s Charitable Trust, aimed at nurturing talent in athletics and providing opportunities for underprivileged youth showcased his commitment to giving back to the sport that had given him so much. His son, Jeev Milkha Singh, is a professional golfer who became the first Indian to join the European Tour, continuing his father’s sporting legacy.
Milkha passed away on 18 June 2021, succumbing to complications related to COVID-19. His spirit lives on through the millions of Indians who learned from him to never give up.
-
Milkha Singh
The uncrowned king of the track.
(November 1929 – 18 June 2021)
During the upheaval of Partition, a young Sikh boy watched with horror as his father was killed. The last words he heard were: “Bhaag, MIlkha, Bhaag!”
Run he did, all the way to becoming the greatest runner that India had ever seen. Milkha Singh was India’s first individual star athlete, but he was also much more than that.
Born in Govindpura, Punjab, the horrors of Partition marked a traumatic beginning for him. Although his passport listed his date of birth as November 1932, in his autobiography he says he didn’t actually know the date. Separated from his family during the upheaval, he fled to Delhi, carrying the scars of loss and uncertainty.
He worked at a roadside restaurant before joining the Indian army. Seeking solace and purpose, he found his calling in athletics. His early years were spent in obscurity, but determination drove him to the tracks, where he would ultimately carve his name in golden letters.
At his first Olympics in 1956, the young Milkha’s chance meeting with champion Charles Jenkins proved to be a turning point. He returned to India determined to turn himself into “a running machine”.
Singh's rise in athletics was meteoric. He burst onto the international scene at the 1958 Asian Games in Tokyo, where he clinched the gold medal in the 400 metres. Until 2014, he was the only Indian male to have an individual athletics Commonwealth Games gold.
The 1960 Rome Olympics would bring Milkha the highest of highs, as well as the lowest of lows. In one of the greatest races that the Olympics has ever seen, Otis Davis of the US clinched gold, beating Germany’s Carl Kaufmann by one-hundredth of a second. Malcom Spence of South Africa finished third with a time of 45.6 seconds.
Competing against the world's best, Milkha narrowly missed out on a medal, finishing fourth in a race that would haunt him for years. His timing of 45.73s was a national record that stood for 40 years. Later, he called it the worst memory of his life, after the death of his parents.
He did not let that moment drag him down; he went on to secure three gold medals at the 1962 Asian Games—two in individual events and one as part of the relay team.
In 1960, he did the unthinkable: making a Pakistani leader praise an Indian athlete. After seeing Pakistan’s champion sprinter destroyed by Milkha in a race, an awestruck Ayub Khan described Milkha as ‘the Flying Sikh’.
Milkha’s training regimen was famously hard: he ran barefoot to develop his speed, living up to the belief that hard work and perseverance were paramount to success. His training sessions, often involving gruelling runs at dawn, became the stuff of legends.
Off the track, Milkha's humility and kindness endeared him to many. He remained grounded despite his fame, and often attributed his success to the love and support of his family and his coach, who nurtured his talent. His marriage to the athlete Nirmal Kaur added another dimension to his life; together, they shared a deep love for sports (she was a national level volleyball player) and a commitment to promoting athletics in India.
As Singh aged, his focus shifted towards inspiring the next generation. He dedicated his later years to mentoring young athletes and promoting sports across the country. He established Milkha’s Charitable Trust, aimed at nurturing talent in athletics and providing opportunities for underprivileged youth showcased his commitment to giving back to the sport that had given him so much. His son, Jeev Milkha Singh, is a professional golfer who became the first Indian to join the European Tour, continuing his father’s sporting legacy.
Milkha passed away on 18 June 2021, succumbing to complications related to COVID-19. His spirit lives on through the millions of Indians who learned from him to never give up.
Business
Mohan Lal Lohia (Business)
The Indian founder of an Asian empire
(21 December 1930 – 1 June 2017)
Mohan Lal Lohia, the founder of the Indorama Group, leaves behind a legacy that continues to shape industries. Born on 21 December, 1930, Lohia’s life was a testament to perseverance, entrepreneurial spirit, and a commitment to ethical business practices. From humble beginnings, he rose to create one of the most significant industrial conglomerates of his time.
Lohia’s journey as a businessman was turbocharged due to an awareness of the potential for industrial growth in Southeast Asia. He co-founded Indorama Corporation in 1975, focusing initially on yarn and textiles. The company’s name reflects its founders’ origins and beliefs: “Indo is for Indonesia and Rama is after the god Rama”.
His ability to foresee future market trends allowed him to pivot Indorama’s operations towards petrochemicals, fertilizers, and other diversified sectors. Indorama expanded beyond Asia to become a truly global company, with operations spanning multiple continents. Today, it is known for its wide-reaching influence in industries such as fertilizers, petrochemicals, and textiles, a testament to the foundation Lohia laid during his tenure.
Indorama Group’s success, however, wasn’t just about market dominance; it was also built on Lohia’s core belief that businesses thrive when they focus on sustainability and the development of local communities. He was ahead of his time in recognizing the importance of sustainable industrial practices. While profitability was essential, he also prioritised reducing the environmental impact of industrial activities and actively invested in socially responsible practices.
Lohia was not only a business leader but also a man deeply grounded in his values. His reputation for ethical leadership was widely known and respected. Despite the pressure that comes with being at the helm of a vast enterprise, Lohia remained committed to honesty, transparency, and responsibility, both in his business dealings and his personal life. This sense of integrity endeared him to colleagues, competitors, and employees alike, cementing his status as a leader who placed principles before profit.
In a world where industrial leaders often become detached from their roots, Lohia’s humility and approachability made him stand out. Those who worked with him spoke of his openness, his willingness to listen, and his constant drive to improve the lives of those who worked under him. Even during challenging times, Lohia’s optimism and sense of purpose never wavered, and his leadership style fostered loyalty and respect from his global workforce.
Lohia was particularly passionate about education, understanding that it was the key to empowering future generations. He personally supported many educational institutions and often provided scholarships to students from underprivileged backgrounds. He also funded numerous healthcare initiatives, ensuring that access to medical care was available to those who needed it the most, particularly in the rural regions where he saw a significant gap in resources.
Mohan Lal Lohia’s legacy extends far beyond the global empire he built. His vision for responsible industrial growth, combined with his unwavering integrity, continues to influence the way businesses operate today. Even after his passing, the values he instilled in Indorama and the many lives he touched remain a guiding force. His sons have taken up the mantle of leadership, continuing the family tradition of innovative, sustainable business practices.
Lohia was also a visionary when it came to succession planning. Realising that many business families often stutter and break apart when it came to generational handover, he split his business between his three sons long before his passing.
Lohia’s passing marked the end of an era for the global industrial community. While his physical presence is no longer with us, his principles and the vast contributions he made to both industry and society ensure that his legacy will endure for generations to come.
Pallonji Mistry
A Titan of Industry.
(1 June 1929 – 28 June 2022)
In 2016, Mumbai’s National Center for the Performing Arts hosted a stage musical version of K. Asif’s glorious epic Mughal-e-Azam. It was a lavish spectacle about the court of Akbar, and his son Prince Salim’s love for the legendary Noor Jahan.
It was funded by a curious benefactor—Pallonji Mistry of the Shapoorji Pallonji Group. This makes sense, of course, if you know that the original film was also financed by the same company, hoping to leave a lasting legacy in the arts. The pomp and circumstance of Mughal-e-Azam perhaps do not translate as-is to Pallonji’s own life, but he certainly managed to equal the film’s success in life and work.
Pallonji Mistry died on June 28, 2022, leaving behind a monumental legacy. His life was a testament to the power of visionary leadership and steadfast commitment to quality.
Mistry transformed the Shapoorji Pallonji Group into a global conglomerate with interests spanning construction, real estate, water, energy, and financial services. Under his guidance, the company undertook several landmark projects, including the construction of the blue-and-gold Qasr Al Alam palace in Muscat, the abode of then-Sultan of Oman, Qaboos bin Said al Said. This venture is tangible proof of the ability of Indian companies to prove their mettle overseas, and inspired many others to expand their horizons.
Pallonji continued to expand his portfolio, finding work in places like Mauritius, Guyana, and Dubai, all home to a substantial Indian diaspora which embraced the company’s good work.
Despite his considerable success, Pallonji remained private and unassuming, with his quiet shadow looming large over his erstwhile charge, Tata Sons, where he was known as the Phantom of Bombay House.
His leadership style emphasised the importance of teamwork and collective effort. ‘Without my team, I am nothing,’ he often remarked, highlighting his belief in the value of collaboration.
Pallonji’s contributions extended beyond business. He was known for his philanthropic efforts and in using business as a force for good. He was, equally, the man who shaped Mumbai’s skyline, with much of the recognizable contours of the city being designed by his company. These include the Reserve Bank of India building, the Taj Mahal Palace Hotel, and the Brabourne Stadium.
In 2003, Pallonji relinquished his Indian citizenship for the noblest of reasons—love. He had fallen for Pat Perin Dubash. Patsy as she was affectionately known was a native of Dublin, Ireland’s capital. When she tied the knot with Pallonji, he was required to take up Irish citizenship. The alliance gave the billionaire the status of the richest person in Ireland.
In 2012, Pallonji stepped back from active management, handing over the reins to his eldest son, Shapoor Mistry. The family continued to be prominent in the business world, with his younger son, Cyrus Mistry, serving as chairman of Tata Sons until 2016. Cyrus, an able bearer of Pallonji’s legacy, tragically passed away merely months after his father, a victim of a car accident. Pallonji is survived by his other son, Shapoor, who is now in charge of their conglomerate, and his two daughters, Laila and Aloo, with the latter married to Ratan Tata’s half brother Noel.
Pallonji Mistry's passing marked the end of an era for the Shapoorji Pallonji Group, but his impact on industry and his principles of integrity, quality, and philanthropy will continue to inspire future generations.
-
Mohan Lal Lohia
The Indian founder of an Asian empire.
(21 December 1930 – 1 June 2017)1
Mohan Lal Lohia, the founder of the Indorama Group, leaves behind a legacy that continues to shape industries. Born on 21 December, 1930, Lohia’s life was a testament to perseverance, entrepreneurial spirit, and a commitment to ethical business practices. From humble beginnings, he rose to create one of the most significant industrial conglomerates of his time.
Lohia’s journey as a businessman was turbocharged due to an awareness of the potential for industrial growth in Southeast Asia. He co-founded Indorama Corporation in 1975, focusing initially on yarn and textiles. The company’s name reflects its founders’ origins and beliefs: “Indo is for Indonesia and Rama is after the god Rama”.
His ability to foresee future market trends allowed him to pivot Indorama’s operations towards petrochemicals, fertilizers, and other diversified sectors. Indorama expanded beyond Asia to become a truly global company, with operations spanning multiple continents. Today, it is known for its wide-reaching influence in industries such as fertilizers, petrochemicals, and textiles, a testament to the foundation Lohia laid during his tenure.
Indorama Group’s success, however, wasn’t just about market dominance; it was also built on Lohia’s core belief that businesses thrive when they focus on sustainability and the development of local communities. He was ahead of his time in recognizing the importance of sustainable industrial practices. While profitability was essential, he also prioritised reducing the environmental impact of industrial activities and actively invested in socially responsible practices.
Lohia was not only a business leader but also a man deeply grounded in his values. His reputation for ethical leadership was widely known and respected. Despite the pressure that comes with being at the helm of a vast enterprise, Lohia remained committed to honesty, transparency, and responsibility, both in his business dealings and his personal life. This sense of integrity endeared him to colleagues, competitors, and employees alike, cementing his status as a leader who placed principles before profit.
In a world where industrial leaders often become detached from their roots, Lohia’s humility and approachability made him stand out. Those who worked with him spoke of his openness, his willingness to listen, and his constant drive to improve the lives of those who worked under him. Even during challenging times, Lohia’s optimism and sense of purpose never wavered, and his leadership style fostered loyalty and respect from his global workforce.
Lohia was particularly passionate about education, understanding that it was the key to empowering future generations. He personally supported many educational institutions and often provided scholarships to students from underprivileged backgrounds. He also funded numerous healthcare initiatives, ensuring that access to medical care was available to those who needed it the most, particularly in the rural regions where he saw a significant gap in resources.
Mohan Lal Lohia’s legacy extends far beyond the global empire he built. His vision for responsible industrial growth, combined with his unwavering integrity, continues to influence the way businesses operate today. Even after his passing, the values he instilled in Indorama and the many lives he touched remain a guiding force. His sons have taken up the mantle of leadership, continuing the family tradition of innovative, sustainable business practices.
Lohia was also a visionary when it came to succession planning. Realising that many business families often stutter and break apart when it came to generational handover, he split his business between his three sons long before his passing.
Lohia’s passing marked the end of an era for the global industrial community. While his physical presence is no longer with us, his principles and the vast contributions he made to both industry and society ensure that his legacy will endure for generations to come.
-
Pallonji Mistry
A Titan of Industry.
(1 June 1929 – 28 June 2022)
In 2016, Mumbai’s National Center for the Performing Arts hosted a stage musical version of K. Asif’s glorious epic Mughal-e-Azam. It was a lavish spectacle about the court of Akbar, and his son Prince Salim’s love for the legendary Noor Jahan.
It was funded by a curious benefactor—Pallonji Mistry of the Shapoorji Pallonji Group. This makes sense, of course, if you know that the original film was also financed by the same company, hoping to leave a lasting legacy in the arts. The pomp and circumstance of Mughal-e-Azam perhaps do not translate as-is to Pallonji’s own life, but he certainly managed to equal the film’s success in life and work.
Pallonji Mistry died on June 28, 2022, leaving behind a monumental legacy. His life was a testament to the power of visionary leadership and steadfast commitment to quality.Mistry transformed the Shapoorji Pallonji Group into a global conglomerate with interests spanning construction, real estate, water, energy, and financial services. Under his guidance, the company undertook several landmark projects, including the construction of the blue-and-gold Qasr Al Alam palace in Muscat, the abode of then-Sultan of Oman, Qaboos bin Said al Said. This venture is tangible proof of the ability of Indian companies to prove their mettle overseas, and inspired many others to expand their horizons.
Pallonji continued to expand his portfolio, finding work in places like Mauritius, Guyana, and Dubai, all home to a substantial Indian diaspora which embraced the company’s good work.
Despite his considerable success, Pallonji remained private and unassuming, with his quiet shadow looming large over his erstwhile charge, Tata Sons, where he was known as the Phantom of Bombay House.
His leadership style emphasised the importance of teamwork and collective effort. ‘Without my team, I am nothing,’ he often remarked, highlighting his belief in the value of collaboration.
Pallonji’s contributions extended beyond business. He was known for his philanthropic efforts and in using business as a force for good. He was, equally, the man who shaped Mumbai’s skyline, with much of the recognizable contours of the city being designed by his company. These include the Reserve Bank of India building, the Taj Mahal Palace Hotel, and the Brabourne Stadium.
In 2003, Pallonji relinquished his Indian citizenship for the noblest of reasons—love. He had fallen for Pat Perin Dubash. Patsy as she was affectionately known was a native of Dublin, Ireland’s capital. When she tied the knot with Pallonji, he was required to take up Irish citizenship. The alliance gave the billionaire the status of the richest person in Ireland.
In 2012, Pallonji stepped back from active management, handing over the reins to his eldest son, Shapoor Mistry. The family continued to be prominent in the business world, with his younger son, Cyrus Mistry, serving as chairman of Tata Sons until 2016. Cyrus, an able bearer of Pallonji’s legacy, tragically passed away merely months after his father, a victim of a car accident. Pallonji is survived by his other son, Shapoor, who is now in charge of their conglomerate, and his two daughters, Laila and Aloo, with the latter married to Ratan Tata’s half brother Noel.
Pallonji Mistry's passing marked the end of an era for the Shapoorji Pallonji Group, but his impact on industry and his principles of integrity, quality, and philanthropy will continue to inspire future generations.
- Science & Tech
- Business
- Entertainment & Culture
Science & Tech
APJ Abdul Kalam
The man who ignited minds.
(15 October 1931 – 27 July 2015)
In 1979, ISRO's project director was overseeing a satellite launch. Minutes before lift-off, the computer detected an error and advised cancellation. The director, however, was determined to see his mission through. Throwing caution to the wind, he decided to bypass the computer’s warning. The consequences of this ill-advised decision were felt soon after, as, instead of following its planned trajectory to space, the satellite took a detour and dove into the depths of the Bay of Bengal.
It was a moment of shame, as the hubris of the director had led to this costly and unnecessary failure. What the director did thereafter, though, is what elevated him beyond the ordinary. He admitted that he had made a mistake. He examined his own faults, and was given a reprieve. ISRO Chief Satish Dhawan stood by him, asserting with confidence that the agency would shrug off this setback, rebound, and achieve its objective within the year. This touch of inspired leadership found its way to the project director as well—a humble man from the southern reaches of the nation, Rameswaram, where, as a child, he used to collect newspapers discarded from the Dhanushkodi Mail train and sell them to the town’s people. He is today remembered as one of India’s most beloved statesmen and scientists. He was the Missile Man of India, Dr. APJ Abdul Kalam.
Dr. Kalam passed away on July 27, 2015, at the age of 83. His remarkable journey from a small village in Tamil Nadu, to becoming a national icon and a key architect of India's space and missile programs, left an indelible mark on the nation.
Kalam's early life was characterized by humility and perseverance. He studied physics and aerospace engineering and later joined the Defence Research and Development Organisation (DRDO) and the Indian Space Research Organisation (ISRO). His role in heading the Guided Missile Development Programme to design missiles like the Prithvi, Agni, Vayu, Aakash, and Nag earned him the well-known epithet ‘The Missile Man’ of India.
Kalam played a pivotal role in the Pokhran-II tests in 1998, which established India as a nuclear power. In 2002, he was elected as the 11th President of India. He was affectionately known as the "People's President" for his accessible and humble approach. During his presidency, he promoted the vision of India becoming a developed nation by 2020, focusing on education and youth empowerment.
His unexpected demise occurred while he was delivering a lecture at the Indian Institute of Management Shillong.
On July 18, just a week before his passing, Kalam met Rev. Fr. Ladislaus Chinnadurai, his former Physics and Thermodynamics professor from St Joseph’s College, Tiruchi, where Kalam studied from 1950 to 1954. Their 15-minute meeting was memorable, with the 94-year-old Chinnadurai expressing joy at seeing Kalam again. He reminisced about Kalam's brilliance as a student and recalled how they would have three-hour Physics classes together every day.
It may be of some solace that Kalam's final moments were spent doing what he loved most—sharing knowledge and motivating students. Thereafter, IIM Shillong established an annual lecture in Dr. Kalam’s memory, hoping to instil his principles and ethos in its students.
During his life, Kalam received numerous honours, including the Bharat Ratna, India's highest civilian award. His books, such as "Wings of Fire" and "Ignited Minds," continue to inspire millions around the world.
APJ Abdul Kalam's legacy is one of scientific innovation, visionary leadership, and profound humility. His life and work remain a beacon of inspiration, demonstrating the power of dreams, determination, and the relentless pursuit of excellence.
-
APJ Abdul Kalam
The man who ignited minds.
(15 October 1931 – 27 July 2015)
In 1979, ISRO's project director was overseeing a satellite launch. Minutes before lift-off, the computer detected an error and advised cancellation. The director, however, was determined to see his mission through. Throwing caution to the wind, he decided to bypass the computer’s warning. The consequences of this ill-advised decision were felt soon after, as, instead of following its planned trajectory to space, the satellite took a detour and dove into the depths of the Bay of Bengal.
