Krishna, a descendant of Yadu

Yadu (Sanskrit: यदु) is one of the five Indo-Aryan tribes (panchajana, panchakrishtya or panchamanusha) mentioned in the Rig Veda^[1] (I.54.6, I.108.7, X.62.10).

The Hindu epic Mahabharata, the Harivamsha and the Puranas mention Yadu as the eldest son of king Yayati and his queen Devayani. The prince of King Yayati, Yadu was a self-respecting and a very established ruler. According to the Vishnu Purana, the Bhagavata Purana and the Garuda Purana, Yadu had four sons, while according to the rest of the Puranas he had five sons. The names of his sons are: Sahasrajit (or Sahasrada), Kroshtu (or Kroshta),^[2][3] Nila, Antika and Laghu.^{[citation needed]} The kings between Budha and Yayati were known as Somavanshi. According to a narrative found in the Mahabharata, and the Vishnu Purana, Yadu refused to exchange his years of youth with his father Yayati. So he was cursed by Yayati that none of Yadu's progeny shall possess the dominion under his father's command.^[4] Thereby, he could not have carried on the same dynasty, called Somavamshi. Notably, the only remaining dynasty of King Puru was entitled to be known as Somavamshi. Thereby King Yadu ordered that the future generations of his would be known as Yadavas and the dynasty would be known as Yaduvamshi. The generations of Yadu had an unprecedented growth and got divided into two branches.

Descendants[link]

King Sasasrajit's descendants were named after his grandson Haihaya and were well known as the Haihayas.^[2] King Kroshtu's descendants had no special name, but were known particularly as the "Yadavas",^[2] According to P.L. Bhargava, when the original territory was partitioned between Sahasrajit and Kroshta, the former received the part lying to the western bank of the river Sindhu and the latter received the territory situated along the east bank of the river.^[3]

Several Chandravanshi castes and communities in modern India, such as the Sainis of Punjab Province,^[5][6] Jadaun Rajputs, Yaduvanshi Ahirs,^[7] Chudasama, Jadeja, Jadaun, Ahirs, Jadoon (Pathan), Khanzada claim descent from Yadu.

See also[link]

• Lunar Dynasty
• Nandvanshi

Notes[link]

References[link]

• Dictionary of Hindu Lore and Legend (ISBN 0-500-51088-1) by Anna Dhallapiccola
• Frawley David: The Rig Veda and the History of India, 2001.(Aditya Prakashan), ISBN 81-7742-039-9

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2012)

Himangini Singh Yadu (born 1988) is an Indian beauty pageant titleholder who was crowned Miss Asia Pacific World 2012^[2] on June 16, 2012 in Seoul, South Korea.

About[link]

Yadu is a girl with a positive mind frame, cooperating and a good learner. She have always dream of participating in a beauty pageant like Miss Universe. She loves to travel, make new friends, and learn different cultures. She also has been trained in Armed Trained Police Centre in Indore. She loves to swim and listen to music while driving, and also has a big interest in reading and playing basketball.^[3]

Education[link]

She completed her primary education from Indore Public school (An English medium co-educational CBSE Pattern school) from Indore (Madhya Pradesh) India

I Am She 2010[link]

She was formerly a contestant and a Top 10 finalist in I Am She 2010, India's national pageant for sending its winners to Miss Universe pageant.^[4]

Miss Asia Pacific World 2012[link]

She was appointed as India's representative to Miss Asia Pacific World 2012, as I Am She 2012 final will be held on July 28. Yadu is one of the most favorite contestants in Miss Asia Pacific World 2012 to win the crown because of her stunning appearance. On June 16, she was crowned as Miss Asia Pacific World 2012 by Diana Starkova of Ukraine, beating the other 19 contestants.

References[link]

Indore Public School

Narayan Gopal Guruacharya (Nepali: नारायण गोपाल गुरूवाचार्य) (October 4, 1939 - December 5, 1990) is the most prominent and popular singer and composer in the history of Nepali music. He is popularly referred to as "Swar Samrat" (Nepali: स्वर सम्राट, meaning: Emperor of Voice) in Nepali music. He is also known as "Tragedy King." He is well known as a singer as well as a composer. His voice range allowed him to sing songs of every genre of Nepali music. His songs are often richly orchestrated with the sitar, harmonium and flute. He belongs to the first generation of Nepali singers who took singing as a profession. His songs have also been used in movies and dramas.

