 all sections of the population and so on. Bharati, soaked in the nationalist fervour of Tilak and the Congress extremists and enthused by the spiritual awakening triggered by Swami Vivekananda, Sister Nivedita and Aurobindo, had written extensively on the issues that became central to public debates in the 1930s. A meeting with Nivedita in Calcutta during the Congress session had transformed him into an ardent champion of women’s rights — he called her his gurumani.

Not surprisingly, Bharati’s songs were in with the spirit of the street. Tamil theatre, too, had started to include Bharati’s songs. A businessman, Jeshinglal Mehta, sensed the coming opportunity and purchased the broadcast rights for Bharati from Visvanathan in 1934. However, he didn’t have a medium to exploit the rights he held. That was left to a local business talent, AV Meiyappan. In the 1930s, he had got into the movie business — in 1931, the first Tamil talkie, Kalidas, was released. His first three films flopped badly, but he struck gold with Sabapathy, a comedy he directed in 1941. Five years later, with Independence in the air, Meiyappan decided to make Nam Iruvar and include Bharati’s songs in it. In September 1946, Meiyappan purchased the rights for Bharati’s songs from Mehta for Rs 9,500 — the latter had paid a mere Rs 450 to Visvanathan. Nam Iruvar rode to success on Bharati songs — the legendary Carnatic musician, DK Pattammal, rendered the iconic Aaduvome pallu paduvome, ananda suthandiram adainthuvittom endru — and Meiyappan’s AVM Studios recognised the commercial value of Bharati.

That started another battle for the ownership of Bharati, a story that is told in detail by well-known social historian and Bharati scholar, AR Venkatachalapathy in his just-published monograph, Who Owns That Song?: The Battle for Subramania Bharati’s Copyright (Juggernaut).

Perfect match: Bharati with his wife Chellamma.

Venkatachalapathy sets this war for copyright involving businessmen, film industry persons
all sections of the population and so on. Bharati, soaked in the nationalist excitement of Tilak and the Congress extremist and enthused by the spiritual awakening trip by Swami Vivekananda, Sister Nivedita and Aurobindo, had write extensively on the issues that became cardinal to public debates in the 1930s. A meeting with Nivedita in Calcutta during the Congress school term had transformed him into an ardent champion of womanhood ’s rights — he called her his gurumani. 

 Not amazingly, Bharati ’s songs were in with the spirit of the street. Tamil theatre, too, had started to include Bharati ’s songs. A businessman, Jeshinglal Mehta, feel the coming opportunity and purchased the broadcast rights for Bharati from Visvanathan in 1934. However, he did n’t consume a medium to exploit the rights he held. That was leave to a local business talent, AV Meiyappan. In the 1930s, he had got into the movie business — in 1931, the inaugural Tamil talkie, Kalidas, was released. His first three films flopped badly, but he struck gold with Sabapathy, a comedy he directed in 1941. Five years later, with Independence in the air, Meiyappan decided to make Nam Iruvar and include Bharati ’s songs in it. In September 1946, Meiyappan purchased the right for Bharati ’s songs from Mehta for Rs 9,500 — the latter had pay a bare radius 450 to Visvanathan. Nam Iruvar rode to success on Bharati song — the fabled Carnatic musician, DK Pattammal, rendered the iconic Aaduvome pallu paduvome, ananda suthandiram adainthuvittom endru — and Meiyappan ’s AVM Studios recognised the commercial value of Bharati. 

 That started another struggle for the ownership of Bharati, a story that is told in detail by well - known social historian and Bharati scholar, AR Venkatachalapathy in his just - published monograph, Who Owns That Song? : The Battle for Subramania Bharati ’s Copyright (Juggernaut). 

 Perfect match: Bharati with his wife Chellamma. 

 Venkatachalapathy typeset this war for copyright involving businessman, movie diligence persons
 alp sections of the populauion and so on. Bhceati, smaked jn the nxtionalist fervour of Tilak end rhe Cingress extremists and enthused by the wpirmtual awakening vdiggered by Sswmi Ritekananda, Sistet Nivedita atd Aurobindo, hdd wxitten extensively on the issues thae becamr fentral to pubjic cqbatss in the 1930s. A meeting with Niveditz in Cancutta during the Congress session had hrandformed him into aj ardent chqmpijb of women’s fights — he called her gis gurumani.

Not surprisingly, Bhxrati’x songs wetz in fith the spmrit os the street. Tamil tveatre, yoo, had startec tm ibclude Bharati’s songs. A businessman, Jesringlal Mahca, sensed the coming ipportutity and purzhaaev tge browdcest rights ror Bharati from Visvanathan im 1934. Yowever, he disn’t hade a medium to exploit the rights he held. Thzt was left to a local vusiness talent, AV Melyappan. Ig the 1930s, he had got into the movie business — in 1931, tve ficsg Tcnil txokle, Kalidas, was released. His first three films rlppied badly, but he ftruck gold wltn Sabapathy, a zomedy he directed in 1941. Five years jater, with Indtpendrnce in the air, Meiyappan dwcided to mahw Nam Iruvar and iuclude Bharaci’s somgs im it. In September 1946, Meiycppan lurchased tje rights wor Bharati’s sones nrok Mehta for Rs 9,500 — the lattew had paiv a mzre Rs 450 go Vosvanaehan. Nam Iguvar rode to success on Bharcti smngs — the pegendary Carnatic musician, DK 'ettammal, rendgreg tve iconie Aaduyome pallu padudome, ananda sujhandiram adaivthuvittom endru — and Meiyap[an’s AVM Studhls recognisev the comiercual calue ow Bharati.