It was a moment of shame, as the hubris of the director had led to this costly and unnecessary failure. What the director did thereafter, though, is what elevated him beyond the ordinary. He admitted that he had made a mistake. He examined his own faults, and was given a reprieve. ISRO Chief Satish Dhawan stood by him, asserting with confidence that the agency would shrug off this setback, rebound, and achieve its objective within the year. This touch of inspired leadership found its way to the project director as well—a humble man from the southern reaches of the nation, Rameswaram, where, as a child, he used to collect newspapers discarded from the Dhanushkodi Mail train and sell them to the town’s people. He is today remembered as one of India’s most beloved statesmen and scientists. He was the Missile Man of India, Dr. APJ Abdul Kalam.
Dr. Kalam passed away on July 27, 2015, at the age of 83. His remarkable journey from a small village in Tamil Nadu, to becoming a national icon and a key architect of India's space and missile programs, left an indelible mark on the nation.
Kalam's early life was characterized by humility and perseverance. He studied physics and aerospace engineering and later joined the Defence Research and Development Organisation (DRDO) and the Indian Space Research Organisation (ISRO). His role in heading the Guided Missile Development Programme to design missiles like the Prithvi, Agni, Vayu, Aakash, and Nag earned him the well-known epithet ‘The Missile Man’ of India.
Kalam played a pivotal role in the Pokhran-II tests in 1998, which established India as a nuclear power. In 2002, he was elected as the 11th President of India. He was affectionately known as the "People's President" for his accessible and humble approach. During his presidency, he promoted the vision of India becoming a developed nation by 2020, focusing on education and youth empowerment.
His unexpected demise occurred while he was delivering a lecture at the Indian Institute of Management Shillong.
On July 18, just a week before his passing, Kalam met Rev. Fr. Ladislaus Chinnadurai, his former Physics and Thermodynamics professor from St Joseph’s College, Tiruchi, where Kalam studied from 1950 to 1954. Their 15-minute meeting was memorable, with the 94-year-old Chinnadurai expressing joy at seeing Kalam again. He reminisced about Kalam's brilliance as a student and recalled how they would have three-hour Physics classes together every day.
It may be of some solace that Kalam's final moments were spent doing what he loved most—sharing knowledge and motivating students. Thereafter, IIM Shillong established an annual lecture in Dr. Kalam’s memory, hoping to instil his principles and ethos in its students.During his life, Kalam received numerous honours, including the Bharat Ratna, India's highest civilian award. His books, such as "Wings of Fire" and "Ignited Minds," continue to inspire millions around the world.
APJ Abdul Kalam's legacy is one of scientific innovation, visionary leadership, and profound humility. His life and work remain a beacon of inspiration, demonstrating the power of dreams, determination, and the relentless pursuit of excellence.
Business
Basant Kumar Birla
A creator and a giver.
(12 January 1921 – 3 July 2019)
Basant Kumar Birla, known affectionately as ‘Basant babu’, was a pillar of Indian industry whose life and achievements spanned almost a century. As the youngest son of the legendary industrialist Ghanshyam Das Birla, he grew up in a family synonymous with Indian enterprise and nationalist spirit.
Heralding a career given to calculated risks, he started early. As a thirteen-year-old, he was chided by an uncle about earning pocket money. This led him to investing in shares. Soon, he had made a few thousand rupees as profit!
Stepping into the family business at just 15 years old, he led an illustrious career that saw him helm multiple companies within the Birla Group, including Kesoram Industries and Mangalam Cement. His initiatives weren't limited by national boundaries; in the 1950s, he embarked on one of India’s first major international joint ventures with the Indo-Ethiopian Textile Share Company, a project that earned him Ethiopia’s highest civilian honour, the Order of Menelik II.
Despite his monumental success, Birla never let his business accomplishments define him. His true passion lay in education and philanthropy. He believed deeply in the transformative power of education and oversaw institutions like the Birla Institute of Management Technology (BIMTECH) and the Birla Education Trust. He ensured that these institutions reflected his values,, nurturing thousands of students over the years.
One of Birla’s most defining features was his humility and simplicity. He often cited his father, GD Birla, as the guiding influence in his life, especially GD Birla’’s philosophy of living a life based on purity and honesty. A letter from GD to his son encapsulated this: "Never use wealth for selfish ends or frivolous spending, as wealth may not always be there. Spend less on yourself and more on public welfare and for the welfare of the distressed.”
B.K. Birla carried these values throughout his career, always focused on building a self-reliant and socially responsible India.
Beyond business and education, B.K. Birla’s contributions to the arts were equally impressive. A passionate patron of Indian art, he founded the Birla Academy of Art & Culture in Kolkata, providing a haven for artists and scholars. He had a fine personal art collection, one of the finest in the country, reflecting his deep love for Indian culture and heritage.
Philanthropy was at the heart of B.K. Birla's endeavours. He established several hospitals and clinics, such as the TB and General Hospital in Ranchi and the Birla Paediatric Clinic in Ethiopia, reflecting his commitment to healthcare. His work also extended to spiritual causes, with projects such as the Temple of Understanding in Kolkata, which promoted interfaith dialogue and harmony.
Despite the numerous accolades and success, BK Birla remained deeply connected to his roots. In his later years, he was keenly focused on passing the torch to the next generation..
At the age of 98, his passing marked the end of an era. His impact on Indian industry, education, and culture is beyond measure, and his legacy will endure for many generations. His life was a testament to the belief that true wealth lies not in material success, but in the upliftment of society and the enrichment of lives.
-
Basant Kumar Birla
A creator and a giver.
(12 January 1921 – 3 July 2019)
Basant Kumar Birla, known affectionately as ‘Basant babu’, was a pillar of Indian industry whose life and achievements spanned almost a century. As the youngest son of the legendary industrialist Ghanshyam Das Birla, he grew up in a family synonymous with Indian enterprise and nationalist spirit.
Heralding a career given to calculated risks, he started early. As a thirteen-year-old, he was chided by an uncle about earning pocket money. This led him to investing in shares. Soon, he had made a few thousand rupees as profit!
Stepping into the family business at just 15 years old, he led an illustrious career that saw him helm multiple companies within the Birla Group, including Kesoram Industries and Mangalam Cement. His initiatives weren't limited by national boundaries; in the 1950s, he embarked on one of India’s first major international joint ventures with the Indo-Ethiopian Textile Share Company, a project that earned him Ethiopia’s highest civilian honour, the Order of Menelik II.
Despite his monumental success, Birla never let his business accomplishments define him. His true passion lay in education and philanthropy. He believed deeply in the transformative power of education and oversaw institutions like the Birla Institute of Management Technology (BIMTECH) and the Birla Education Trust. He ensured that these institutions reflected his values,, nurturing thousands of students over the years.
One of Birla’s most defining features was his humility and simplicity. He often cited his father, GD Birla, as the guiding influence in his life, especially GD Birla’’s philosophy of living a life based on purity and honesty. A letter from GD to his son encapsulated this: "Never use wealth for selfish ends or frivolous spending, as wealth may not always be there. Spend less on yourself and more on public welfare and for the welfare of the distressed.”
B.K. Birla carried these values throughout his career, always focused on building a self-reliant and socially responsible India.
Beyond business and education, B.K. Birla’s contributions to the arts were equally impressive. A passionate patron of Indian art, he founded the Birla Academy of Art & Culture in Kolkata, providing a haven for artists and scholars. He had a fine personal art collection, one of the finest in the country, reflecting his deep love for Indian culture and heritage.
Philanthropy was at the heart of B.K. Birla's endeavours. He established several hospitals and clinics, such as the TB and General Hospital in Ranchi and the Birla Paediatric Clinic in Ethiopia, reflecting his commitment to healthcare. His work also extended to spiritual causes, with projects such as the Temple of Understanding in Kolkata, which promoted interfaith dialogue and harmony.
Despite the numerous accolades and success, BK Birla remained deeply connected to his roots. In his later years, he was keenly focused on passing the torch to the next generation..
At the age of 98, his passing marked the end of an era. His impact on Indian industry, education, and culture is beyond measure, and his legacy will endure for many generations. His life was a testament to the belief that true wealth lies not in material success, but in the upliftment of society and the enrichment of lives.
Entertainment
Zohra Sehgal
Grand Old Lady of Bollywood
(27 April 1912 - 10 July 2014)
In 2020, the artist Parvati Pillai was commissioned to create a portrait of an elderly lady. The image that Pillai created was of a grand dame, looking sprightly, her hands animated into mudras, with a spark of delight in her eyes. Living a hundred years on God’s green Earth had not reduced her infectious charm. What explanation might one offer for her appearance? She had herself answered this question once, commenting on her topsy-turvy life: ‘Madness, what else?’ She was Zohra Sehgal.
Ms Sehgal passed away on 10 July 2014. Affectionately known as the "Grand Old Lady of Bollywood,"she aged gracefully. Even at the age of 102, she was a great beauty, effervescent and colourful. And this was someone who, ever since her youth, had been in awe of her sister, Uzra Butt who also found fame in the film industry.
Insecure about the way she looked, she remarked later in life, with characteristic wit, ‘In moonlight, even a donkey looks beautiful.’ Yet, the way she overcame her youthful insecurities and forged her path ahead—with an unrepentant zest for life—is a testament to her indomitable spirit and talent in a career that spanned almost eight decades in the arts.
Parvati Pillai’s portrait was made to commemorate one of Sehgal’s early accomplishments, Chetan Anand’s Neecha Nagar, which bagged the top prize at the Cannes Film Festival. For most, this unprecedented (and thus far unmatched) achievement would be the high point of their career. For Zohra, this was but the beginning of her journey.
Zohra Sehgal was born in 1912, in Saharanpur, Uttar Pradesh. As a teen she allowed herself to be whisked away by her beloved maamu on a whirlwind tour that took her through Pakistan, Afghanistan, Iran, Egypt, before crossing over into Europe and being dropped off at Dresden to study dancing. She joined Uday Shankar's dance troupe in 1935, performing internationally (even though she was rarely cast as the lead due to her unconventional features) before transitioning to acting. It was at Uday’s institution in Almora that she honed her skills and met her husband, Kameshwar Sehgal. Their inter-faith marriage was another example of Zohra’s revolt against the established order, with the couple going to Allahabad to tie the knot because at the time it was one of the few places in India where such a marriage was legally permissible.
Sehgal's film debut was in 1946 with Dharti Ke Lal. Decades later, she continued to enchant global audiences with her charming, matronly performances in movies like Bhaji on the Beach, and Bend It Like Beckham, both directed by Gurinder Chaddha. Her versatility saw her appear in numerous Bollywood and international films, as well as beloved television series such as Doctor Who and The Jewel in the Crown. Among her last few appearances on screen were as Amitabh Bachchan’s mother in R. Balki’s unconventional, age-defying love story Cheeni Kum, and Sanjay Leela Bhansali’s poignant ode to the night, Saawariya. Her filmography abounds with unconventional roles, all of which she performed with humour and pathos. Everyone loved her, and she loved everyone, as evidenced by the numerous hand-drawn cards she used to send out for every New Year's Day.
Her contributions to the arts were recognized with several prestigious awards, including the Padma Shri in 1998, the Kalidas Samman in 2001, and the Padma Vibhushan in 2010. She is survived by her daughter, Kiran Segal, who writes about her mother in a suitable eccentric biography, referring to her as Fatty.
Zohra Sehgal's legacy is one of unparalleled passion and dedication to her craft. Her life story is a powerful reminder of the impact a person can have on culture and the arts. She will be deeply missed by fans and colleagues around the world.
-
Zohra Sehgal
Grand Old Lady of Bollywood.
(27 April 1912 - 10 July 2014)
In 2020, the artist Parvati Pillai was commissioned to create a portrait of an elderly lady. The image that Pillai created was of a grand dame, looking sprightly, her hands animated into mudras, with a spark of delight in her eyes. Living a hundred years on God’s green Earth had not reduced her infectious charm. What explanation might one offer for her appearance? She had herself answered this question once, commenting on her topsy-turvy life: ‘Madness, what else?’ She was Zohra Sehgal.
Ms Sehgal passed away on 10 July 2014. Affectionately known as the "Grand Old Lady of Bollywood,"she aged gracefully. Even at the age of 102, she was a great beauty, effervescent and colourful. And this was someone who, ever since her youth, had been in awe of her sister, Uzra Butt who also found fame in the film industry.
Insecure about the way she looked, she remarked later in life, with characteristic wit, ‘In moonlight, even a donkey looks beautiful.’ Yet, the way she overcame her youthful insecurities and forged her path ahead—with an unrepentant zest for life—is a testament to her indomitable spirit and talent in a career that spanned almost eight decades in the arts.
Parvati Pillai’s portrait was made to commemorate one of Sehgal’s early accomplishments, Chetan Anand’s Neecha Nagar, which bagged the top prize at the Cannes Film Festival. For most, this unprecedented (and thus far unmatched) achievement would be the high point of their career. For Zohra, this was but the beginning of her journey.Zohra Sehgal was born in 1912, in Saharanpur, Uttar Pradesh. As a teen she allowed herself to be whisked away by her beloved maamu on a whirlwind tour that took her through Pakistan, Afghanistan, Iran, Egypt, before crossing over into Europe and being dropped off at Dresden to study dancing. She joined Uday Shankar's dance troupe in 1935, performing internationally (even though she was rarely cast as the lead due to her unconventional features) before transitioning to acting. It was at Uday’s institution in Almora that she honed her skills and met her husband, Kameshwar Sehgal. Their inter-faith marriage was another example of Zohra’s revolt against the established order, with the couple going to Allahabad to tie the knot because at the time it was one of the few places in India where such a marriage was legally permissible.
Sehgal's film debut was in 1946 with Dharti Ke Lal. Decades later, she continued to enchant global audiences with her charming, matronly performances in movies like Bhaji on the Beach, and Bend It Like Beckham, both directed by Gurinder Chaddha. Her versatility saw her appear in numerous Bollywood and international films, as well as beloved television series such as Doctor Who and The Jewel in the Crown. Among her last few appearances on screen were as Amitabh Bachchan’s mother in R. Balki’s unconventional, age-defying love story Cheeni Kum, and Sanjay Leela Bhansali’s poignant ode to the night, Saawariya. Her filmography abounds with unconventional roles, all of which she performed with humour and pathos. Everyone loved her, and she loved everyone, as evidenced by the numerous hand-drawn cards she used to send out for every New Year's Day.
Her contributions to the arts were recognized with several prestigious awards, including the Padma Shri in 1998, the Kalidas Samman in 2001, and the Padma Vibhushan in 2010. She is survived by her daughter, Kiran Segal, who writes about her mother in a suitable eccentric biography, referring to her as Fatty.
Zohra Sehgal's legacy is one of unparalleled passion and dedication to her craft. Her life story is a powerful reminder of the impact a person can have on culture and the arts. She will be deeply missed by fans and colleagues around the world.
- Science & Tech
- Sports
- Business
Science & Tech
Narain Agarwal
A Story of Fire
(24 July 1941 – 15 August 2024)
Dr. Ram Narain Agarwal, a distinguished scientist and visionary known as the “Father of the Agni Missile,” passed away on 15 August 2024. He was a recipient of the Padma Shri as well as the Padma Bhushan, India's fourth and third-highest civilian honours.
Dr Agarwal served as the programme director for developing the Agni missile and as the director of ASL (Advanced Systems Laboratory) in Hyderabad.
The weight of his achievements lay lightly on Dr Agarwal's shoulders; he joked that he hardly looked like a scientist. "I could easily pass for a Marwari businessman" he once said, referring to his ancestry. Although most of his family members were traders in Jaipur, he went down the path of engineering and never looked back. He soon joined the Defence Research and Development Organisation (DRDO).
In 1983, the government of India gave its approval to the Integrated Guided Missile Development Programme (IGMDP), a brainchild of Dr APJ Abdul Kalam. The programme envisaged the development of missiles that would provide cover for India on land, water, and in the air. The missiles developed include Prithvi, Akash, Nag, Trishul, and the most famous of them all: Agni.
Dr Agarwal's career took to the skies when he took charge of the Agni missile programme in the 1980s. It would become one of the nation's most significant defence projects.
Success was hard to come by in those early days: India had been denied access to crucial technology following the Pokhran nuclear tests in 1974. Not even its closest ally, the Soviet Union, stepped into help. This did not stop the Agni team. "Failures are the hidden treasures of success", Dr Agarwal noted.
Dr Agarwal worked with luminaries like Dr Kalam. They were close enough that Dr Agarwal was clear with him about the constraints that he faced while heading such a massive enterprise, telling the latter that "If it just required you and I to make Agni then every household in India would be making it!"
The challenges facing the Agni programme were multifold. Here were some of them:
First, it weighed hundreds of kilograms, much more than any Indian technology could carry. Second, its range was to be thousands of kilometres (to give India protection from the farthest of enemies). Third, this meant it would face temperatures as high as thousands of degrees Celsius when re-entering the atmosphere. Failure would have meant that years of work would have gone down the drain and India's standing as a young nation, diminished.
In 1989, against all odds, the DRDO team led by Dr Agarwal successfully demonstrated the Agni missile technology. This was a moment of great importance, proving that India's technology was up there with the best.
Following the successful development of Agni I, Dr Agarwal provided leadership and crucial contributions to the development of Agni II and III before he called it a day in 2005.
When he retired from ASL in 2005, he could look back at a job well done: India was now among the few nations that had a credible missile shield. Dr Agarwal lived for the pressure that came with the job. He would dismiss any problems he faced with comments like "The only pressure I know is hydraulic or pneumatic"!
His colleagues had no doubt what Dr Agarwal brought to the table. R. Chidambaram, the principal scientific adviser to the Union Government praised his single-minded devotion, while his deputies praised his "Arjuna-like manner" towards work.
India owes a debt of gratitude to this extraordinary scientist whose efforts shaped the nation’s defence capabilities and secured its future. Today, the Agni V missile is capable of striking targets more than 7,000 km away!
-
Narain Agarwal
A Story of Fire
(24 July 1941 – 15 August 2024)
Dr. Ram Narain Agarwal, a distinguished scientist and visionary known as the “Father of the Agni Missile,” passed away on 15 August 2024. He was a recipient of the Padma Shri as well as the Padma Bhushan, India's fourth and third-highest civilian honours.
Dr Agarwal served as the programme director for developing the Agni missile and as the director of ASL (Advanced Systems Laboratory) in Hyderabad.
The weight of his achievements lay lightly on Dr Agarwal's shoulders; he joked that he hardly looked like a scientist. "I could easily pass for a Marwari businessman" he once said, referring to his ancestry. Although most of his family members were traders in Jaipur, he went down the path of engineering and never looked back. He soon joined the Defence Research and Development Organisation (DRDO).
In 1983, the government of India gave its approval to the Integrated Guided Missile Development Programme (IGMDP), a brainchild of Dr APJ Abdul Kalam. The programme envisaged the development of missiles that would provide cover for India on land, water, and in the air. The missiles developed include Prithvi, Akash, Nag, Trishul, and the most famous of them all: Agni.
Dr Agarwal's career took to the skies when he took charge of the Agni missile programme in the 1980s. It would become one of the nation's most significant defence projects.
Success was hard to come by in those early days: India had been denied access to crucial technology following the Pokhran nuclear tests in 1974. Not even its closest ally, the Soviet Union, stepped into help. This did not stop the Agni team. "Failures are the hidden treasures of success", Dr Agarwal noted.