Personal life[link]

Narayan Gopal Guruacharya was born into a Newar family in Kilagal Tole, Kathmandu, on October 4, 1939 (18 Asoj, 1996 B.S.) to father Asha Gopal Guruacharya and mother Ram Devi Guruacharya. He had five brothers and six sisters. He completed his School Leaving Certificate (S.L.C) exams in 2016 B.S. and obtained Bachelor of Art degree in Humanities from Tri-Chandra College. Later he also went to Maharaja Sayajirao University of Baroda to study classical Indian music, but returned without completing his studies. He married Pemala Lama in 1971 (Falgun 2027 B.S.). Later he joined the Rastriya Naach Ghar (National Dance Theater) and rose to the post of manager (hakim). He also worked as the editor of a musical journal Bageena (बागीना) for its first three issues around 2028 B.S. He became the managing director of Sanskritik Sangsthan (Cultural Center) from 2036-05-10 to 2040-10-04 B.S.; became adviser to the Ministry of Communication from 2046-04-16 on wards; and an associate professor in Lalit Kala Campus. He also wrote a musical drama titled Kanchi Masyang (कान्छी मस्याङ).

Personality[link]

People who knew him during his lifetime recount some of his personality: He had a considerable knowledge of history. He was an enthusiastic photographer; and he loved to watch football; he was a good chess player. In the kitchen, he was a good cook. Apart from singing, he liked to spend considerable effort in organizing various events. In his editorship, the first editions of Bageena (बागीना) magazine was issued.

Early career[link]

The potential of his vocal talent was first recognized by his friend Manik Ratna Sthapit. Manik Ratna, who used to live in the neighboring Pyukha Tole, and Prem Dhoj Pradhan, who used to live in Bheda Singh Tole used to get together and do vocal practices using Hindi songs. But Narayan Gopal, however, would joke around by changing the words of the songs that they used to sing. Prem Dhoj and Manik Ratna recounts that he used to change the Hindi words into Nepali, thus damaging the melody of the songs to comical effect. Manik Ratna's household was like a kind of a music school since his uncle, Siddhi Ratna Sthapit, was an expert instrumentalist. In B.S 2016, after completion of his S.L.C exams, Prem Dhoj Pradhan took him to Radio Nepal to take a voice test. He sang "Panchi ko pankha ma dharti ko diyo," written by Dr. Ram Man Trishit and composed by Prem Dhoj Pradhan himself. He passed the voice test on his first trial. Narayan Gopal's first public musical performance was during the 40th anniversary of Tri Chandra College, which he agreed on to do so upon requests from his friends. During the performance he acted as the tabala player.

In his own household, Narayan's father, Asha Gopal Guruacharya, was a strict classical musician. His father did not allow any modern music, except for classical music, to be entertained in his house. Ustad Asha Gopal considered modern music as shallow and vulgar. It was in order to appease his father that he went to India to take up lessons in classical music in Maharaja Sayajirao University of Baroda. But due to ill-adjustment, he dropped from the University after only four and half months. However one good outcome of his travel to India was his first record of songs.

First successes[link]

By that time Prem-Manik duo had started to sing their own compositions. Following suit Narayan Gopal too composed six original songs written by the contemporary poet Ratna Shumsher Thapa. In that collection four of the songs were for solo vocal (स्वर्गकी रानी, आँखाको भाखा आँखैले, भो भो मलाई नछेक, मधुमासमा यो दिल) and two were for duet ( बिछोडको पीडा and ए कान्छा ठट्टैमा यो बैंश जानलाग्यो). All these songs were eventually recorded in Kolkata, India, while he was in that country for his studies. These songs started to attract attention within Nepal and India, and in short time he became recognized as a major Nepali singer.

Nepal at the time had recently been liberated from Rana rule. Midst these wave of social and political changes, Narayan Gopal was able to lend his voice to songs related to love, life, hope, and patriotism. While the East-West highway was under construction, he recorded ‘जाग, जाग चम्क हे नौजवान हो,’ whereas in the fervor of patriotism ‘आमा ! तिमीलाई जलभरिका औंलाहरुले चुम्न’. Such songs made him popular among the youths of Nepal. His songs further evolved as he became more selective of songs with right combination of words, music, and emotions. Along with his contemporaries such as Pushpa Nepali, Bacchu Kailash, Tara Devi, Amber Gurung, Prem Dhoj Pradhan, Nati Kaji, Shiva Sankar, he added a new dimension to the modern Nepali music. To broaden his style, he started to hold discussions with his admirers, his competitors, and his critics. It was in this process of development that he visited Darjeeling, India, during the March 1965. The visit was fruitful for two reasons: there he met his long time fan and future wife, Pemala Lama, with whom he fell in love; and it was there that he met another young, struggling musician Gopal Yonzon, with whom he formed a close friendship as mitjyus, in part because both had Gopal as their names.