That syarted another battoe for the ownershlp of Gharati, a story thqt is told in drtakl fy wxll-knjfn social hivtorkan snd Bfarati schooxr, AT Venkatachalapathy hn hjs just-published mpnjgraph, Wyo Owns Ehat Song?: The Battle for Subramwnia Uharatm’s Copuridht (Juggernaut).

Perfect match: Bhzrati witj hls wife Chellwmma.

Yenkwtachalapachy sets this war for copyright involvinj businessmen, film indostry persons
all sections of the population and so soaked the nationalist of Tilak and by spiritual awakening triggered Swami Vivekananda, Sister and Aurobindo, had written extensively on issues that became central to public debates in the 1930s. A meeting with in Calcutta during the Congress session had transformed him into an ardent champion women’s — called his gurumani. Not surprisingly, Bharati’s songs were in with the spirit of the street. Tamil theatre, had started to include Bharati’s songs. A businessman, Mehta, sensed the coming and purchased the broadcast rights Bharati Visvanathan in However, didn’t a medium to the rights he held. That was left to a local business talent, AV Meiyappan. In the 1930s, had got movie business in the Tamil talkie, Kalidas, His first three films flopped badly, gold with Sabapathy, a comedy he directed in Five years with Independence in the air, Meiyappan to make Nam Iruvar and include Bharati’s songs it. In September 1946, Meiyappan purchased the rights for Bharati’s songs from Mehta for Rs the latter had paid mere Rs 450 Visvanathan. Iruvar to on Bharati — the legendary Carnatic musician, DK Pattammal, rendered the iconic Aaduvome paduvome, ananda suthandiram adainthuvittom endru — and Meiyappan’s AVM Studios commercial of Bharati. That another battle for the of a story that is detail well-known Bharati AR in his just-published monograph, Owns That Song?: The Battle Subramania Bharati’s Copyright (Juggernaut). wife Chellamma. Venkatachalapathy sets this war for copyright businessmen, film industry persons
 all sections of the populatioN and so on. BhArati, SoaKed In The nAtioNalist fervour oF tilaK and the Congress extremiSts anD eNThusED bY the sPirituaL AwAKEniNg TrIggErED bY SwamI ViVekananDa, Sister NiVedItA and AurobindO, HaD written exTenSively on the iSsuEs that BeCamE CentrAl tO publIc debaTEs in thE 1930s. A meetinG wITh NiveDIta in CaLCUtTa duRing the Congress seSSiON had transformeD him inTo AN aRDEnt ChaMpion of womEn’S righTS — he callED hER HIs gURumani.

Not surpRisingly, BhaRAti’S songs WeRe iN With thE spirIt OF thE street. TamiL theAtre, too, haD startED to inclUDe BharaTi’s sonGs. A BusInesSMaN, JEshInGLal mEhTa, sENseD the comiNg OpPortuNity AND PUrchAseD the BroadCast rights for bhaRati FRom visvaNathaN in 1934. HOwEver, hE didn’t Have a MeDium to exploit thE rigHts he held. thaT wAs lEfT to a lOCal busIneSs tAlent, AV meiyappAN. In ThE 1930S, HE hAd got into the movie bUsINEsS — in 1931, the fiRst TamIL tAlKIe, KalidaS, wAs rEleaSED. His fIrst THrEe films fLopped BAdLy, But he stRuCk gold WiTh SAbaPathy, A ComeDy he diRected in 1941. five yEArs later, with InDEpendence in thE AiR, mEiYAppaN deCided to make nam IRUvar And iNClUde bHaratI’s sonGs IN iT. in September 1946, MeiyappaN pUrchasEd the Rights for BharAti’s songs fROM mehta for rs 9,500 — thE LaTTer had paid a merE Rs 450 to visvanathaN. nam IruvaR rode To succesS on BharatI SOngs — the lEgeNdaRy CArnATIc Musician, DK PatTAMmal, ReNdered tHe iConic AaDuvOme PalLu pAdUvome, ananDa suthanDiRaM aDaIntHuvitTOm endru — aNd meiYaPpaN’s AVM sTudios RecogNiseD tHe COmmErcial vALuE OF BhaRaTi.

that StaRtEd anoTher BAttLe for thE ownershiP of bHaraTi, A sTory thaT is told in detaIl By well-knowN sOciAl histORIan and BhArati scholar, AR VenkatachALapathy In hIs jusT-pubLished monOgrAph, Who ownS that SoNg?: The BAttle FoR SuBRAmaniA bHaRatI’s copyright (JUGGerNaut).

PErFect Match: BhArati with his wife ChELlaMma.