Dr Agarwal worked with luminaries like Dr Kalam. They were close enough that Dr Agarwal was clear with him about the constraints that he faced while heading such a massive enterprise, telling the latter that "If it just required you and I to make Agni then every household in India would be making it!"
The challenges facing the Agni programme were multifold. Here were some of them:
First, it weighed hundreds of kilograms, much more than any Indian technology could carry. Second, its range was to be thousands of kilometres (to give India protection from the farthest of enemies). Third, this meant it would face temperatures as high as thousands of degrees Celsius when re-entering the atmosphere. Failure would have meant that years of work would have gone down the drain and India's standing as a young nation, diminished.
In 1989, against all odds, the DRDO team led by Dr Agarwal successfully demonstrated the Agni missile technology. This was a moment of great importance, proving that India's technology was up there with the best.
Following the successful development of Agni I, Dr Agarwal provided leadership and crucial contributions to the development of Agni II and III before he called it a day in 2005.
When he retired from ASL in 2005, he could look back at a job well done: India was now among the few nations that had a credible missile shield. Dr Agarwal lived for the pressure that came with the job. He would dismiss any problems he faced with comments like "The only pressure I know is hydraulic or pneumatic"!
His colleagues had no doubt what Dr Agarwal brought to the table. R. Chidambaram, the principal scientific adviser to the Union Government praised his single-minded devotion, while his deputies praised his "Arjuna-like manner" towards work.
India owes a debt of gratitude to this extraordinary scientist whose efforts shaped the nation’s defence capabilities and secured its future. Today, the Agni V missile is capable of striking targets more than 7,000 km away!
Sports
Lala Amarnath
The father of Indian cricket.
(11 September 1911 – 5 August 2000)
Lala Amarnath was Indian cricket’s first cricketing hero: a swashbuckling cricketer for whom no stage was too big.
From humble beginnings, he announced his arrival on the international stage by becoming the first Indian cricketer to score a Test century during his debut Test against England in 1933. Later, he would recall that he batted “as if possessed by a mysterious power”.
This knock made him an overnight sensation: the cricket historian Mihir Bose later wrote that “women tore off their jewellery to present it to him, Maharajahs made gifts of money.” The fact that England won the test match seemed almost irrelevant.
Not a man given to suffering fools gladly, his outspoken nature often put him at odds with the cricketing establishment. During India’s 1936 tour of England, Amarnath played under the captaincy of the Maharajkumar of Vizianagram, whose cricketing abilities—or the lack of it—were widely known. Amarnath, regarded as the best player in the squad, was at the centre of a heated dispute after being demoted in the batting order. His refusal to stay silent led to his sensational expulsion from the tour. The incident sidelined him from international cricket for many years.
When he made his well-deserved comeback, he was an older, wilier cricketer. Gone were his quick hands with the bat; in its place was a sharper brain and an ability to take important wickets. His exploits as a bowler during India's post-war tour of England were particularly memorable. During the Lord's Test, he stunned England by dismissing players like Len Hutton, Denis Compton, and Wally Hammond, reducing them to 70 for 4 in their first innings. His ability to combine aggressive batting with sharp bowling laid the way for the Kapil Devs and Hardik Pandyas of the world.
In 1947, Amarnath had the honour of captaining independent India’s Test team on their first tour to Australia. Although the series was dominated by Don Bradman's powerful Australian side, Amarnath left his mark on the tour. One of his most memorable innings during the tour was a stunning 228 against Victoria, with the great Australian cricketer Neil Harvey describing it as the best exhibition of cover driving he’d ever seen.
Amarnath’s contributions to Indian cricket extended far beyond his playing days. In 1952, he captained India to their first-ever Test series victory, defeating Pakistan. While his performances during the series were modest, his leadership was critical in achieving this milestone.
He also made his mark as a selector, famously insisting on the inclusion of Jasu Patel for the 1959 Kanpur Test against Australia. Patel’s 14-wicket haul in that match is now regarded as one of the greatest bowling performances in Test history.
His legacy also lived on through his family. Both his sons, Surinder and Mohinder Amarnath, followed in their father's footsteps, with Mohinder becoming one of India’s finest all-rounders and a world cup winner to boot. Lala Amarnath’s influence on Indian cricket stretched across generations, not just as a player and captain, but also as a mentor and visionary.
Off the field, Amarnath was a candid commentator and a favourite among cricket lovers for his forthright opinions. His anecdotes and stories about the game’s golden era made him a beloved figure even after retirement. He remained a voice of authority and experience in Indian cricket until his passing.
Lala Amarnath was a man who never shied away from a challenge, whether it was on the field or against the establishment. His legacy will always be cherished as one of the pioneers who helped shape Indian cricket, both as a player and a leader.
Chetan Chauhan
Cricketer. Competitor.
(21 July 1947 – 16 August 2020)
Chetan Chauhan, despite being an international cricketer, was not one for the spotlight. While he was overshadowed by the many greats of the game he played with, his quiet determination and understated grit made him one of the most respected cricketers of his era.
A stalwart of Indian cricket in the 1970s and early 80s, Chauhan played 40 Test matches for India, amassing over 2,000 runs. He was the first cricketer to reach that landmark without a century. This was all the more remarkable considering his opening partner would end up with a then-world record thirty-four centuries.
Born in Bareilly in 1947, Chauhan's early cricketing years were shaped by his move to Pune, where he honed his skills. His entry into international cricket came in 1969 when he was picked to tour New Zealand.
However, it wasn’t until 1977, during India’s tour of Australia, that Chauhan truly came into his own. His unflappable innings of 88 at Perth, coupled with numerous half-centuries, solidified his place at the top of India’s batting order. Alongside Sunil Gavaskar, Chauhan formed one of India’s most dependable opening pairs, putting on over 3,000 runs together at an average of 53.75. They were India’s finest opening combination until the arrival of Virender Sehwag and Gautam Gambhir.
It was only natural that Gavaskar was his foil when the pair added 213 in a partnership that turbocharged India during an improbable chase of 438 against England. This also broke a long-standing record of 203, set by Vijay Merchant and Mushtaq Ali in 1936.
Chauhan’s career was also punctuated by drama. In 1981, during a Test match against Australia in Melbourne, a controversial decision saw Gavaskar dismissed leg before wicket. Angered by the decision, Gavaskar, the captain, walked off and instructed Chauhan to leave the field with him. It was only through the intervention of the team manager that Chauhan returned to the crease, narrowly avoiding an international incident. Gavaskar later expressed regret, stating that his actions disrupted Chauhan's concentration, denying him a well-deserved century.
While Chauhan was never a household name, his contributions were acknowledged with the Arjuna Award in 1981, recognising his services to the game. He remained a central figure in Indian cricket after his retirement, having prime seats to two of the most talked-about series of the 21st century. In 2001, he was the manager of the Indian team that beat the previously unstoppable Australia. After seeing VVS Laxman's unforgettable performances, Chauhan hugged him, saying: "This is how you are supposed to play when you are representing the country, with a lot of passion, bravery and courage." A few years later, he helped ensure that the Indian team did not pull out of the series with Australia during the infamous Monkeygate scandal. Many credited his astute thinking for resolving the situation.
Beyond cricket, Chauhan’s career took a surprising turn towards politics. Yet, it was his cricketing legacy that defined him, and his love for the game remained undiminished till the end.
Chetan Chauhan passed away at the age of 73, due to complications related to COVID-19.
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Lala Amarnath
The father of Indian cricket.
(11 September 1911 – 5 August 2000)
Lala Amarnath was Indian cricket’s first cricketing hero: a swashbuckling cricketer for whom no stage was too big.
From humble beginnings, he announced his arrival on the international stage by becoming the first Indian cricketer to score a Test century during his debut Test against England in 1933. Later, he would recall that he batted “as if possessed by a mysterious power”.
This knock made him an overnight sensation: the cricket historian Mihir Bose later wrote that “women tore off their jewellery to present it to him, Maharajahs made gifts of money.” The fact that England won the test match seemed almost irrelevant.
Not a man given to suffering fools gladly, his outspoken nature often put him at odds with the cricketing establishment. During India’s 1936 tour of England, Amarnath played under the captaincy of the Maharajkumar of Vizianagram, whose cricketing abilities—or the lack of it—were widely known. Amarnath, regarded as the best player in the squad, was at the centre of a heated dispute after being demoted in the batting order. His refusal to stay silent led to his sensational expulsion from the tour. The incident sidelined him from international cricket for many years.
When he made his well-deserved comeback, he was an older, wilier cricketer. Gone were his quick hands with the bat; in its place was a sharper brain and an ability to take important wickets. His exploits as a bowler during India's post-war tour of England were particularly memorable. During the Lord's Test, he stunned England by dismissing players like Len Hutton, Denis Compton, and Wally Hammond, reducing them to 70 for 4 in their first innings. His ability to combine aggressive batting with sharp bowling laid the way for the Kapil Devs and Hardik Pandyas of the world.
In 1947, Amarnath had the honour of captaining independent India’s Test team on their first tour to Australia. Although the series was dominated by Don Bradman's powerful Australian side, Amarnath left his mark on the tour. One of his most memorable innings during the tour was a stunning 228 against Victoria, with the great Australian cricketer Neil Harvey describing it as the best exhibition of cover driving he’d ever seen.
Amarnath’s contributions to Indian cricket extended far beyond his playing days. In 1952, he captained India to their first-ever Test series victory, defeating Pakistan. While his performances during the series were modest, his leadership was critical in achieving this milestone.
He also made his mark as a selector, famously insisting on the inclusion of Jasu Patel for the 1959 Kanpur Test against Australia. Patel’s 14-wicket haul in that match is now regarded as one of the greatest bowling performances in Test history.
His legacy also lived on through his family. Both his sons, Surinder and Mohinder Amarnath, followed in their father's footsteps, with Mohinder becoming one of India’s finest all-rounders and a world cup winner to boot. Lala Amarnath’s influence on Indian cricket stretched across generations, not just as a player and captain, but also as a mentor and visionary.
Off the field, Amarnath was a candid commentator and a favourite among cricket lovers for his forthright opinions. His anecdotes and stories about the game’s golden era made him a beloved figure even after retirement. He remained a voice of authority and experience in Indian cricket until his passing.
Lala Amarnath was a man who never shied away from a challenge, whether it was on the field or against the establishment. His legacy will always be cherished as one of the pioneers who helped shape Indian cricket, both as a player and a leader.
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Chetan Chauhan
Cricketer. Competitor.
(21 July 1947 – 16 August 2020)
Chetan Chauhan, despite being an international cricketer, was not one for the spotlight. While he was overshadowed by the many greats of the game he played with, his quiet determination and understated grit made him one of the most respected cricketers of his era.
A stalwart of Indian cricket in the 1970s and early 80s, Chauhan played 40 Test matches for India, amassing over 2,000 runs. He was the first cricketer to reach that landmark without a century. This was all the more remarkable considering his opening partner would end up with a then-world record thirty-four centuries.
Born in Bareilly in 1947, Chauhan's early cricketing years were shaped by his move to Pune, where he honed his skills. His entry into international cricket came in 1969 when he was picked to tour New Zealand.
However, it wasn’t until 1977, during India’s tour of Australia, that Chauhan truly came into his own. His unflappable innings of 88 at Perth, coupled with numerous half-centuries, solidified his place at the top of India’s batting order. Alongside Sunil Gavaskar, Chauhan formed one of India’s most dependable opening pairs, putting on over 3,000 runs together at an average of 53.75. They were India’s finest opening combination until the arrival of Virender Sehwag and Gautam Gambhir.
It was only natural that Gavaskar was his foil when the pair added 213 in a partnership that turbocharged India during an improbable chase of 438 against England. This also broke a long-standing record of 203, set by Vijay Merchant and Mushtaq Ali in 1936.
Chauhan’s career was also punctuated by drama. In 1981, during a Test match against Australia in Melbourne, a controversial decision saw Gavaskar dismissed leg before wicket. Angered by the decision, Gavaskar, the captain, walked off and instructed Chauhan to leave the field with him. It was only through the intervention of the team manager that Chauhan returned to the crease, narrowly avoiding an international incident. Gavaskar later expressed regret, stating that his actions disrupted Chauhan's concentration, denying him a well-deserved century.
While Chauhan was never a household name, his contributions were acknowledged with the Arjuna Award in 1981, recognising his services to the game. He remained a central figure in Indian cricket after his retirement, having prime seats to two of the most talked-about series of the 21st century. In 2001, he was the manager of the Indian team that beat the previously unstoppable Australia. After seeing VVS Laxman's unforgettable performances, Chauhan hugged him, saying: "This is how you are supposed to play when you are representing the country, with a lot of passion, bravery and courage." A few years later, he helped ensure that the Indian team did not pull out of the series with Australia during the infamous Monkeygate scandal. Many credited his astute thinking for resolving the situation.
Beyond cricket, Chauhan’s career took a surprising turn towards politics. Yet, it was his cricketing legacy that defined him, and his love for the game remained undiminished till the end.
Chetan Chauhan passed away at the age of 73, due to complications related to COVID-19.
Business
OP Munjal (Business)
The wheels of industry
(26 August 1928 – 13 August 2015)
Business began at sunrise for the Chhote Bauji, a son of grain seller, the youngest of seven siblings, an Urdu poet, one of the richest men in India, a nationalist and a Hero. It is said that Om Prakash Munjal and his elder brother, both early risers, would meet each other in front of the bathroom mirror to trade views, an impromptu, daily board meeting of sorts!
Om Prakash Munjal, the founder of Hero Cycles, passed away on 13 August 2015, at the age of 87. He left behind a remarkable legacy that transformed the bicycle industry in India and impacted millions of lives.
Born 26 August 1928 in Kamalia (now in Pakistan) Munjal's early life was marked by the turbulence of partition. His family moved to Amritsar, Punjab, in the 1940s, where they started a modest business of trading bicycle parts. In 1956, Munjal and his brothers established Hero Cycles in Ludhiana. From these humble beginnings, Munjal's vision and relentless pursuit of excellence turned the company into a powerhouse.
Munjal's journey was characterised by resilience and innovation. One of the pivotal moments in his career was in 1986 when Hero Cycles entered the Guinness Book of World Records as the largest bicycle manufacturer in the world. Under his leadership, Hero Cycles' annual production capacity soared from 25 bicycles a day to over 19,000 bicycles a day. Munjal's strategic insight and operational acumen were instrumental in achieving this feat.
Colvyn Harris, an advertising industry stalwart, once remarked, ‘Shri OP Munjal was a gentleman first.’ This sentiment was echoed by many who knew him. Munjal was known for his hands-on approach, often visiting the factory floor and interacting with workers. He believed in leading by example and fostering a family-like atmosphere within the company.
Beyond his business acumen, Munjal was a philanthropist at heart. He believed in giving back to society and was actively involved in various charitable activities. The Hero Group established several educational institutions, healthcare facilities, and community development programmes under his guidance. Munjal's philanthropic efforts were deeply rooted in his belief that education and healthcare were fundamental to societal progress.
This empathy naturally extended to his own employees. When the Japanese carmaker Honda was looking for a partner in India, it chose Hero—the decision was influenced by the way Munjal treated his staff. Their joint venture lasted until 2010, when the Indian entity bought out the Japanese group’s stake and became Hero Motocorp.
In addition to his business and philanthropic pursuits, Munjal had a keen interest in music and spirituality. He was an ardent follower of the teachings of Guru Nanak and often participated in spiritual discourses. Music was another passion, and he found solace in playing the harmonium and singing hymns. He was also a fan of sher and shayari.
Munjal's leadership style was inclusive. He believed in empowering his employees and fostering a culture of innovation. His emphasis on quality, customer satisfaction, and ethical business practices set Hero Cycles apart in a competitive market. As a result, the brand became synonymous with reliability and value for money.
Om Prakash Munjal's legacy extends beyond the confines of Hero Cycles. He inspired a generation of entrepreneurs and set a benchmark for excellence in the Indian manufacturing sector. His story is one of resilience, innovation, and a deep-seated commitment to societal welfare.
Munjal is survived by a son, four daughters, and ten grandchildren, who continue to uphold his values and vision. One of his sons, Pankaj, is now at the helm of Hero.
Munjal’s contributions to the industry and society are recounted in a biography titled The Inspiring Journey of A Hero by Priya Kumar.
Om Prakash Munjal's life story is a powerful reminder of the impact one individual can have on an industry and a nation. His journey from a small town in pre-partition India to becoming a global industry leader is a testament to the fact that the wheel of time turns only for those who know how to pedal.
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OP Munjal
The wheels of industry.
(26 August 1928 – 13 August 2015)
Business began at sunrise for the Chhote Bauji, a son of grain seller, the youngest of seven siblings, an Urdu poet, one of the richest men in India, a nationalist and a Hero. It is said that Om Prakash Munjal and his elder brother, both early risers, would meet each other in front of the bathroom mirror to trade views, an impromptu, daily board meeting of sorts!
Om Prakash Munjal, the founder of Hero Cycles, passed away on 13 August 2015, at the age of 87. He left behind a remarkable legacy that transformed the bicycle industry in India and impacted millions of lives.
Born 26 August 1928 in Kamalia (now in Pakistan) Munjal's early life was marked by the turbulence of partition. His family moved to Amritsar, Punjab, in the 1940s, where they started a modest business of trading bicycle parts. In 1956, Munjal and his brothers established Hero Cycles in Ludhiana. From these humble beginnings, Munjal's vision and relentless pursuit of excellence turned the company into a powerhouse.
Munjal's journey was characterised by resilience and innovation. One of the pivotal moments in his career was in 1986 when Hero Cycles entered the Guinness Book of World Records as the largest bicycle manufacturer in the world. Under his leadership, Hero Cycles' annual production capacity soared from 25 bicycles a day to over 19,000 bicycles a day. Munjal's strategic insight and operational acumen were instrumental in achieving this feat.
Colvyn Harris, an advertising industry stalwart, once remarked, ‘Shri OP Munjal was a gentleman first.’ This sentiment was echoed by many who knew him. Munjal was known for his hands-on approach, often visiting the factory floor and interacting with workers. He believed in leading by example and fostering a family-like atmosphere within the company.
Beyond his business acumen, Munjal was a philanthropist at heart. He believed in giving back to society and was actively involved in various charitable activities. The Hero Group established several educational institutions, healthcare facilities, and community development programmes under his guidance. Munjal's philanthropic efforts were deeply rooted in his belief that education and healthcare were fundamental to societal progress.
This empathy naturally extended to his own employees. When the Japanese carmaker Honda was looking for a partner in India, it chose Hero—the decision was influenced by the way Munjal treated his staff. Their joint venture lasted until 2010, when the Indian entity bought out the Japanese group’s stake and became Hero Motocorp.
In addition to his business and philanthropic pursuits, Munjal had a keen interest in music and spirituality. He was an ardent follower of the teachings of Guru Nanak and often participated in spiritual discourses. Music was another passion, and he found solace in playing the harmonium and singing hymns. He was also a fan of sher and shayari.
Munjal's leadership style was inclusive. He believed in empowering his employees and fostering a culture of innovation. His emphasis on quality, customer satisfaction, and ethical business practices set Hero Cycles apart in a competitive market. As a result, the brand became synonymous with reliability and value for money.
Om Prakash Munjal's legacy extends beyond the confines of Hero Cycles. He inspired a generation of entrepreneurs and set a benchmark for excellence in the Indian manufacturing sector. His story is one of resilience, innovation, and a deep-seated commitment to societal welfare.
Munjal is survived by a son, four daughters, and ten grandchildren, who continue to uphold his values and vision. One of his sons, Pankaj, is now at the helm of Hero.
Munjal’s contributions to the industry and society are recounted in a biography titled The Inspiring Journey of A Hero by Priya Kumar.
Om Prakash Munjal's life story is a powerful reminder of the impact one individual can have on an industry and a nation. His journey from a small town in pre-partition India to becoming a global industry leader is a testament to the fact that the wheel of time turns only for those who know how to pedal.
- Science & Tech
- Sports
- Entertainment & Culture
Science & Tech
Verghese Kurien
Utterly-Butterly Milkman.
(26 November 1921 - 9 September 2012)
9 September 2012. A young girl, born under the supervision of Sylvester daCunha, who had, with wit and remark, borne witness to the events in Indian society over decades, shed her first solitary tear. She was in mourning, together with a great man’s family of Molly, his better half; daughter Nirmala; grandson Siddharth; and nieces Anita and Elen (who had lost their Jolly Apacha). The grief was shared by the whole nation, inconsolable at the passing of one of its favourite sons. Even as she was consumed by sorrow, the girl managed to thank the departed soul for giving us hausla (determination), Pragati (development), and Anand, the town in Gujarat, whose farmers woke up that day to learn of the singular tragedy.
Verghese Kurien often hailed as the “Father of the White Revolution” in India, had passed away at 90. His visionary leadership and pioneering work in the dairy industry transformed India from a milk-deficient nation into the largest milk producer in the world.
Anand, the epicentre of this revolution, was flooded with people—chiefly, farm hands—who poured in from all corners of the state to bid farewell to the man who had given them so much. During his early days in this provincial hamlet, after leaving a busy life in New York, Dr Kurien fumed that Anand was a “godforsaken place”. He recounts this in his autobiography, “I Too Had A Dream”, its title echoing the sentiments of Dr. Martin Luther King, who was a tireless advocate for civil rights in the United States. Nevertheless, he overcame this sentiment to charge headlong into battle, eventually transforming the landscape of the region and after that, the nation.
Born on 26 November 1921, in Kozhikode, Kerala, Kurien completed his studies in physics and mechanical engineering in India, before earning a Master's degree in mechanical engineering from Michigan State University. Upon his return to India, he was assigned to a government creamery in Anand, Gujarat, where he met Tribhuvandas Patel, the chairman of a local dairy cooperative named Kaira. It would alter his life.
Kurien's innovative thinking led to the development of the Amul brand in Anand, which became a symbol of the cooperative movement and rural empowerment. He played a pivotal role in the establishment of the Gujarat Cooperative Milk Marketing Federation (GCMMF) in 1973, which unified various cooperatives under the Amul brand. Another institution, the Indian Rural Management Institute, was among Kurien’s many bright ideas.It was dedicated to the systematic dissemination of theoretical and practical knowledge about the domain. This was sparked by a bitter exchange with an executive, who had remarked that no respectable graduate would seek employment in the dairy industry. Kurien had once declared that “Innovation cannot be mandated or forced on people”, but, with IRMA, he could at least try.
This was the headstrong side of Kurien, who could not stomach slights to the people to whom he had dedicated his life and those who, in turn, dedicated their lives to feeding the nation. Once, during a board meeting at the headquarters of Nestle in Switzerland, he stormed out after a disparaging remark about India’s ability to be a self-sufficient producer of dairy.
The Billion Litre Idea, was one of Kurien's most significant contributions, a strategic vision to scale up the co-operative model throughout India. This led to the launch of Operation Flood in 1970, a large-scale dairy development program that dramatically increased milk production and created a national milk grid. This initiative not only enhanced rural incomes but also ensured affordable milk prices for consumers across India.
The numbers speak for themselves. In 40 years, India’s annual milk production increased from 23.3 million tons (1968–69) to 100.9 million tons (2006–07). Daily per capita milk consumption in India more than doubled from a low of 107 grams in 1970 to over 240 grams in 2006. This sea-change was a direct consequence of the flood Dr. Kurien and his associates unleashed.
Kurien was awarded the Padma Shri, the Ramon Magsaysay Award for Community Leadership, the World Food Prize, and was also honoured as the International Person of the Year by the World Dairy Expo. His efforts not only revolutionised India's dairy sector but also provided a model for cooperative movements across the globe.
Kurien’s efforts inspired Shyam Benegal to make the classic film Manthan, which was funded by 500,000 dairy farmers of Gujarat. His life’s work is a lesson in how visionary leadership and dedication can bring about transformative change in society.
-
Verghese Kurien
Utterly-Butterly Milkman.
(26 November 1921 - 9 September 2012)
9 September 2012. A young girl, born under the supervision of Sylvester daCunha, who had, with wit and remark, borne witness to the events in Indian society over decades, shed her first solitary tear. She was in mourning, together with a great man’s family of Molly, his better half; daughter Nirmala; grandson Siddharth; and nieces Anita and Elen (who had lost their Jolly Apacha). The grief was shared by the whole nation, inconsolable at the passing of one of its favourite sons. Even as she was consumed by sorrow, the girl managed to thank the departed soul for giving us hausla (determination), Pragati (development), and Anand, the town in Gujarat, whose farmers woke up that day to learn of the singular tragedy.
Verghese Kurien often hailed as the “Father of the White Revolution” in India, had passed away at 90. His visionary leadership and pioneering work in the dairy industry transformed India from a milk-deficient nation into the largest milk producer in the world.
Anand, the epicentre of this revolution, was flooded with people—chiefly, farm hands—who poured in from all corners of the state to bid farewell to the man who had given them so much. During his early days in this provincial hamlet, after leaving a busy life in New York, Dr Kurien fumed that Anand was a “godforsaken place”. He recounts this in his autobiography, “I Too Had A Dream”, its title echoing the sentiments of Dr. Martin Luther King, who was a tireless advocate for civil rights in the United States. Nevertheless, he overcame this sentiment to charge headlong into battle, eventually transforming the landscape of the region and after that, the nation.Born on 26 November 1921, in Kozhikode, Kerala, Kurien completed his studies in physics and mechanical engineering in India, before earning a Master's degree in mechanical engineering from Michigan State University. Upon his return to India, he was assigned to a government creamery in Anand, Gujarat, where he met Tribhuvandas Patel, the chairman of a local dairy cooperative named Kaira. It would alter his life.
Kurien's innovative thinking led to the development of the Amul brand in Anand, which became a symbol of the cooperative movement and rural empowerment. He played a pivotal role in the establishment of the Gujarat Cooperative Milk Marketing Federation (GCMMF) in 1973, which unified various cooperatives under the Amul brand. Another institution, the Indian Rural Management Institute, was among Kurien’s many bright ideas.It was dedicated to the systematic dissemination of theoretical and practical knowledge about the domain. This was sparked by a bitter exchange with an executive, who had remarked that no respectable graduate would seek employment in the dairy industry. Kurien had once declared that “Innovation cannot be mandated or forced on people”, but, with IRMA, he could at least try.
This was the headstrong side of Kurien, who could not stomach slights to the people to whom he had dedicated his life and those who, in turn, dedicated their lives to feeding the nation. Once, during a board meeting at the headquarters of Nestle in Switzerland, he stormed out after a disparaging remark about India’s ability to be a self-sufficient producer of dairy.
The Billion Litre Idea, was one of Kurien's most significant contributions, a strategic vision to scale up the co-operative model throughout India. This led to the launch of Operation Flood in 1970, a large-scale dairy development program that dramatically increased milk production and created a national milk grid. This initiative not only enhanced rural incomes but also ensured affordable milk prices for consumers across India.
The numbers speak for themselves. In 40 years, India’s annual milk production increased from 23.3 million tons (1968–69) to 100.9 million tons (2006–07). Daily per capita milk consumption in India more than doubled from a low of 107 grams in 1970 to over 240 grams in 2006. This sea-change was a direct consequence of the flood Dr. Kurien and his associates unleashed.Kurien was awarded the Padma Shri, the Ramon Magsaysay Award for Community Leadership, the World Food Prize, and was also honoured as the International Person of the Year by the World Dairy Expo. His efforts not only revolutionised India's dairy sector but also provided a model for cooperative movements across the globe.
Kurien’s efforts inspired Shyam Benegal to make the classic film Manthan, which was funded by 500,000 dairy farmers of Gujarat. His life’s work is a lesson in how visionary leadership and dedication can bring about transformative change in society.
Sports
Gulabrai Ramchand
A cricketer and a gentleman.
(26 July 1927 – 8 September 2003)
Gulabrai Sipahimalani Ramchand was more than just a stalwart of Indian cricket. A domestic colossus, astute captain, and a key figure during the formative years of Indian cricket, he is best remembered for leading India to their first-ever Test victory over Australia.He also was one of the few Sindhi cricketers to represent India.
Born in Karachi in 1927, Ramchand’s cricketing journey began during an era when India was still finding its feet on the international stage. Known for his versatility, Ramchand was both a capable right-handed batsman and a medium-pace bowler. His all-round abilities made him a valuable asset for the Indian team, and he soon became a fixture in the national side, representing India in 33 Test matches between 1952 and 1960.
Ramchand’s international career, while marked by periods of brilliance, is often overshadowed by the legacy of his captaincy. His finest hour as a leader came in 1959 when, as India’s captain, he led the team to a historic win against Richie Benaud’s Australia in Kanpur. This triumph, India’s first-ever Test victory over the formidable Australians, marked a turning point in the country’s cricketing fortunes and gave a nascent cricketing nation the belief that they could compete with the best.
Despite this monumental achievement, Ramchand’s personal Test career was modest by the standards of some of his contemporaries. With 1180 runs and 41 wickets in Test cricket, his contributions were often understated but invaluable. His highest score of 109, achieved against the West Indies in 1958, showcased his ability to rise to the occasion when needed.
While his international career was notable, it was on the domestic circuit that Ramchand truly shone. He was a titan of Indian domestic cricket, particularly for Bombay (now Mumbai), where he captained with distinction and helped the team to several Ranji Trophy titles. His leadership and all-round prowess made him a dominant figure in domestic cricket, where his performances earned him the admiration of players and fans alike.
Ramchand was also known for his ability to handle pressure and lead with a calm demeanour. His leadership during the 1959 victory over Australia, where India managed to bowl out the Australians twice on a notoriously slow pitch, exemplified his tactical acumen and ability to motivate his team. His great contemporary, Nari Contractor, would later recall that as captain, Ramchand always had a “we-can-do-it kind of attitude”.
Off the field, Ramchand continued to contribute to Indian cricket after his playing days were over. He transitioned smoothly into a successful career as a selector and coach, where he played a pivotal role in shaping the next generation of Indian cricketers. In 1975, he had the honour of being the manager of the Indian team that took part in the first cricket world cup.
He also paved the way for cricketers to become brand ambassadors: he was one of the first players to endorse commercial brands. After his playing days were over, he worked as a senior manager with India’s national carrier.
Ramchand passed away on 8 September 2003 at the age of 76, leaving behind a legacy that continues to inspire. His leadership during one of India’s most historic cricketing moments, combined with his invaluable contributions to domestic cricket and his work as a coach and selector, ensure that his place in Indian cricket history is secure.
Gulabrai Ramchand was not just a cricketer; he was a pioneer who played a key role in shaping Indian cricket during its formative years. To the end, he was also a humble fan of the game. The day before his passing, he insisted that his wife leave his bedside to get him some important information. And what was the precious information that the patient wanted? The latest score in the Test between Pakistan and Bangladesh!
-
Gulabrai Ramchand
A cricketer and a gentleman.
(26 July 1927 – 8 September 2003)
Gulabrai Sipahimalani Ramchand was more than just a stalwart of Indian cricket. A domestic colossus, astute captain, and a key figure during the formative years of Indian cricket, he is best remembered for leading India to their first-ever Test victory over Australia.He also was one of the few Sindhi cricketers to represent India.
Born in Karachi in 1927, Ramchand’s cricketing journey began during an era when India was still finding its feet on the international stage. Known for his versatility, Ramchand was both a capable right-handed batsman and a medium-pace bowler. His all-round abilities made him a valuable asset for the Indian team, and he soon became a fixture in the national side, representing India in 33 Test matches between 1952 and 1960.
Ramchand’s international career, while marked by periods of brilliance, is often overshadowed by the legacy of his captaincy. His finest hour as a leader came in 1959 when, as India’s captain, he led the team to a historic win against Richie Benaud’s Australia in Kanpur. This triumph, India’s first-ever Test victory over the formidable Australians, marked a turning point in the country’s cricketing fortunes and gave a nascent cricketing nation the belief that they could compete with the best.
Despite this monumental achievement, Ramchand’s personal Test career was modest by the standards of some of his contemporaries. With 1180 runs and 41 wickets in Test cricket, his contributions were often understated but invaluable. His highest score of 109, achieved against the West Indies in 1958, showcased his ability to rise to the occasion when needed.
While his international career was notable, it was on the domestic circuit that Ramchand truly shone. He was a titan of Indian domestic cricket, particularly for Bombay (now Mumbai), where he captained with distinction and helped the team to several Ranji Trophy titles. His leadership and all-round prowess made him a dominant figure in domestic cricket, where his performances earned him the admiration of players and fans alike.
Ramchand was also known for his ability to handle pressure and lead with a calm demeanour. His leadership during the 1959 victory over Australia, where India managed to bowl out the Australians twice on a notoriously slow pitch, exemplified his tactical acumen and ability to motivate his team. His great contemporary, Nari Contractor, would later recall that as captain, Ramchand always had a “we-can-do-it kind of attitude”.
Off the field, Ramchand continued to contribute to Indian cricket after his playing days were over. He transitioned smoothly into a successful career as a selector and coach, where he played a pivotal role in shaping the next generation of Indian cricketers. In 1975, he had the honour of being the manager of the Indian team that took part in the first cricket world cup.
He also paved the way for cricketers to become brand ambassadors: he was one of the first players to endorse commercial brands. After his playing days were over, he worked as a senior manager with India’s national carrier.
Ramchand passed away on 8 September 2003 at the age of 76, leaving behind a legacy that continues to inspire. His leadership during one of India’s most historic cricketing moments, combined with his invaluable contributions to domestic cricket and his work as a coach and selector, ensure that his place in Indian cricket history is secure.
Gulabrai Ramchand was not just a cricketer; he was a pioneer who played a key role in shaping Indian cricket during its formative years. To the end, he was also a humble fan of the game. The day before his passing, he insisted that his wife leave his bedside to get him some important information. And what was the precious information that the patient wanted? The latest score in the Test between Pakistan and Bangladesh!
Entertainment
SP Balasubrahmanyam
Immortal, Beloved, Balu.
(4 June 1946 - 25 September 2020)
8 February 1981. Kannada music director Upendra Kumar was treated to a marathon unfolding before his very eyes—a marathon where the runner had not moved an inch, staying rooted to a spot, and yet moving those around him with the unwavering stamina of his voice. The exponent sang for twelve hours, with a determined lilt, until 21 new tracks were recorded. It was but a drop in the ocean for a maestro who would go on to be mentioned in the Guinness Book of World Records for having an unprecedented 40,000 songs under his belt. He was candid once: ‘Even today, I have a thousand butterflies in my stomach before every song.’ It is a sign of genius to achieve such a feat. One of the greatest of our, and any other, time, S.P. Balasubrahmanyam was one.
The legendary playback singer passed away on 25 September 2020, at the age of 74, due to complications from COVID-19. Affectionately known as Balu or SPB, he was celebrated for his extraordinary contribution to Indian music, having recorded songs in sixteen languages during his illustrious career.
Born on 4 June 1946, in Nellore, Andhra Pradesh, SPB developed a passion for music early on, influenced by his father, a Harikatha artist. Despite initially pursuing a career as an engineer, his love for music led him to participate in numerous singing competitions—he eventually won the first prize in a Madras-based contest judged by eminent musicians like Ghantasala and SP Kodandapani.
His career took off with his debut in the Telugu film Sri Sri Sri Maryada Ramanna in 1966, and he quickly made his mark across various South Indian film industries. SPB's versatility and ability to sing in several languages made him a beloved figure in Indian cinema. Notable among his countless hits are songs from films such as Sankarabharanam, Ek Duje Ke Liye, and Hum Aapke Hain Koun..!. This last film was but one of his many performances as the romantic singing voice of Salman Khan, an association which began in 1989 with the superstar’s debut film, Maine Pyar Kiya. For that, SPB won a Filmfare Award for Best Male Playback Singer for the song Dil Deewana.
SPB's skills extended beyond singing; he was also a music director, actor, and dubbing artist. His voice gave life to numerous iconic film characters, including the Telugu version of Gandhi, the celebrated Richard Attenborough biopic. He was known for his close collaborations with the music directors of his time, Ilayaraja, MS Viswanathan, KV Mahadevan, and AR Rahman.
SPB received numerous accolades, including six National Film Awards and the Padma Bhushan in 201. When he died, there was an outpouring of grief from fans from all around the world. His legacy lives on through his vast body of work, and his voice will continue to resonate with fans across generations. He left an indelible mark on Indian cinema.
-
SP Balasubrahmanyam
Immortal, Beloved, Balu.
(4 June 1946 - 25 September 2020)
8 February 1981. Kannada music director Upendra Kumar was treated to a marathon unfolding before his very eyes—a marathon where the runner had not moved an inch, staying rooted to a spot, and yet moving those around him with the unwavering stamina of his voice. The exponent sang for twelve hours, with a determined lilt, until 21 new tracks were recorded. It was but a drop in the ocean for a maestro who would go on to be mentioned in the Guinness Book of World Records for having an unprecedented 40,000 songs under his belt. He was candid once: ‘Even today, I have a thousand butterflies in my stomach before every song.’ It is a sign of genius to achieve such a feat. One of the greatest of our, and any other, time, S.P. Balasubrahmanyam was one.
The legendary playback singer passed away on 25 September 2020, at the age of 74, due to complications from COVID-19. Affectionately known as Balu or SPB, he was celebrated for his extraordinary contribution to Indian music, having recorded songs in sixteen languages during his illustrious career.
Born on 4 June 1946, in Nellore, Andhra Pradesh, SPB developed a passion for music early on, influenced by his father, a Harikatha artist. Despite initially pursuing a career as an engineer, his love for music led him to participate in numerous singing competitions—he eventually won the first prize in a Madras-based contest judged by eminent musicians like Ghantasala and SP Kodandapani.
His career took off with his debut in the Telugu film Sri Sri Sri Maryada Ramanna in 1966, and he quickly made his mark across various South Indian film industries. SPB's versatility and ability to sing in several languages made him a beloved figure in Indian cinema. Notable among his countless hits are songs from films such as Sankarabharanam, Ek Duje Ke Liye, and Hum Aapke Hain Koun..!. This last film was but one of his many performances as the romantic singing voice of Salman Khan, an association which began in 1989 with the superstar’s debut film, Maine Pyar Kiya. For that, SPB won a Filmfare Award for Best Male Playback Singer for the song Dil Deewana.
SPB's skills extended beyond singing; he was also a music director, actor, and dubbing artist. His voice gave life to numerous iconic film characters, including the Telugu version of Gandhi, the celebrated Richard Attenborough biopic. He was known for his close collaborations with the music directors of his time, Ilayaraja, MS Viswanathan, KV Mahadevan, and AR Rahman.