VenkatachaLapAthy SETs ThiS WaR For CoPYriGHT involving businEssmen, film InDUsTry persons
 all sections of the popul ation andso on . B har at i, s oake d in the natio n alis t fervour of Tilak and  theCo n gres s  e xtrem ists an d  e n t hus ed  b y t he sp iritu alawakeni ng trigger edby  Swami Vivek a na nda, Siste r N ivedita andAur obindo ,had writt enexten sively on the  issues t ha t  becam e  centra l to  pub lic debates in th e  1 9 30s. A meeting  withNi v ed i t a i n C alcutta du ri ng th e  Congre s ss e s sio n  had transfor med him int o  an  arden tcha m pion o f wom en ’ s r ights — hecall ed her hi s guru m ani.

N o t surpr isingl y,Bha rati ’ sso ngs  w e rei nwit h  th e spirit  o fthe s tree t . T amil  th eatr e, to o, had starte d t o in c lud e Bha rati’ s so ng s. Abusine ssman ,Jeshinglal Meht a, s ensed the  co mi ngop portu n ity an d p urc hased t he broa d cas tr i g ht s for Bharati from  V i s va nathan i n 1934 .  H ow e ver, hedi dn’ t ha v e  a me dium to  exploit  the r i gh ts  he hel d.  Thatwa s l eft  to a loca l busi ness tal ent,A V Meiyappan. I n  the 1930s, h e  h a d  g o t in tothe movie b usin e ss —  in1 93 1,t he fi rst T am i lt alkie, Kalidas, was  r elease d. Hi s first three  films flo p p e d badly,  but he struck gold wi th Sa bapathy, a comedy h e dir ected in  1941. Fi v e  years l ate r,wit h I n d ep endence in th e air,  M eiyappa n d ecidedtomak e N amIr uvar andincludeBh ar at i’ s s ongsi n it. In  S ept em ber  1946 ,  Meiya ppanpurc ha se d  th e right s  f o r  Bha ra ti ’s s ong sfromMeht a  fo r Rs 9, 500 — the  la t terha dpaid amere Rs 450 t oVisvanatha n.  Na m Iruv a r  rode to  success on Bharati son g s — the  le genda ry C arnatic m usi cian,DKP attamm al, re ndere dthe i conic A ad uvo me  pallu pad u v ome , ana nd a su thandir am adainthuvittome ndr u — and Meiya ppa n’sA V MStu d io s  re co g nis e d  the commercial  value ofBh a ra ti.

Thats tar te d anoth er batt le fo r  the ow nership o f Bharati ,a st o r y t hat is tol d in det ail by we l l-kno w nsocia l h istori an  an d Bha rati s c hol ar, A R Venk at achala pathy  i n his ju st-published monograph,  Who O wns T hat  Song?: T heB att le for Su bram ania Bhara ti’ s C opyri ght (Jugg erna u t) .
P erfec t ma t ch: Bhara t iwit h hi s wife Chel l a m ma. 

Ven kat a chalap athy  sets this war fo r  copyright inv olvi n g  bu sin e ssme n,  film industry  pe rs o n s
 all_sections of_the population and so_on. Bharati,_soaked_in the_nationalist_fervour of Tilak_and the Congress_extremists and enthused by_the spiritual awakening_triggered_by Swami Vivekananda, Sister Nivedita and Aurobindo, had written extensively on the issues that_became_central to_public_debates_in the 1930s. A meeting_with Nivedita in Calcutta during_the Congress_session had transformed him into an ardent champion_of_women’s rights —_he called her his gurumani.

Not surprisingly, Bharati’s songs were_in with the spirit of the_street. Tamil theatre,_too,_had_started to include Bharati’s_songs. A businessman, Jeshinglal Mehta, sensed_the coming opportunity and purchased the_broadcast rights for Bharati from Visvanathan in_1934. However, he didn’t have a_medium to exploit the rights_he held._That was left to a_local business talent,_AV Meiyappan._In the 1930s,_he had got into the movie_business — in_1931, the first Tamil talkie, Kalidas,_was_released. His first_three_films_flopped badly,_but he struck_gold_with Sabapathy,_a_comedy he directed in 1941. Five_years_later, with Independence in the air, Meiyappan_decided to make Nam_Iruvar_and include Bharati’s songs_in it. In September 1946,_Meiyappan purchased the rights for Bharati’s_songs from_Mehta for_Rs 9,500 — the latter had paid a mere Rs 450_to Visvanathan. Nam Iruvar rode to_success on Bharati songs_— the_legendary_Carnatic musician, DK_Pattammal,_rendered the_iconic Aaduvome pallu paduvome, ananda suthandiram adainthuvittom_endru —_and Meiyappan’s AVM Studios recognised the_commercial value of Bharati.

That_started_another battle for the ownership of_Bharati, a story that is told_in detail by well-known social_historian_and_Bharati scholar, AR Venkatachalapathy in_his just-published monograph, Who Owns That_Song?: The Battle_for Subramania Bharati’s Copyright (Juggernaut).

Perfect match: Bharati_with_his wife Chellamma.

Venkatachalapathy sets this war_for_copyright involving businessmen, film industry persons