SPB received numerous accolades, including six National Film Awards and the Padma Bhushan in 201. When he died, there was an outpouring of grief from fans from all around the world. His legacy lives on through his vast body of work, and his voice will continue to resonate with fans across generations. He left an indelible mark on Indian cinema.
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Science & Tech
Dr PK Kelkar
Building the Builders of Tomorrow
(1 June 1909 - 23 October 1990)
Dr Purushottam Kashinath Kelkar influenced some of the brightest minds in modern India during his career, all the while being the lynchpin behind two of the country’s most important institutes: the Indian Institute of Technology Kanpur (where he was founder director), and the Indian Institute of Technology Bombay (where he was the second director).
Dr Kelkar hailed from Dharwad, in northern Karnataka. His father was a professor of philosophy. His family remembered him as a quiet, self-effacing young man, who was gentle, yet firm. One of the early graduates from the Indian Institute of Science, Bangalore, he got his PhD from the University of Liverpool. He showcased his steely resolve there, overcoming the loss of his precious data in a fire, and completing the course. He returned to work at the IISc before furthering his career elsewhere.
Pandit Jawaharlal Nehru, a great promoter of science and an even greater believer in the power of technology to transform the country, facilitated the development of the IITs, following independence. IIT Kharagpur was the first such institution set up. In the 1950s, Pandit Nehru arranged for support from the USSR, India’s ally, to set up more IITs. A joint India-UNESCO mission was sent to the USSR for this. Dr Kelkar was part of this group. He would soon be appointed Deputy Director of the new institute in Mumbai. Although he did not get the top post, the government gave him the chance to be the founder director of a new IIT in Kanpur.
In 1959, to everyone’s surprise, he accepted this apparently lesser post. He later recounted people’s reaction: “When I came to Kanpur first to join as the Director of the Institute, almost everybody I met in Kanpur asked me if...I had wanted to commit professional suicide.”
Dr Kelkar then set out to prove everyone wrong. He had clear ideas on what he wanted from the school.
The Kanpur Indo-American Program (KIAP) was a major step in making the institute a world-class organisation. Educators from the Massachusetts Institute of Technology, arguably the world’s top engineering college, were early visitors, doubting that anything could be done there. Dr Kelkar’s approach and energy blew them away: the doubters became the believers.
His approach to excellence also reflected in the kind of people he hired: they were young, highly qualified, and imbued with a spirit of adventure. Many had given up promising and highly paid positions abroad to invest their time and energies in a fledgling institute: one must remember that the sheen and glamour that IITs have now, simply did not exist then. He also laid down founding principles that exist to the day: a spirit of academic freedom that is meant for every member of the faculty and student body.
The Director also paid attention to the people he employed, being instrumental in setting up a Campus school for the children of the people he employed. One of his proudest moments was when the son of a jeep-driver stood first in class.
After a decade-long tenure, he then got a job that he had originally wanted: as Director of IIT Bombay.
Dr Kelkar was honoured with the Padma Bhushan in 1969, an honour that he deserved only too well. An honour he may have prized even more is found today at his beloved institute: the campus library is named after him. The institute he founded is today among the world’s best, its alumni include icons like NR Narayana Murthy, a co-founder of Infosys.
His life is an example of the idea that one need not live merely for oneself, and that moulding future generations is something that every educator must aspire to.
-
Dr PK Kelkar
Building the Builders of Tomorrow
(1 June 1909 - 23 October 1990)
Dr Purushottam Kashinath Kelkar influenced some of the brightest minds in modern India during his career, all the while being the lynchpin behind two of the country’s most important institutes: the Indian Institute of Technology Kanpur (where he was founder director), and the Indian Institute of Technology Bombay (where he was the second director).
Dr Kelkar hailed from Dharwad, in northern Karnataka. His father was a professor of philosophy. His family remembered him as a quiet, self-effacing young man, who was gentle, yet firm. One of the early graduates from the Indian Institute of Science, Bangalore, he got his PhD from the University of Liverpool. He showcased his steely resolve there, overcoming the loss of his precious data in a fire, and completing the course. He returned to work at the IISc before furthering his career elsewhere.
Pandit Jawaharlal Nehru, a great promoter of science and an even greater believer in the power of technology to transform the country, facilitated the development of the IITs, following independence. IIT Kharagpur was the first such institution set up. In the 1950s, Pandit Nehru arranged for support from the USSR, India’s ally, to set up more IITs. A joint India-UNESCO mission was sent to the USSR for this. Dr Kelkar was part of this group. He would soon be appointed Deputy Director of the new institute in Mumbai. Although he did not get the top post, the government gave him the chance to be the founder director of a new IIT in Kanpur.
In 1959, to everyone’s surprise, he accepted this apparently lesser post. He later recounted people’s reaction: “When I came to Kanpur first to join as the Director of the Institute, almost everybody I met in Kanpur asked me if...I had wanted to commit professional suicide.”
Dr Kelkar then set out to prove everyone wrong. He had clear ideas on what he wanted from the school.
The Kanpur Indo-American Program (KIAP) was a major step in making the institute a world-class organisation. Educators from the Massachusetts Institute of Technology, arguably the world’s top engineering college, were early visitors, doubting that anything could be done there. Dr Kelkar’s approach and energy blew them away: the doubters became the believers.
His approach to excellence also reflected in the kind of people he hired: they were young, highly qualified, and imbued with a spirit of adventure. Many had given up promising and highly paid positions abroad to invest their time and energies in a fledgling institute: one must remember that the sheen and glamour that IITs have now, simply did not exist then. He also laid down founding principles that exist to the day: a spirit of academic freedom that is meant for every member of the faculty and student body.
The Director also paid attention to the people he employed, being instrumental in setting up a Campus school for the children of the people he employed. One of his proudest moments was when the son of a jeep-driver stood first in class.
After a decade-long tenure, he then got a job that he had originally wanted: as Director of IIT Bombay.
Dr Kelkar was honoured with the Padma Bhushan in 1969, an honour that he deserved only too well. An honour he may have prized even more is found today at his beloved institute: the campus library is named after him. The institute he founded is today among the world’s best, its alumni include icons like NR Narayana Murthy, a co-founder of Infosys.
His life is an example of the idea that one need not live merely for oneself, and that moulding future generations is something that every educator must aspire to.
Sports
Wilson Jones
A world champion ahead of his time
(2 May 1922 – 4 October 2003)
For providing us India’s first world champion in any sport, we have a hockey centre-half to thank! As a child, Wilson Lionel Garton Jones was inspired by the sight of his uncle, the hockey international OB Massey playing in a Pune billiards saloon, and took up the sport.
Jones was a name synonymous with billiards in India, a pioneer who not only showcased exceptional talent but also elevated the game’s status in the country. Born in Mumbai,, Jones rose to prominence as a world-class billiards player, securing his place in history as India’s first world billiards champion in 1958. The son of a Welshman, he rarely knew his father. He was brought up by his grandmother.
Jones began his career at a time when billiards was still a niche sport in India. His early years were spent honing his craft in the bustling cafes and clubs of Mumbai, where he developed a style that combined finesse with aggression. His dedication soon bore fruit as he began to dominate the Indian billiards scene, claiming the national championship title an impressive twelve times .
In 1958, Wilson Jones made history by becoming the first Indian to win the World Billiards Championship. Jones trailed by a massive 661 points when the final session began, but masterminded a miraculous recovery. The defending world champion, Leslie Driffield, later showered Jones with high praise: “No other player, professional or amateur, could have conceded such a big lead and still have beaten me."
Jones’s success continued into the 1960s when he clinched his second world title in 1965, solidifying his reputation as one of the finest players in the game’s history. His style of play was marked by a fluid grace and precision that left viewers’ mouths agape.. Known for his ability to control the table, Jones mastered the delicate balance of power and strategy, which made him a formidable opponent.
Throughout his illustrious career, Wilson Jones faced numerous challenges, including the lack of infrastructure and support for billiards in India. However, he persevered, driven by his love for the game. He became a role model for aspiring billiards players, demonstrating that with hard work and determination, it was possible to achieve greatness in a sport that often went unnoticed .
Beyond his playing career, Jones contributed significantly to the development of billiards in India. He was instrumental in promoting the sport, encouraging young players to take up billiards and providing mentorship to many. His passion for the game extended beyond his own achievements, as he sought to inspire others and create a thriving billiards community. He was honoured with the Dronacharya Award in 1996.
Wilson Jones's legacy is not just defined by his titles and trophies but also by the spirit of sportsmanship he embodied. He was known for his humility and graciousness, both on and off the table. His approach to the game—marked by respect for opponents and a commitment to excellence—has left a lasting impression.
Jones leaves behind a rich legacy as a trailblazer in Indian billiards. His contributions to the sport, both as a player and a mentor, continue to be celebrated, and he is remembered as one of the sport's greats. In an era when billiards was often overshadowed by other sports, Wilson Jones illuminated the path for future generations, proving that with passion and dedication, one could carve a niche in any field .
-
Wilson Jones
A world champion ahead of his time.
(2 May 1922 – 4 October 2003)
For providing us India’s first world champion in any sport, we have a hockey centre-half to thank! As a child, Wilson Lionel Garton Jones was inspired by the sight of his uncle, the hockey international OB Massey playing in a Pune billiards saloon, and took up the sport.
Jones was a name synonymous with billiards in India, a pioneer who not only showcased exceptional talent but also elevated the game’s status in the country. Born in Mumbai,, Jones rose to prominence as a world-class billiards player, securing his place in history as India’s first world billiards champion in 1958. The son of a Welshman, he rarely knew his father. He was brought up by his grandmother.
Jones began his career at a time when billiards was still a niche sport in India. His early years were spent honing his craft in the bustling cafes and clubs of Mumbai, where he developed a style that combined finesse with aggression. His dedication soon bore fruit as he began to dominate the Indian billiards scene, claiming the national championship title an impressive twelve times .
In 1958, Wilson Jones made history by becoming the first Indian to win the World Billiards Championship. Jones trailed by a massive 661 points when the final session began, but masterminded a miraculous recovery. The defending world champion, Leslie Driffield, later showered Jones with high praise: “No other player, professional or amateur, could have conceded such a big lead and still have beaten me."
Jones’s success continued into the 1960s when he clinched his second world title in 1965, solidifying his reputation as one of the finest players in the game’s history. His style of play was marked by a fluid grace and precision that left viewers’ mouths agape.. Known for his ability to control the table, Jones mastered the delicate balance of power and strategy, which made him a formidable opponent.
Throughout his illustrious career, Wilson Jones faced numerous challenges, including the lack of infrastructure and support for billiards in India. However, he persevered, driven by his love for the game. He became a role model for aspiring billiards players, demonstrating that with hard work and determination, it was possible to achieve greatness in a sport that often went unnoticed .
Beyond his playing career, Jones contributed significantly to the development of billiards in India. He was instrumental in promoting the sport, encouraging young players to take up billiards and providing mentorship to many. His passion for the game extended beyond his own achievements, as he sought to inspire others and create a thriving billiards community. He was honoured with the Dronacharya Award in 1996.
Wilson Jones's legacy is not just defined by his titles and trophies but also by the spirit of sportsmanship he embodied. He was known for his humility and graciousness, both on and off the table. His approach to the game—marked by respect for opponents and a commitment to excellence—has left a lasting impression.
Jones leaves behind a rich legacy as a trailblazer in Indian billiards. His contributions to the sport, both as a player and a mentor, continue to be celebrated, and he is remembered as one of the sport's greats. In an era when billiards was often overshadowed by other sports, Wilson Jones illuminated the path for future generations, proving that with passion and dedication, one could carve a niche in any field .
Business
Ratan Tata
A Titan of the Business World
(28 December 1937–09 October 2024)
“Tata is not just a brand! It is the emotions of India!”
This is what a user commented on Ratan Tata’s social media post celebrating Tata Indica. The lead up to this moment of fondness and nostalgia began years ago on a chilly day in Pragati Maidan, New Delhi.
Decked up in a pinstriped suit and a polka-dotted tie, Ratan Tata presided over an Auto Expo at this ground on 15 January 1998. As he addressed the huge crowd, he stood beside a blue car adorned with flowers. It looked almost wedding-ready. The occasion, however, was the launch of India’s first indigenously designed car. Its impact on the automobile industry was expected, but the sheer influence it had over India’s population was unprecedented. Even years after it was discontinued, people fondly remembered it. It was the first car for many.
Ratan Tata made this possible.
He was born in a family that controlled one of the largest business groups in India. He spent his childhood under the indulgent but strict watch of his grandmother Navajbai R Tata. Under her care, Tata grew to be the self-assured, confident, and kind man that we knew him as. However, that confidence was hard won.
Quiet by nature, Tata’s childhood was one without many friends. While he often indulged in hobbies such as learning the piano and playing cricket, his shy nature prevented him from forming friendships. ‘I was shy [back then]. One thing I have never recovered from is a fear of public speaking,’ he mentioned in an interview where he gave listeners a rare glimpse into his childhood. Despite the fear of public speaking that caught hold of him and never let go, Tata was a charismatic man. He charmed all those he met with his mind and his words.
This helped him when he stepped into the large shoes left behind by JRD Tata. In 1991, Ratan Tata was appointed chairman of the Tata Group. It was a big responsibility, and Tata realised that he was stepping into a minefield and goldmine simultaneously. The Tata group’s business potential was undeniable, but the stumbling block were the people of the Tata group. It was difficult for them to accept a new chairman as they were used to JRD Tata’s leadership. It took him time, but within a few years, Ratan Tata had endeared himself to his staff.
He played sentinel and shepherd, and guided the Tata group into a new age. Under him, the conglomerate made several high-profile acquisitions, including the takeover of Anglo-Dutch steelmaker Corus, UK-based car brands Jaguar and Land Rover, and Tetley, the world's second-largest tea company.
Despite his talent for business, Tata was still a man led by his passions.
He studied both engineering and architecture at Cornell University. One was on his father’s insistence and the other was what his heart desired. He only had a handful of opportunities to use his degree in architecture—he designed a home for his mother in Alibaug and built his own seafront home in Mumbai.
All that he loved, he loved fiercely. Ratan Tata loved flying, fast cars, and most of all, animals. He once professed that his love for the latter would continue for as long as he lived. Time has proven this prophecy to be wrong. That love even transcends death—at Bombay House, the head office of the Tata group, visitors will find themselves being frisked, but stray dogs have free rein. They even have their own kennel space with warm beds, toys, fresh food and water and even caretakers. He also built an animal hospital, the first of its kind in India.
Tata passed away on 9 October 2024, but the legacy he left behind was one that went far beyond his business. He will be remembered not only by the size of his empire, but the scale of his dreams that surpassed the boundaries of business. The lights of Bombay House may be dimmed, but the Tata name will gleam forever.
-
Ratan Tata
A Titan of the Business World.
(28 December 1937–09 October 2024)
“Tata is not just a brand! It is the emotions of India!”
This is what a user commented on Ratan Tata’s social media post celebrating Tata Indica. The lead up to this moment of fondness and nostalgia began years ago on a chilly day in Pragati Maidan, New Delhi.
Decked up in a pinstriped suit and a polka-dotted tie, Ratan Tata presided over an Auto Expo at this ground on 15 January 1998. As he addressed the huge crowd, he stood beside a blue car adorned with flowers. It looked almost wedding-ready. The occasion, however, was the launch of India’s first indigenously designed car. Its impact on the automobile industry was expected, but the sheer influence it had over India’s population was unprecedented. Even years after it was discontinued, people fondly remembered it. It was the first car for many.
Ratan Tata made this possible.
He was born in a family that controlled one of the largest business groups in India. He spent his childhood under the indulgent but strict watch of his grandmother Navajbai R Tata. Under her care, Tata grew to be the self-assured, confident, and kind man that we knew him as. However, that confidence was hard won.
Quiet by nature, Tata’s childhood was one without many friends. While he often indulged in hobbies such as learning the piano and playing cricket, his shy nature prevented him from forming friendships. ‘I was shy [back then]. One thing I have never recovered from is a fear of public speaking,’ he mentioned in an interview where he gave listeners a rare glimpse into his childhood. Despite the fear of public speaking that caught hold of him and never let go, Tata was a charismatic man. He charmed all those he met with his mind and his words.
This helped him when he stepped into the large shoes left behind by JRD Tata. In 1991, Ratan Tata was appointed chairman of the Tata Group. It was a big responsibility, and Tata realised that he was stepping into a minefield and goldmine simultaneously. The Tata group’s business potential was undeniable, but the stumbling block were the people of the Tata group. It was difficult for them to accept a new chairman as they were used to JRD Tata’s leadership. It took him time, but within a few years, Ratan Tata had endeared himself to his staff.
He played sentinel and shepherd, and guided the Tata group into a new age. Under him, the conglomerate made several high-profile acquisitions, including the takeover of Anglo-Dutch steelmaker Corus, UK-based car brands Jaguar and Land Rover, and Tetley, the world's second-largest tea company.
Despite his talent for business, Tata was still a man led by his passions.
He studied both engineering and architecture at Cornell University. One was on his father’s insistence and the other was what his heart desired. He only had a handful of opportunities to use his degree in architecture—he designed a home for his mother in Alibaug and built his own seafront home in Mumbai.
All that he loved, he loved fiercely. Ratan Tata loved flying, fast cars, and most of all, animals. He once professed that his love for the latter would continue for as long as he lived. Time has proven this prophecy to be wrong. That love even transcends death—at Bombay House, the head office of the Tata group, visitors will find themselves being frisked, but stray dogs have free rein. They even have their own kennel space with warm beds, toys, fresh food and water and even caretakers. He also built an animal hospital, the first of its kind in India.
Tata passed away on 9 October 2024, but the legacy he left behind was one that went far beyond his business. He will be remembered not only by the size of his empire, but the scale of his dreams that surpassed the boundaries of business. The lights of Bombay House may be dimmed, but the Tata name will gleam forever.
Entertainment
Bhanu Athaiya
She who dressed the Mahatma
(28 April 1929 -15 October 2020)
The older generation would remember the stranglehold that the song “Aaj Kal Tere Mere Pyaar Ke Charche” had on the nation when it was released. The song was catchy, but no one can forget the orange saree that Mumtaz donned in the song. A relatively plain saree with a golden border, it drew attention by virtue of its unique draping style. The design brought together both imagination and expediency. The candy colour did justice to Mumtaz’s free spirit and the mischief of the song. Paired with her iconic look—orange lipstick, the upward curving eyeliner, and the dramatic puffy hairstyle—the saree was a trendsetter. Even today, it is called the Mumtaz Saree. Bhanu Athaiya was the creative genius behind it.
Born into a priestly class of pandits from the royal house of Kolhapur on 29 April 1929, Athaiya was involved with art from childhood. Her father, a self-taught artist, and a photographer, encouraged Athaiya’s interest in European painters like Leonardo da Vinci and Rembrandt. As a child, she would watch her father paint. She was happy that she was allowed to wash the brushes and palettes after he was done and even play with the leftover paint. He inspired her to become a painter.
Athaiya was a gifted painter. She made cutwork designs of Subhash Chandra Bose and Gandhi at the tender age of ten. She later became the first and only woman to be a part of the Progressive Artists Group (PAG) which included prominent names like MF Husain, FN Souza and KH Ara.
It was at the suggestion of the editor at “Eve's Weekly” magazine that Athaiya discovered she had a talent for designing clothes. Athaiya became a celebrated name in Bollywood. Actors wanted to work with her, some like Mumtaz insisted that they work with her. Her gift for design was so natural that it seemed almost effortless. Athaiya’s move into costume designing was a conscious decision. She knew the importance of being able to support herself and chose to venture into the field which she saw as being more practical. KH Ara was furious that she was shifting focus and ‘going commercial’ but Athaiya knew what she wanted.
While people recall how she always seemed to have ideas at her fingertips, ready to transfer to paper, an incredible amount of care and research went into her work. She was known to visit film locations beforehand, comb museums and libraries to gather reference material, and interact with the residents of the films locations to learn about their dressing style. She was eagle-eyed and espied intricate details that others barely noticed. It was this attention to detail that earned her an Oscar in 1983, the first Indian to bag one. She was awarded the prize for Best Costume Design for her work in Richard Attenborough’s Gandhi (1982). When asked about her work in the film, she said, ‘The stark look of Gandhi’s dhoti was frightening in comparison to the razzle-dazzle of Hindi cinema.’ Her Oscar is proof that she rose to the challenge and did not give up.
In a career that spanned over five decades, Athaiya worked in nearly a hundred films. She recreated the aesthetic of mundane Indian life as well as the oomph that Hindi cinema is known for. From the wardrobe in Attenborough’s Gandhi to the creation of the dhoti drape saree called Amrapali—a go-to even today for mythological serials and films—Athaiya could do it all. Athaiya died peacefully on 15 October 2020 in Mumbai. While we mourn the loss of her creativity, her work has transcended her. Exhibitions display her designs, and the films she worked in are a constant reminder. Perhaps her biggest achievement is that her work has left the fictional confines of the silver screen and become a popular part of Indian fashion.
-
Bhanu Athaiya
She who dressed the Mahatma.
(28 April 1929 -15 October 2020)
The older generation would remember the stranglehold that the song “Aaj Kal Tere Mere Pyaar Ke Charche” had on the nation when it was released. The song was catchy, but no one can forget the orange saree that Mumtaz donned in the song. A relatively plain saree with a golden border, it drew attention by virtue of its unique draping style. The design brought together both imagination and expediency. The candy colour did justice to Mumtaz’s free spirit and the mischief of the song. Paired with her iconic look—orange lipstick, the upward curving eyeliner, and the dramatic puffy hairstyle—the saree was a trendsetter. Even today, it is called the Mumtaz Saree. Bhanu Athaiya was the creative genius behind it.
Born into a priestly class of pandits from the royal house of Kolhapur on 29 April 1929, Athaiya was involved with art from childhood. Her father, a self-taught artist, and a photographer, encouraged Athaiya’s interest in European painters like Leonardo da Vinci and Rembrandt. As a child, she would watch her father paint. She was happy that she was allowed to wash the brushes and palettes after he was done and even play with the leftover paint. He inspired her to become a painter.
Athaiya was a gifted painter. She made cutwork designs of Subhash Chandra Bose and Gandhi at the tender age of ten. She later became the first and only woman to be a part of the Progressive Artists Group (PAG) which included prominent names like MF Husain, FN Souza and KH Ara.
It was at the suggestion of the editor at “Eve's Weekly” magazine that Athaiya discovered she had a talent for designing clothes. Athaiya became a celebrated name in Bollywood. Actors wanted to work with her, some like Mumtaz insisted that they work with her. Her gift for design was so natural that it seemed almost effortless. Athaiya’s move into costume designing was a conscious decision. She knew the importance of being able to support herself and chose to venture into the field which she saw as being more practical. KH Ara was furious that she was shifting focus and ‘going commercial’ but Athaiya knew what she wanted.
While people recall how she always seemed to have ideas at her fingertips, ready to transfer to paper, an incredible amount of care and research went into her work. She was known to visit film locations beforehand, comb museums and libraries to gather reference material, and interact with the residents of the films locations to learn about their dressing style. She was eagle-eyed and espied intricate details that others barely noticed. It was this attention to detail that earned her an Oscar in 1983, the first Indian to bag one. She was awarded the prize for Best Costume Design for her work in Richard Attenborough’s Gandhi (1982). When asked about her work in the film, she said, ‘The stark look of Gandhi’s dhoti was frightening in comparison to the razzle-dazzle of Hindi cinema.’ Her Oscar is proof that she rose to the challenge and did not give up.
In a career that spanned over five decades, Athaiya worked in nearly a hundred films. She recreated the aesthetic of mundane Indian life as well as the oomph that Hindi cinema is known for. From the wardrobe in Attenborough’s Gandhi to the creation of the dhoti drape saree called Amrapali—a go-to even today for mythological serials and films—Athaiya could do it all. Athaiya died peacefully on 15 October 2020 in Mumbai. While we mourn the loss of her creativity, her work has transcended her. Exhibitions display her designs, and the films she worked in are a constant reminder. Perhaps her biggest achievement is that her work has left the fictional confines of the silver screen and become a popular part of Indian fashion.
- Sports
- Business
- Entertainment & Culture
Sports
Hanumant Singh
The Little Prince
(29 March 1939 - 29 November 2006)
Hanumant Singh was a cricketer born into a royal family (in Banswara, Rajasthan) and played like the pitch was his kingdom. His life was defined by his passion for cricket, which he pursued despite the pressures of royal expectations. He was affectionately known as "Chhotu" due to his height.
Making his Test debut against England in February 1964, Singh announced himself in regal style by scoring 105 runs, becoming the fifth Indian to achieve a century on debut. This remarkable performance set high expectations for his career, and he followed it up with an impressive 94 in his first Test against Australia later that same year. His ability to perform under pressure highlighted not only his talent but also his potential to be a cornerstone of the Indian batting lineup.
Despite these promising beginnings, Singh struggled to maintain the same level of success after his initial triumphs. His subsequent performances were inconsistent, and although he had the skills to be a top batsman, he never fulfilled his early promise.
His batting style was characterised by a graceful approach and an ability to work the ball around the leg side. However, despite his capabilities, he found himself dropped from the team during the 1967-68 tour of Australia, a decision that disheartened him.
He also displayed an uncanny ability to rise to the occasion. Once, playing on a pitch damaged by rioters, he held his own against an attack that included Lance Gibbs, perhaps the world's premier spinner at the time. No less an authority than Garfield Sobers — the opposing captain — was impressed by this performance.
Beyond his playing days, he transitioned into coaching and administration, contributing significantly to the development of cricket across the world. He managed the Indian team during the late 1970s and was also involved with the Rajasthan cricket team, guiding young talent and sharing his vast knowledge of the game. Cricket was not his only love; as a young man he loved hockey and football. In his later years, he took up golf, confessing himself to be an addict of the game.
He also served as a match referee for the International Cricket Council (ICC), his unbiased judgments earning him respect from players and officials alike. He was unafraid to use the cudgel even if it was a big name who had broken the rules. He also had a long tenure as coach of the Kenya cricket team, which saw them rise from minnows to true competitors.
Singh’s life took a tragic turn in his later years when he battled health issues. He contracted dengue fever and Hepatitis B, which led to severe complications, ultimately resulting in his untimely passing at the age of 67.
Those who knew him best remember him not just for his contributions on the field but for the warmth and humility he brought to every interaction. Bishan Singh Bedi remarked that "He always thought of others before himself," a sentiment that perfectly encapsulated Hanumant Singh's character and legacy in cricket.
In a world where statistics often overshadow personal stories, Singh’s journey serves as a poignant reminder of the values of resilience, humility, and dedication. His legacy continues to inspire aspiring cricketers, particularly in Rajasthan, where he remains a symbol of what it means to serve the sport with honour and grace.
-
Hanumant Singh
The Little Prince
(29 March 1939 - 29 November 2006)
Hanumant Singh was a cricketer born into a royal family (in Banswara, Rajasthan) and played like the pitch was his kingdom. His life was defined by his passion for cricket, which he pursued despite the pressures of royal expectations. He was affectionately known as "Chhotu" due to his height.
Making his Test debut against England in February 1964, Singh announced himself in regal style by scoring 105 runs, becoming the fifth Indian to achieve a century on debut. This remarkable performance set high expectations for his career, and he followed it up with an impressive 94 in his first Test against Australia later that same year. His ability to perform under pressure highlighted not only his talent but also his potential to be a cornerstone of the Indian batting lineup.
Despite these promising beginnings, Singh struggled to maintain the same level of success after his initial triumphs. His subsequent performances were inconsistent, and although he had the skills to be a top batsman, he never fulfilled his early promise.
His batting style was characterised by a graceful approach and an ability to work the ball around the leg side. However, despite his capabilities, he found himself dropped from the team during the 1967-68 tour of Australia, a decision that disheartened him.
He also displayed an uncanny ability to rise to the occasion. Once, playing on a pitch damaged by rioters, he held his own against an attack that included Lance Gibbs, perhaps the world's premier spinner at the time. No less an authority than Garfield Sobers — the opposing captain — was impressed by this performance.
Beyond his playing days, he transitioned into coaching and administration, contributing significantly to the development of cricket across the world. He managed the Indian team during the late 1970s and was also involved with the Rajasthan cricket team, guiding young talent and sharing his vast knowledge of the game. Cricket was not his only love; as a young man he loved hockey and football. In his later years, he took up golf, confessing himself to be an addict of the game.
He also served as a match referee for the International Cricket Council (ICC), his unbiased judgments earning him respect from players and officials alike. He was unafraid to use the cudgel even if it was a big name who had broken the rules. He also had a long tenure as coach of the Kenya cricket team, which saw them rise from minnows to true competitors.
Singh’s life took a tragic turn in his later years when he battled health issues. He contracted dengue fever and Hepatitis B, which led to severe complications, ultimately resulting in his untimely passing at the age of 67.
Those who knew him best remember him not just for his contributions on the field but for the warmth and humility he brought to every interaction. Bishan Singh Bedi remarked that "He always thought of others before himself," a sentiment that perfectly encapsulated Hanumant Singh's character and legacy in cricket.
In a world where statistics often overshadow personal stories, Singh’s journey serves as a poignant reminder of the values of resilience, humility, and dedication. His legacy continues to inspire aspiring cricketers, particularly in Rajasthan, where he remains a symbol of what it means to serve the sport with honour and grace.
Business
Vikram Kirloskar
Engineer. Pioneer.
(19 November, 1958 – 29 November, 2022)
Vikram Kirloskar was a fourth-generation member of one of India's most famous business families. His father was the son of SL Kirloskar, who is widely credited with building Kirloskar — a company founded in 1888 — into a giant.
According to his own words, he was a good student as a child. He ended up studying mechanical engineering at one of the best technical schools in the world: Massachusetts Institute of Technology (MIT). Here, he honed the skills that would later allow him to transform the Indian automotive landscape. His academic prowess laid a solid foundation for his future endeavours, instilling in him a vision that would bridge traditional manufacturing with modern innovation.
Upon returning to India, Vikram joined the Kirloskar Group. He was instrumental in bringing the world's largest car manufacturer, a Japanese company known for its technical prowess, to India.
His insistence on quality and efficiency not only met international standards but also set a new benchmark for the Indian automotive industry. His approach was always collaborative, as he believed in nurturing talent and encouraging teamwork, embodying the principle that success is a collective achievement.
Kirloskar also understood the significance of human-made climate change and signed up to make a difference before it became popular to do so. Considering he worked in an industry that is a major contributor to pollution, this was extremely significant. He approached the problem like the engineer that he was, going straight to the problem. He was crucial in bringing his Japanese company's famous hybrid automotive technology to India. Simultaneously, he set about building a supply chain for electric car components in the country.
Like most great leaders, he also didn't believe in orthodoxy. Pushing back against popular sentiment, he would argue that electric vehicles did not necessarily serve the purpose of reducing carbon emissions. He would underline this by pointing to the low level of renewable energy produced in India.
In addition to his contributions to the automotive industry, Kirloskar was an influential figure in various industry bodies and associations. He served as the president of Confederation of Indian Industry (CII). He was an advocate for policies that supported the growth of indigenous manufacturing. His efforts were directed not only towards enhancing the competitiveness of Indian manufacturing but also towards fostering a spirit of entrepreneurship among the youth.
Vikram’s legacy is not confined solely to the automotive realm; he was also known for his philanthropy and community involvement.He believed that corporate responsibility goes hand in hand with business success. He initiated several educational and health initiatives aimed at empowering underprivileged communities, demonstrating his commitment to social welfare. His approach was always personal; he engaged directly with the communities, understanding their needs and tailoring solutions that could make a tangible difference.
A true visionary, he always had an eye on the future. Shortly before his passing, he told an audience of young people that: “You are the future leaders. You should soon be sitting here where I am sitting."
Although he had built an empire by the time of his passing, the man had fundamentally remained unchanged. His bio on social media described him as a "passionate engineer." An engineer to the last.
-
Vikram Kirloskar
Engineer. Pioneer.
(19 November, 1958 – 29 November, 2022)
Vikram Kirloskar was a fourth-generation member of one of India's most famous business families. His father was the son of SL Kirloskar, who is widely credited with building Kirloskar — a company founded in 1888 — into a giant.
According to his own words, he was a good student as a child. He ended up studying mechanical engineering at one of the best technical schools in the world: Massachusetts Institute of Technology (MIT). Here, he honed the skills that would later allow him to transform the Indian automotive landscape. His academic prowess laid a solid foundation for his future endeavours, instilling in him a vision that would bridge traditional manufacturing with modern innovation.
Upon returning to India, Vikram joined the Kirloskar Group. He was instrumental in bringing the world's largest car manufacturer, a Japanese company known for its technical prowess, to India.
His insistence on quality and efficiency not only met international standards but also set a new benchmark for the Indian automotive industry. His approach was always collaborative, as he believed in nurturing talent and encouraging teamwork, embodying the principle that success is a collective achievement.
Kirloskar also understood the significance of human-made climate change and signed up to make a difference before it became popular to do so. Considering he worked in an industry that is a major contributor to pollution, this was extremely significant. He approached the problem like the engineer that he was, going straight to the problem. He was crucial in bringing his Japanese company's famous hybrid automotive technology to India. Simultaneously, he set about building a supply chain for electric car components in the country.
Like most great leaders, he also didn't believe in orthodoxy. Pushing back against popular sentiment, he would argue that electric vehicles did not necessarily serve the purpose of reducing carbon emissions. He would underline this by pointing to the low level of renewable energy produced in India.
In addition to his contributions to the automotive industry, Kirloskar was an influential figure in various industry bodies and associations. He served as the president of Confederation of Indian Industry (CII). He was an advocate for policies that supported the growth of indigenous manufacturing. His efforts were directed not only towards enhancing the competitiveness of Indian manufacturing but also towards fostering a spirit of entrepreneurship among the youth.
Vikram’s legacy is not confined solely to the automotive realm; he was also known for his philanthropy and community involvement.He believed that corporate responsibility goes hand in hand with business success. He initiated several educational and health initiatives aimed at empowering underprivileged communities, demonstrating his commitment to social welfare. His approach was always personal; he engaged directly with the communities, understanding their needs and tailoring solutions that could make a tangible difference.
A true visionary, he always had an eye on the future. Shortly before his passing, he told an audience of young people that: “You are the future leaders. You should soon be sitting here where I am sitting."
Although he had built an empire by the time of his passing, the man had fundamentally remained unchanged. His bio on social media described him as a "passionate engineer." An engineer to the last.
Entertainment
Alyque Padamsee
A Double Life
(5 March 1928 - 17 November 2018)
The title of his autobiography, My Double Life, is a not-so-subtle nod to his two personas—the artist who wished to engage in his art for its own sake, and the craftsman who poured all his creativity into advertising to, as he put it himself, make a living. This conflict defined the man you couldn’t buttonhole into categories. This was a man who once memorably declared, ‘The urgent is the enemy of the important.’ but lived a life that ran on deadlines. Yet, he never let the urgency of commercial enterprise interfere with his commitment to flesh out the best ideas for his clients. Amid the chaos, he found time to act and direct and establish himself and his associates as some of the best theatre professionals in the country.
He was Alyque Padamsee, the “Brand Father of Indian Advertising”.
Padamsee, one of India's most renowned advertising pioneers and theatre personalities, passed away on 17 November 2018 at the age of 90. Padamsee's early exposure to the arts and culture played a crucial role in shaping his career. He pursued his education at St. Xavier's College, Mumbai, where he developed a passion for drama. This passion would later define his career as much as his work in advertising.
Padamsee began his illustrious advertising career with Lintas in the 1950s. Under his leadership, the company became one of the top advertising agencies in India. His innovative approach and keen understanding of consumer behaviour led to the creation of some of the most iconic ad campaigns in the country's history.
One of his most famous creations was the “Lalitaji” campaign for Surf. The character of Lalitaji, a smart and discerning housewife, became a household name. Equally iconic was the Liril girl, with a vivacious 18-year old Karel Lunel dancing under the Tiger Falls in Kodaikanal.
Padamsee's creativity was not confined to the world of advertising. He directed and produced several plays that left audiences spellbound. His portrayal of Mohammad Ali Jinnah in Richard Attenborough's Oscar-winning film, Gandhi was critically acclaimed. His versatility came to the fore when he staged plays like Jesus Christ Superstar, Tughlaq, and Evita.
Padamsee worked with some of the biggest names in the industry. Ad-men like Prahlad Kakkar and Sam Balsara, who went on to become prominent figures in their own right, learnt the craft from him. His guidance was invaluable. He was known for his ability to bring out the best in those he worked with; he was perhaps one of the few figures who could ably don the mantle of the “guru” in “ad-guru”.
During the launch of Cherry Blossom shoe polish, he suggested creating a unique jingle. The result was the memorable “Whistle, whistle, Cherry Blossom” jingle, which became an instant hit and is still remembered fondly by many. Padamsee’s magical touch was picking up a bowler hat and thus inserting into the campaign the legendary Charlie Chaplin himself, with a ‘cherry smile’ on his face.
Padamsee's invaluable contributions were celebrated with a string of prestigious awards. He was honoured with the Padma Shri for his exceptional work in the fields of advertising and theatre. He was also named “Advertising Man of the Century” by The Advertising Club in Mumbai.
Padamsee once wrote of the imagination required in his field, saying, ‘In advertising, every time you dream up an ad for a lipstick, if you’re a male, you put yourself in female high heels. Every time you think of selling beedis, you put yourself in the bare feet of a manual labourer.’ Such thoughts are not easily achieved, and he put in the hard hours necessary to be able to gaze effortlessly into the hearts of consumers.
Padamsee's personal life was vibrant too. Keeping true to his festive self, he lived in a building named Christmas Eve in Breach Candy, Mumbai, where he threw unconventional Christmas parties in which biriyani was paired with champagne. He was married thrice, and his relationships with his wives, Pearl Padamsee, Dolly Thakore, and Sharon Prabhakar were equally rich with incident and circumstance. He was by all accounts a loving father to his four children, Raell Padamsee, Quasar Thakore Padamsee, Shazahn Padamsee, and Rahul Padamsee, all of whom have made their mark in the fields of theatre and arts.
Alyque once mused melancholy about a tree which had toppled over near his house in Alibaug. He felt a certain kinship with that tree, ancient yet upright for ages, until felled by the inevitable. He would go like the tree did, he said, a giant brought down by the trickle of the years. So, he went, near a 100, bringing the curtains down upon a life lived to the brim, with some of it spilling out.
-
Alyque Padamsee
A Double Life.
(5 March 1928 - 17 November 2018)
The title of his autobiography, My Double Life, is a not-so-subtle nod to his two personas—the artist who wished to engage in his art for its own sake, and the craftsman who poured all his creativity into advertising to, as he put it himself, make a living. This conflict defined the man you couldn’t buttonhole into categories. This was a man who once memorably declared, ‘The urgent is the enemy of the important.’ but lived a life that ran on deadlines. Yet, he never let the urgency of commercial enterprise interfere with his commitment to flesh out the best ideas for his clients. Amid the chaos, he found time to act and direct and establish himself and his associates as some of the best theatre professionals in the country.
He was Alyque Padamsee, the “Brand Father of Indian Advertising”.Padamsee, one of India's most renowned advertising pioneers and theatre personalities, passed away on 17 November 2018 at the age of 90. Padamsee's early exposure to the arts and culture played a crucial role in shaping his career. He pursued his education at St. Xavier's College, Mumbai, where he developed a passion for drama. This passion would later define his career as much as his work in advertising.
Padamsee began his illustrious advertising career with Lintas in the 1950s. Under his leadership, the company became one of the top advertising agencies in India. His innovative approach and keen understanding of consumer behaviour led to the creation of some of the most iconic ad campaigns in the country's history.
One of his most famous creations was the “Lalitaji” campaign for Surf. The character of Lalitaji, a smart and discerning housewife, became a household name. Equally iconic was the Liril girl, with a vivacious 18-year old Karel Lunel dancing under the Tiger Falls in Kodaikanal.
Padamsee's creativity was not confined to the world of advertising. He directed and produced several plays that left audiences spellbound. His portrayal of Mohammad Ali Jinnah in Richard Attenborough's Oscar-winning film, Gandhi was critically acclaimed. His versatility came to the fore when he staged plays like Jesus Christ Superstar, Tughlaq, and Evita.
Padamsee worked with some of the biggest names in the industry. Ad-men like Prahlad Kakkar and Sam Balsara, who went on to become prominent figures in their own right, learnt the craft from him. His guidance was invaluable. He was known for his ability to bring out the best in those he worked with; he was perhaps one of the few figures who could ably don the mantle of the “guru” in “ad-guru”.
During the launch of Cherry Blossom shoe polish, he suggested creating a unique jingle. The result was the memorable “Whistle, whistle, Cherry Blossom” jingle, which became an instant hit and is still remembered fondly by many. Padamsee’s magical touch was picking up a bowler hat and thus inserting into the campaign the legendary Charlie Chaplin himself, with a ‘cherry smile’ on his face.
Padamsee's invaluable contributions were celebrated with a string of prestigious awards. He was honoured with the Padma Shri for his exceptional work in the fields of advertising and theatre. He was also named “Advertising Man of the Century” by The Advertising Club in Mumbai.
Padamsee once wrote of the imagination required in his field, saying, ‘In advertising, every time you dream up an ad for a lipstick, if you’re a male, you put yourself in female high heels. Every time you think of selling beedis, you put yourself in the bare feet of a manual labourer.’ Such thoughts are not easily achieved, and he put in the hard hours necessary to be able to gaze effortlessly into the hearts of consumers.
Padamsee's personal life was vibrant too. Keeping true to his festive self, he lived in a building named Christmas Eve in Breach Candy, Mumbai, where he threw unconventional Christmas parties in which biriyani was paired with champagne. He was married thrice, and his relationships with his wives, Pearl Padamsee, Dolly Thakore, and Sharon Prabhakar were equally rich with incident and circumstance. He was by all accounts a loving father to his four children, Raell Padamsee, Quasar Thakore Padamsee, Shazahn Padamsee, and Rahul Padamsee, all of whom have made their mark in the fields of theatre and arts.
Alyque once mused melancholy about a tree which had toppled over near his house in Alibaug. He felt a certain kinship with that tree, ancient yet upright for ages, until felled by the inevitable. He would go like the tree did, he said, a giant brought down by the trickle of the years. So, he went, near a 100, bringing the curtains down upon a life lived to the brim, with some of it spilling out.
- Science & Tech
- Sports
- Entertainment & Culture
- Special Mentions
Science & Tech
Dr PK Iyengar
He harnessed the power of atoms.
(29 June 1931 – 21 December 2011)
From 1990 to 1993, Dr Padmanabha Krishnagopal Iyengar held one of the most important roles in government, yet he is virtually unknown outside of academic or government circles. Twenty years before that, he was the second-in-command when India carried out one of the most audacious moves of the twentieth century: the successful testing of the first Indian-made atomic bomb.
A teenager when India became an independent nation, Iyengar set about with a revolutionary spirit to solve an age-old conundrum: to make the country stand on its own legs. Dr Iyengar's career saw him hailed as an Indian pioneer of neutron scattering research. He started his career at the Tata Institute of Fundamental Research and later served as Director of the Bhabha Atomic Research Centre. He was involved in commissioning Dhruva, the first nuclear reactor in the country.
When in 1990, he became Chairman of the Atomic Energy Commission (AEC), he truly was the first of a kind: the first Chairman who had done his training in India, except for an 18-month stint in Canada.
But his legacy, like many others, rests on the results of a single day: 18 May 1974. Deceiving the spy satellites of the US, India carried out 'Smiling Buddha' an atomic bomb test, announcing its arrival as a nuclear power.
In 1972, after the Prime Minister had given the go-ahead for the test, the great Raja Ramanna, who had overall responsibility, elevated Iyengar as the leader of the team to make this dream possible. Under great secrecy, the team raced to build a weapon that would instantly vault India to superpower status.
Later, Dr Iyengar would describe his time in the project as ‘the most exhilarating experience of my career … This involved building up a group, inculcating a spirit of cooperation and jointly achieving results’.
He was also confident in his abilities, a crucial factor in making such a huge enterprise work. When someone asked him, at the height of the preparations for Pokhran, if he would be prepared to take on the failure, he coolly retorted "If it fails, it is physics that would fail." Retirement barely slowed him down: following his stint at the AEC, he served as a scientific advisor to the Kerala government, setting up the Rajiv Gandhi Centre for Biotechnology. He also promoted a foundation that is involved in taking science learning to the village level.
Dr Iyengar may have succeeded in making India a nuclear power, but his contributions as an administrator, educator, and populariser of science remain equally important. To the end, he stressed the importance of studying the right way and the importance of learning for the sake of learning. He also lamented that science education in schools did not emphasise the need for science in everyday life, "which is what science is for."
As an administrator, he understood the importance of processes and also its limits: he would not allow mere procedural issues to come in the way of science. As an educator, he recognised the importance of good communication. He noted that "science needs a dialogue between the guide and the student."
Dr Iyengar's legacy is secure. No one did more to ensure that the nation he loved so much could protect itself.
-
Dr PK Iyengar
He harnessed the power of atoms.
(29 June 1931 – 21 December 2011)
From 1990 to 1993, Dr Padmanabha Krishnagopal Iyengar held one of the most important roles in government, yet he is virtually unknown outside of academic or government circles. Twenty years before that, he was the second-in-command when India carried out one of the most audacious moves of the twentieth century: the successful testing of the first Indian-made atomic bomb.
A teenager when India became an independent nation, Iyengar set about with a revolutionary spirit to solve an age-old conundrum: to make the country stand on its own legs. Dr Iyengar's career saw him hailed as an Indian pioneer of neutron scattering research. He started his career at the Tata Institute of Fundamental Research and later served as Director of the Bhabha Atomic Research Centre. He was involved in commissioning Dhruva, the first nuclear reactor in the country.
When in 1990, he became Chairman of the Atomic Energy Commission (AEC), he truly was the first of a kind: the first Chairman who had done his training in India, except for an 18-month stint in Canada.
But his legacy, like many others, rests on the results of a single day: 18 May 1974. Deceiving the spy satellites of the US, India carried out 'Smiling Buddha' an atomic bomb test, announcing its arrival as a nuclear power.
In 1972, after the Prime Minister had given the go-ahead for the test, the great Raja Ramanna, who had overall responsibility, elevated Iyengar as the leader of the team to make this dream possible. Under great secrecy, the team raced to build a weapon that would instantly vault India to superpower status.
Later, Dr Iyengar would describe his time in the project as ‘the most exhilarating experience of my career … This involved building up a group, inculcating a spirit of cooperation and jointly achieving results’.
He was also confident in his abilities, a crucial factor in making such a huge enterprise work. When someone asked him, at the height of the preparations for Pokhran, if he would be prepared to take on the failure, he coolly retorted "If it fails, it is physics that would fail." Retirement barely slowed him down: following his stint at the AEC, he served as a scientific advisor to the Kerala government, setting up the Rajiv Gandhi Centre for Biotechnology. He also promoted a foundation that is involved in taking science learning to the village level.
Dr Iyengar may have succeeded in making India a nuclear power, but his contributions as an administrator, educator, and populariser of science remain equally important. To the end, he stressed the importance of studying the right way and the importance of learning for the sake of learning. He also lamented that science education in schools did not emphasise the need for science in everyday life, "which is what science is for."
As an administrator, he understood the importance of processes and also its limits: he would not allow mere procedural issues to come in the way of science. As an educator, he recognised the importance of good communication. He noted that "science needs a dialogue between the guide and the student."
Dr Iyengar's legacy is secure. No one did more to ensure that the nation he loved so much could protect itself.
Sports
Leslie Claudius
The Magician of the Midfield
(25 March 1927 - 20 December 2012)
In 2012, to celebrate the Olympics, the London transport system published a special “Olympic Legends Map”. The map renamed 361 tube stations after Olympians such as Usain Bolt and Rafael Nadal. Six of these stops were renamed after hockey legends, three Indians among them. The Bushey station was renamed after the maestro of the midfield in Indian hockey, Leslie Claudius.
While cricket is a passion for many in our country today, Claudius, born 25 March 1927 in Bilaspur, came from a time when the Indian team was a leading presence in the world of hockey. Leslie Claudius’ name shines brightly if we peruse the annals of Indian sports of that era. However, memories become hazy, but while the shine may have faded a little over the years, Claudius’ achievements remain untouched.
Claudius, a ‘tireless’ midfielder according to hockey player and coach Balbir SIngh, went to the Olympics four times and never came home empty-handed. He helped India bring home three consecutive Olympic gold medals in 1948, 1952, and 1960. During his captaincy in 1960, his team also brought home a silver. Leslie Claudius shares with Udham Singh the distinction of being one of only two Indian players to win four Olympic medals in field hockey.
Hockey was an unexpected detour. It was not in the cards for Claudius, who used to play football instead. The bamboo-legged hockey star took an early interest in sports not merely because he liked it, but for the job prospects it offered. His skills in football landed him a job at the Bengal Nagpur Railway (BNR) security force at Kolkata. When he was transferred to Kharagpur, destiny played its hand through a chance encounter with former India captain Dicky Carr. In a practice match between BNR players, Carr’s team found itself short of one member. Carr saw that Claudius was watching the game keenly. He threw a hockey stick to him and asked him to join. Years later, Claudius still recalled the day with fondness, how he had stuttered, 'Yes sir, yes sir' to his hero.
The man was never known to be loud or showy. In his later years, some even likened him to a quiet professor with his spectacles balanced on his nose. Despite his calm demeanour, Claudius was clever and precocious on the field. Dhyan Chand called him a sparrow, for he hopped across the field. KD Singh Babu lamented, ‘Tu bahut chalu hai (you are very clever), how come you stop me everytime?’
Claudius was shorter than the other players. He had his hockey stick cut short by three inches to accommodate his height. This impediment did not stop him. He moved with a quiet efficiency that frustrated his opponents.
His son Robert inherited his father’s talent. He represented India at the World Cup in Mexico in 1978. He was cruelly snatched away in a road accident soon after. His father grieved but devoted himself to the sport. He also supported the Indian team as a manager.
In 1971, Claudius was awarded the Padma Shree. His legacy as a true sporting icon will continue to inspire generations of Indian athletes.
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Leslie Claudius
The Magician of the Midfield
(25 March 1927 - 20 December 2012)
In 2012, to celebrate the Olympics, the London transport system published a special “Olympic Legends Map”. The map renamed 361 tube stations after Olympians such as Usain Bolt and Rafael Nadal. Six of these stops were renamed after hockey legends, three Indians among them. The Bushey station was renamed after the maestro of the midfield in Indian hockey, Leslie Claudius.
While cricket is a passion for many in our country today, Claudius, born 25 March 1927 in Bilaspur, came from a time when the Indian team was a leading presence in the world of hockey. Leslie Claudius’ name shines brightly if we peruse the annals of Indian sports of that era. However, memories become hazy, but while the shine may have faded a little over the years, Claudius’ achievements remain untouched.
Claudius, a ‘tireless’ midfielder according to hockey player and coach Balbir SIngh, went to the Olympics four times and never came home empty-handed. He helped India bring home three consecutive Olympic gold medals in 1948, 1952, and 1960. During his captaincy in 1960, his team also brought home a silver. Leslie Claudius shares with Udham Singh the distinction of being one of only two Indian players to win four Olympic medals in field hockey.
Hockey was an unexpected detour. It was not in the cards for Claudius, who used to play football instead. The bamboo-legged hockey star took an early interest in sports not merely because he liked it, but for the job prospects it offered. His skills in football landed him a job at the Bengal Nagpur Railway (BNR) security force at Kolkata. When he was transferred to Kharagpur, destiny played its hand through a chance encounter with former India captain Dicky Carr. In a practice match between BNR players, Carr’s team found itself short of one member. Carr saw that Claudius was watching the game keenly. He threw a hockey stick to him and asked him to join. Years later, Claudius still recalled the day with fondness, how he had stuttered, 'Yes sir, yes sir' to his hero.
The man was never known to be loud or showy. In his later years, some even likened him to a quiet professor with his spectacles balanced on his nose. Despite his calm demeanour, Claudius was clever and precocious on the field. Dhyan Chand called him a sparrow, for he hopped across the field. KD Singh Babu lamented, ‘Tu bahut chalu hai (you are very clever), how come you stop me everytime?’
Claudius was shorter than the other players. He had his hockey stick cut short by three inches to accommodate his height. This impediment did not stop him. He moved with a quiet efficiency that frustrated his opponents.
His son Robert inherited his father’s talent. He represented India at the World Cup in Mexico in 1978. He was cruelly snatched away in a road accident soon after. His father grieved but devoted himself to the sport. He also supported the Indian team as a manager.
In 1971, Claudius was awarded the Padma Shree. His legacy as a true sporting icon will continue to inspire generations of Indian athletes.
Entertainment
Dev Anand
The Debonair Dev Saab
(26 September 1923 - 3 December 2011)
For aspiring actors who are attracted to Mumbai like bees to honey, the buzzing streets of the city have long been synonymous with the word “struggle”. Hundreds dream of the glitz and glamour of Bollywood, but never get to experience it. Once a man among such aspirants, Dev Anand—the Evergreen Star—never stopped dreaming.
Born on 26 September 1923 in Gurdaspur, Punjab, this legendary actor lived an ordinary life working as a clerk for an accounting firm for a meagre salary of ₹85. It was his audacious approach that led him into the world of cinema. He took risks where others would falter and doubt themselves. One day, when Anand heard that Prabhat Films was looking for new talent, he dressed to impress and introduced himself to the manager with his charismatic smile. This was his first step into the tumultuous world of Bollywood. He went on to conquer it.
P.L Santoshi’s Hum Ek Hain (1946) was the start of Anand’s career. Ziddi (1948) catapulted him into superstardom. Anand ventured into Hollywood acting in an English adaptation of R.K Narayan’s novel The Guide (1958). It was madness, people told him, ‘a foolish endeavour’ and a ‘foolhardy misadventure’, but Anand, not to be deterred, proclaimed that ‘all great works of art are born out of madness.’
Anand also dazzled fans with his personality and sense of style. His winsome smile, his lopsided gait, fast diction, and flamboyance are memorable even today. A story goes that he was requested not to wear black coats in public, lest it send his female fans into a frenzy! He was memorably paired with leading Bollywood actresses of the time in films like Madhubala and Asli-Naqli, roles for which he was recognized as the Evergreen Romance Hero. He was versatile enough to tackle diverse roles. Furthermore, he performed to perfection unusual characters—that of two distinct personalities in Hum Dono, and a hustler in Baazi, stand out.
Anand established the film production house, Navketan Films, with his brothers. They made movies with audacious scripts that had multifaceted characters—saints and sinners among them, that audiences could identify with. Their risks paid off. Navketan became a commanding presence in Hindi cinema over the next two decades.
Anand’s “madness” was a lifelong affliction that spurred him to dabble in every part of Hindi cinema that he could. It led to sixty-five topsy-turvy years in the film industry, acting, directing, and producing movies that wow fans even today. Dev Anand passed away on 3 December 2011. Upon his death, Asha Parekh aptly remarked, ‘You couldn’t have another Dev Anand.’ He remains one of a kind.
Zakir Hussain
The Jugalbandi Jewel
(9 March 1951–15 December 2024)
On 9 March 1951, Ustad Alla Rakha went against tradition. When asked to whisper a prayer in the ear of his newborn, he whispered tabla rhythms instead, much to the consternation of the mother. The Ustad wanted to pass his way of prayer—music—to his son. This baby was Zakir Hussain. For Hussain, this became the moment that the tabla player in him was born.
Hussain and his tablas have had a long and fruitful relationship in the public eye. This relationship has been documented over the years in newspapers, magazines, and in general knowledge books too. In reality, their partnership was longer than any of us could imagine.
With his mentor and father guiding him, Hussain began playing the tabla at the young age of three. By the time he was eleven years old, he was already going on tours and playing for audiences. He believed “it’s not Indian music, or that music” . This is why Hussain's’ various jugalbandis with artists with different styles and from different genres of music—he even played with Sachin Tendulkar once—sounded very harmonious to listeners.
This approach to music led him to form the fusion band, Shakti with the English guitarist John McLaughlin, Indian violin player L. Shankar, percussionist T. H. "Vikku" Vinayakram.
Hussain met McLaughlin at sarod maestro Ustad Ali Akbar Khan's residence in California in 1972. Hussain was 21 and McLaughlin, 30. Their shared passion for music transcended their nine-year age gap, forging an immediate bond. The culmination of this connection, Shakti, won hearts across the world, as well as a Grammy Award in 2024.
Hussain’s music was charming, as was his ability to unite distinct traditions seamlessly through it. He was a pleasure to the ears and to the eyes. He had a delightful personality. His broad smile, and the tumble of curls that seemed to move to the rhythm of his tablas, bewitched people. In fact, Hussain was once voted as the best looking man by readers of the Indian magazine Gentleman, beating the likes of Amitabh Bachchan to the top spot.
While Hussain acted in some projects like Heat and Dust (1983), Saaz (1997) and the popular commercial for Taj Mahal tea that gave us the phrase, ‘Wah, Taj, Wah!’, music remained his chief priority. Nasreen Munni Kabir noted in her work titled Zakir Hussain: A Life in Music that Hussain believed that corporate events or weddings are not places “where music should be heard”. For him, music required dedication—from the musician and the listener.
This diligence for his art defined his illustrious career that spanned six decades. The many awards to his name such as the Padma Vibhushan, Padma Bhushan, Padma Shri, and four Grammys were milestones. However, these words from Hussain will help one understand his music the best. He said, “The moment you think you're a maestro, you are distancing yourself from others. You have to be part of a group, and not dominate it.”
That is exactly what Hussain did throughout his career. He became part of all music and thus, left his mark on all the world.
Hussain’s death may have created a chasm in music, but the impact that he left across people over the world is unlikely to disappear any time soon. His hands may rest, but the rhythm of his tabla will live forever.
Hussain is survived by his wife Antonia Minnecola and their two daughters.
Shyam Benegal
The Author of Parallel Cinema
(14 December 1934- 23 December 2024)
Shyam Benegal’s tryst with the camera began with his father, Sridhar Benegal, who had worked as a still photographer. He had a photo studio and also dabbled in making short silent films. In these films, he would document what he loved the most — his children — so Shyam Benegal remembered growing up with a camera always pointing at him. By the age of twelve, the young subjects of these silent films would graduate to being behind the camera. Summer holidays gave them ample time and opportunity for filming. After dinner, Benegal and his cousins would huddle together and watch the footage they had shot. Their chatter and commentary would become the soundtrack of their otherwise silent films. Most grew out of their love of the camera. Shyam Benegal, however, did not.
The big screen was a far-fetched fantasy to most, something to dream about during restless summer nights, ideally. Other fields of employment were far more practical, so Benegal equipped himself with a master’s degree in economics from Osmania University. He was all set to lead a relatively everyday life as a teacher. Life did not have different plans for him. He did.
The idea of passing life as a teacher became intolerable to Benegal, and he decided to free himself of those shackles. Instead, he moved to Bombay for work. Even his agency recognised his directorial genius and shifted him to their film department. Benegal went from copywriting to making ad films for the next twelve years of his media career. His background in advertising nurtured within him a gift for economical but impactful storytelling, a feature in his filmmaking. At a time when people were dazzled by the glitz and glamour of Bollywood when theatres were packed to the brim with audiences hooting for masala films and dance numbers, Benegal turned to a quiet and honest portrayal of India’s reality. His was a cinema of compassion.
Benegal’s ever-expanding repertoire of subjects included influential personalities like Mahatma Gandhi, Pandit Jawaharlal Nehru and most recently, Sheikh Mujibur Rahman. Empathy was key in his work — “so you can be one with the subject”. This empathetic portrayal made art house cinema accessible to ordinary viewers. At the end of the day, however, it was an art house cinema, which wasn't easy to fund. Nevertheless, where there is a will, there is a way. Therefore, Benegal managed to crowdfund Manthan (1976), a dramatised telling of the milk cooperative movement in India spearheaded by Dr Verghese Kurien. Five lakh farmers donated ₹2 each and made the film possible. Benegal’s Manthan became India’s first crowdfunded venture when' crowdfunding' was not a word used in common parlance. Manthan’s success and the ready aid of the farmers are evidence of Benegal’s firm place in the hearts of Indian audiences. He brought to screen the lives that Indians across the country lived every day and thus became one of the most influential figures of the parallel cinema movement. The movement favoured realistic portrayals, and that is what Benegal’s scrutinising gaze did.
For the authenticity that Benegal brought to the big screens, he won many awards, such as the Padma Shri, the Padma Bhushan, and the Dadasaheb Phalke Award. All of them honoured his dedication to his art, which was endless. Just a few days before his death, on the occasion of his 90th birthday, Benegal said that he was working on two to three projects for the big screen. Those projects are forever out of our reach now, but the oeuvre of his career is eternal.
Just as films inspired Benegal, he watched from the projection box of a cinema hall, Benegal’s works would inspire some other genius like him. The cycle would go on with Benegal, an immortal star in it.
-
Dev Anand
The Debonair Dev Saab
(26 September 1923 - 3 December 2011)
For aspiring actors who are attracted to Mumbai like bees to honey, the buzzing streets of the city have long been synonymous with the word “struggle”. Hundreds dream of the glitz and glamour of Bollywood, but never get to experience it. Once a man among such aspirants, Dev Anand—the Evergreen Star—never stopped dreaming.
Born on 26 September 1923 in Gurdaspur, Punjab, this legendary actor lived an ordinary life working as a clerk for an accounting firm for a meagre salary of ₹85. It was his audacious approach that led him into the world of cinema. He took risks where others would falter and doubt themselves. One day, when Anand heard that Prabhat Films was looking for new talent, he dressed to impress and introduced himself to the manager with his charismatic smile. This was his first step into the tumultuous world of Bollywood. He went on to conquer it.
P.L Santoshi’s Hum Ek Hain (1946) was the start of Anand’s career. Ziddi (1948) catapulted him into superstardom. Anand ventured into Hollywood acting in an English adaptation of R.K Narayan’s novel The Guide (1958). It was madness, people told him, ‘a foolish endeavour’ and a ‘foolhardy misadventure’, but Anand, not to be deterred, proclaimed that ‘all great works of art are born out of madness.’
Anand also dazzled fans with his personality and sense of style. His winsome smile, his lopsided gait, fast diction, and flamboyance are memorable even today. A story goes that he was requested not to wear black coats in public, lest it send his female fans into a frenzy! He was memorably paired with leading Bollywood actresses of the time in films like Madhubala and Asli-Naqli, roles for which he was recognized as the Evergreen Romance Hero. He was versatile enough to tackle diverse roles. Furthermore, he performed to perfection unusual characters—that of two distinct personalities in Hum Dono, and a hustler in Baazi, stand out.
Anand established the film production house, Navketan Films, with his brothers. They made movies with audacious scripts that had multifaceted characters—saints and sinners among them, that audiences could identify with. Their risks paid off. Navketan became a commanding presence in Hindi cinema over the next two decades.
Anand’s “madness” was a lifelong affliction that spurred him to dabble in every part of Hindi cinema that he could. It led to sixty-five topsy-turvy years in the film industry, acting, directing, and producing movies that wow fans even today. Dev Anand passed away on 3 December 2011. Upon his death, Asha Parekh aptly remarked, ‘You couldn’t have another Dev Anand.’ He remains one of a kind.
-
Zakir Hussain
The Jugalbandi Jewel
(9 March 1951–15 December 2024)
On 9 March 1951, Ustad Alla Rakha went against tradition. When asked to whisper a prayer in the ear of his newborn, he whispered tabla rhythms instead, much to the consternation of the mother. The Ustad wanted to pass his way of prayer—music—to his son. This baby was Zakir Hussain. For Hussain, this became the moment that the tabla player in him was born.
Hussain and his tablas have had a long and fruitful relationship in the public eye. This relationship has been documented over the years in newspapers, magazines, and in general knowledge books too. In reality, their partnership was longer than any of us could imagine.
With his mentor and father guiding him, Hussain began playing the tabla at the young age of three. By the time he was eleven years old, he was already going on tours and playing for audiences. He believed “it’s not Indian music, or that music” . This is why Hussain's’ various jugalbandis with artists with different styles and from different genres of music—he even played with Sachin Tendulkar once—sounded very harmonious to listeners.
This approach to music led him to form the fusion band, Shakti with the English guitarist John McLaughlin, Indian violin player L. Shankar, percussionist T. H. "Vikku" Vinayakram.
Hussain met McLaughlin at sarod maestro Ustad Ali Akbar Khan's residence in California in 1972. Hussain was 21 and McLaughlin, 30. Their shared passion for music transcended their nine-year age gap, forging an immediate bond. The culmination of this connection, Shakti, won hearts across the world, as well as a Grammy Award in 2024.
Hussain’s music was charming, as was his ability to unite distinct traditions seamlessly through it. He was a pleasure to the ears and to the eyes. He had a delightful personality. His broad smile, and the tumble of curls that seemed to move to the rhythm of his tablas, bewitched people. In fact, Hussain was once voted as the best looking man by readers of the Indian magazine Gentleman, beating the likes of Amitabh Bachchan to the top spot.
While Hussain acted in some projects like Heat and Dust (1983), Saaz (1997) and the popular commercial for Taj Mahal tea that gave us the phrase, ‘Wah, Taj, Wah!’, music remained his chief priority. Nasreen Munni Kabir noted in her work titled Zakir Hussain: A Life in Music that Hussain believed that corporate events or weddings are not places “where music should be heard”. For him, music required dedication—from the musician and the listener.
This diligence for his art defined his illustrious career that spanned six decades. The many awards to his name such as the Padma Vibhushan, Padma Bhushan, Padma Shri, and four Grammys were milestones. However, these words from Hussain will help one understand his music the best. He said, “The moment you think you're a maestro, you are distancing yourself from others. You have to be part of a group, and not dominate it.”
That is exactly what Hussain did throughout his career. He became part of all music and thus, left his mark on all the world.
Hussain’s death may have created a chasm in music, but the impact that he left across people over the world is unlikely to disappear any time soon. His hands may rest, but the rhythm of his tabla will live forever.
Hussain is survived by his wife Antonia Minnecola and their two daughters.
-
Shyam Benegal
The Author of Parallel Cinema
(14 December 1934- 23 December 2024)
Shyam Benegal’s tryst with the camera began with his father, Sridhar Benegal, who had worked as a still photographer. He had a photo studio and also dabbled in making short silent films. In these films, he would document what he loved the most — his children — so Shyam Benegal remembered growing up with a camera always pointing at him. By the age of twelve, the young subjects of these silent films would graduate to being behind the camera. Summer holidays gave them ample time and opportunity for filming. After dinner, Benegal and his cousins would huddle together and watch the footage they had shot. Their chatter and commentary would become the soundtrack of their otherwise silent films. Most grew out of their love of the camera. Shyam Benegal, however, did not.
The big screen was a far-fetched fantasy to most, something to dream about during restless summer nights, ideally. Other fields of employment were far more practical, so Benegal equipped himself with a master’s degree in economics from Osmania University. He was all set to lead a relatively everyday life as a teacher. Life did not have different plans for him. He did.
The idea of passing life as a teacher became intolerable to Benegal, and he decided to free himself of those shackles. Instead, he moved to Bombay for work. Even his agency recognised his directorial genius and shifted him to their film department. Benegal went from copywriting to making ad films for the next twelve years of his media career. His background in advertising nurtured within him a gift for economical but impactful storytelling, a feature in his filmmaking. At a time when people were dazzled by the glitz and glamour of Bollywood when theatres were packed to the brim with audiences hooting for masala films and dance numbers, Benegal turned to a quiet and honest portrayal of India’s reality. His was a cinema of compassion.
Benegal’s ever-expanding repertoire of subjects included influential personalities like Mahatma Gandhi, Pandit Jawaharlal Nehru and most recently, Sheikh Mujibur Rahman. Empathy was key in his work — “so you can be one with the subject”. This empathetic portrayal made art house cinema accessible to ordinary viewers. At the end of the day, however, it was an art house cinema, which wasn't easy to fund. Nevertheless, where there is a will, there is a way. Therefore, Benegal managed to crowdfund Manthan (1976), a dramatised telling of the milk cooperative movement in India spearheaded by Dr Verghese Kurien. Five lakh farmers donated ₹2 each and made the film possible. Benegal’s Manthan became India’s first crowdfunded venture when' crowdfunding' was not a word used in common parlance. Manthan’s success and the ready aid of the farmers are evidence of Benegal’s firm place in the hearts of Indian audiences. He brought to screen the lives that Indians across the country lived every day and thus became one of the most influential figures of the parallel cinema movement. The movement favoured realistic portrayals, and that is what Benegal’s scrutinising gaze did.
For the authenticity that Benegal brought to the big screens, he won many awards, such as the Padma Shri, the Padma Bhushan, and the Dadasaheb Phalke Award. All of them honoured his dedication to his art, which was endless. Just a few days before his death, on the occasion of his 90th birthday, Benegal said that he was working on two to three projects for the big screen. Those projects are forever out of our reach now, but the oeuvre of his career is eternal.
Just as films inspired Benegal, he watched from the projection box of a cinema hall, Benegal’s works would inspire some other genius like him. The cycle would go on with Benegal, an immortal star in it.
Special Mentions
Manmohan Singh
The Quiet Reformer
(26 September 1932 - 26 December 2024)
"You may note the colour of his turban.", whispered the late Duke of Edinburgh, Prince Philip, in his raspy croak, eliciting some chuckles and nods of recognition from a crowd which had gathered to watch him confer a honorary doctorate of law on someone. The year was 2006.
The Duke’s allusion was to England’s contribution to the signature blue of the pagdi whose intricate folds bound within them a mind which wrote the fortunes of modern India. This blue, as confirmed by the subject himself, was a nod to his alma mater, the University of Cambridge, where teachers like Joan Robinson and Nicholas Kaldor had a profound impact on his economic and political self. In these ancient halls, the quiet, curious village lad from Gah - with a childhood forged by the embers of partition - had been moulded into one of the foremost economists of his time. He was charged with a Prime Minister’s crown, and a matrix of duties so vast and complicated that anyone would be forced to yield.
Yet, he shouldered this immense responsibility with as much grace and courage as anyone can possibly be expected to muster, steering India through seismic economic reforms and a decade of transformative governance.
Dr Manmohan Singh passed away on 26 December 2024, at the age of 92. A man of unassuming demeanour and towering intellect, his life epitomised service, scholarship, and the quiet strength of conviction. Born in the aforementioned village in Punjab, in 1932, Dr Singh’s entirely unexpected journey to the pinnacle of Indian politics was nothing short of remarkable. His mother passed away at a young age, and he was raised by relatives who recognised his prodigious intellect. A stellar academic career followed: a first-class honours degree in economics from Panjab University, completing his Tripos in Economics from Cambridge, and a doctorate from Oxford. These academic laurels were not mere adornments but the foundation of a career that shaped modern India.
Even before he held his better-known offices, his enviable CV included appointments like the chairmanship of the University Grants Commission, the governorship of the Reserve Bank of India, and the head of the Planning Commission.
Dr Singh’s tenure as Finance Minister in the early 1990s is often considered a defining chapter in India’s economic history. Faced with a crippling balance of payments crisis, he spearheaded bold economic reforms under the leadership of then-Prime Minister PV Narasimha Rao. These measures dismantled the paralyzing quagmire of the licence raj, opened India to foreign investments, and set the stage for its emergence as a global economic powerhouse. “No power on earth can stop an idea whose time has come,” Dr Singh declared in his historic 1991 budget speech, encapsulating the spirit of a nation on the brink of transformation.
In 2004, destiny beckoned again. Dr Singh, a technocrat with little taste for electoral politics, was chosen by Sonia Gandhi to helm the United Progressive Alliance (UPA) government. As India’s 14th Prime Minister, he brought a rare blend of dignity and diligence to the office. Over two consecutive terms, his administration oversaw significant initiatives, including the Mahatma Gandhi National Rural Employment Guarantee Act and the Right to Information Act. Under his stewardship, India’s economy witnessed unprecedented growth, and its global stature rose markedly.
Dr Singh’s tenure was not without challenges. Yet, his personal integrity remained unblemished. Reflecting on his legacy, he once remarked, “History will be kinder to me than the contemporary media.” Time, as it often does, has vindicated this belief, with his contributions now receiving a nuanced appreciation.
Dr Singh’s diplomacy was marked by pragmatism and foresight. The Indo-US nuclear deal, signed in 2008, was a testament to his resolve to secure India’s energy future despite political opposition.
Retiring from public life after 2014, Dr Singh devoted himself to writing and reflection, ever the scholar at heart. In his later years, frailty dimmed his physical presence but not the enduring luminosity of his contributions.
Dr Singh is survived by his wife, a noted professor of history and author Gursharan Kaur, and their three daughter. His passing marks the end of an era, leaving a void in the nation’s collective conscience that it will struggle to fill.
Dr Singh may have passed on, but his legacy will endure for ages to come — in the economic policies that transformed India, in the democratic and secular ideals he upheld, and in the quiet power of integrity and intellect he embodied. A reluctant politician but an extraordinary leader, Dr Manmohan Singh will be remembered as a statesman who let his actions speak louder than words.
-
Manmohan Singh
The Quiet Reformer
(26 September 1932 - 26 December 2024)
"You may note the colour of his turban.", whispered the late Duke of Edinburgh, Prince Philip, in his raspy croak, eliciting some chuckles and nods of recognition from a crowd which had gathered to watch him confer a honorary doctorate of law on someone. The year was 2006.
The Duke’s allusion was to England’s contribution to the signature blue of the pagdi whose intricate folds bound within them a mind which wrote the fortunes of modern India. This blue, as confirmed by the subject himself, was a nod to his alma mater, the University of Cambridge, where teachers like Joan Robinson and Nicholas Kaldor had a profound impact on his economic and political self. In these ancient halls, the quiet, curious village lad from Gah - with a childhood forged by the embers of partition - had been moulded into one of the foremost economists of his time. He was charged with a Prime Minister’s crown, and a matrix of duties so vast and complicated that anyone would be forced to yield.
Yet, he shouldered this immense responsibility with as much grace and courage as anyone can possibly be expected to muster, steering India through seismic economic reforms and a decade of transformative governance.
Dr Manmohan Singh passed away on 26 December 2024, at the age of 92. A man of unassuming demeanour and towering intellect, his life epitomised service, scholarship, and the quiet strength of conviction. Born in the aforementioned village in Punjab, in 1932, Dr Singh’s entirely unexpected journey to the pinnacle of Indian politics was nothing short of remarkable. His mother passed away at a young age, and he was raised by relatives who recognised his prodigious intellect. A stellar academic career followed: a first-class honours degree in economics from Panjab University, completing his Tripos in Economics from Cambridge, and a doctorate from Oxford. These academic laurels were not mere adornments but the foundation of a career that shaped modern India.
Even before he held his better-known offices, his enviable CV included appointments like the chairmanship of the University Grants Commission, the governorship of the Reserve Bank of India, and the head of the Planning Commission.
Dr Singh’s tenure as Finance Minister in the early 1990s is often considered a defining chapter in India’s economic history. Faced with a crippling balance of payments crisis, he spearheaded bold economic reforms under the leadership of then-Prime Minister PV Narasimha Rao. These measures dismantled the paralyzing quagmire of the licence raj, opened India to foreign investments, and set the stage for its emergence as a global economic powerhouse. “No power on earth can stop an idea whose time has come,” Dr Singh declared in his historic 1991 budget speech, encapsulating the spirit of a nation on the brink of transformation.
In 2004, destiny beckoned again. Dr Singh, a technocrat with little taste for electoral politics, was chosen by Sonia Gandhi to helm the United Progressive Alliance (UPA) government. As India’s 14th Prime Minister, he brought a rare blend of dignity and diligence to the office. Over two consecutive terms, his administration oversaw significant initiatives, including the Mahatma Gandhi National Rural Employment Guarantee Act and the Right to Information Act. Under his stewardship, India’s economy witnessed unprecedented growth, and its global stature rose markedly.
Dr Singh’s tenure was not without challenges. Yet, his personal integrity remained unblemished. Reflecting on his legacy, he once remarked, “History will be kinder to me than the contemporary media.” Time, as it often does, has vindicated this belief, with his contributions now receiving a nuanced appreciation.
Dr Singh’s diplomacy was marked by pragmatism and foresight. The Indo-US nuclear deal, signed in 2008, was a testament to his resolve to secure India’s energy future despite political opposition.
Retiring from public life after 2014, Dr Singh devoted himself to writing and reflection, ever the scholar at heart. In his later years, frailty dimmed his physical presence but not the enduring luminosity of his contributions.
Dr Singh is survived by his wife, a noted professor of history and author Gursharan Kaur, and their three daughter. His passing marks the end of an era, leaving a void in the nation’s collective conscience that it will struggle to fill.
Dr Singh may have passed on, but his legacy will endure for ages to come — in the economic policies that transformed India, in the democratic and secular ideals he upheld, and in the quiet power of integrity and intellect he embodied. A reluctant politician but an extraordinary leader, Dr Manmohan Singh will be remembered as a statesman who let his actions speak louder than words.
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