Partnership with Gopal Yonzon[link]

With the partnership of Gopal Yonzon during the later sixties, Narayan Gopal's music entered a new phase of development. In the words of Ishwar Bhallav, Narayan Gopal became the singer of the hearts of the Nepali people. It was in this phase that he started to sing his famous songs of love, loss, and tragedy; and he emerged as the most prominent singer of this era. At this time, the musicians of Nepal were starting to become more self conscious and were seeking to express themselves in original emotions and style. Originality was becoming increasingly important. It was also at this time that new sounds from the West, such as by the Beatles and Bob Dylan, were entering and influencing the music of Nepal. In order to confront the influence of Western pop music, a new consciousness and a new style of music was felt to be necessary. To meet these challenges, Narayan Gopal in partnership with Gopal Yonzon created songs that have since been ever popular in Nepal. Song like बिर्सेर फेरि मलाई नहेर, चिनारी हाम्रो धेरै पुरानो, तिम्रो जस्तो मुटु मेरो पनि, लौ सुन म भन्छु मेरो रामकहानी not only gave new lease of life to Gopal Yonzon's musical career, but it also carved a special niche for Narayan Gopal among the listeners of Nepali music.

Soon he found himself to be sought after by all the major composers of Nepal. He collaborated with established composers like Nati Kaji, Shiva Sankar, Amber Gurung, and Dharmaraj Thapa. He was starting to be known as the singer of intellect.

During the beginning of the seventies, he married his long time fan Pemala at the age of thirty-one. After their marriage his residence shifted for sometime to Pokhara and later for sometime to Hetauda. In Pokhara he became acquainted with the poet Bhupi Sherchan, while in Hetauda he became acquainted with fellow songwriter and composer Bhim Birag. As a result of the interactions, he composed and sang Bhupi Sherchan's सानै हुरीमा बैँसको सपना and अल्झेछ क्यारे पछ्यौरी तिम्रो चियाको बुट्टामा; and he sang Bhim Birag's तिमीले पनि मजस्तै माया दिएर हेर.

Later career[link]

After his short stay in Hetauda, Narayan Gopal returned to Kathmandu and managed to find a job in Rastriya Naach Ghar (National Dance Theater) with the help of his friends Manik Ratna and Janardan Sama. He had entered Naach Ghar as a mere instrumentalist, but he slowly rose to the post of a hakim (rector). While he was in Naach Ghar, he lost many of his friends or abandoned many of his previous collaborators. After he became the hakim of Naach Ghar, he was no longer in speaking terms with his early mentor Manik Ratna. Similarly, the relationship with his childhood friend Prem Dhoj became distant. After the marriage of his mitjyu Gopal Yonzon, the relationship between the two also dampened. Among the reasons for this was his fame, success, and growing arrogance.

At this stage of his life, he found himself confronting a new generation of Nepali youths. Among the young musical talents of that time, his partnership with Dibya Khaling took off; and he started lending his voice to Khalings compositions, thus initiating an another phase of his singing career. Songs like सँधै नै म हाँसे तिमीलाई रुवाई, मायाको आधारमा सम्झौता नै हुन्छ, बिपना नभइ helped to revive his popularity. During this stage he started to collaborate with new breed of songwriters such as Khyetra Pratap Adhikari, Kali Prasad Rijal, Norden Rumba, Dinesh Adhikari, and Bishwambhar Pyaukurel, while his relationship with his old collaborators was neglected. Among the composers of the new generation, he collaborated with the likes of Sambhujit Baskota, Bhupendra Rayamajhi, and Shubha Bahadur. In his late stage of career, he lent his considerable prestige to launch the career of many upcoming musicians. As such, he was willing to compromise his artistry and sing weak songs by new composers and songwriters. He also sang in film songs.

In total his career spanned twenty-eight years, during which he sang in eighteen movies and recorded a hundred and fifty-seven songs.

Death[link]

Narayan Gopal suffered from diabetes, yet had a propensity for sweetmeats. This habit led to his demise in December 5, 1990 (19 Mangsir, 2047 B.S.) in Bir Hospital, at 9 p.m. in Kathmandu, at an age of fifty-one. He died childless. Four of his brothers and three of his sisters still survive him.

Awards and Recognitions[link]

Narayan Gopal was awarded several national honours which include (all dates in Bikram Sambat):

• Best Composition (Radio Nepal) - 2023 B.S.
• Best Singer (Radio Nepal) - 2024 B.S.
• Ratna Record Award - 2039 B.S.
• Gorkha Dakshin Bahu, Fourth - 2033 B.S.
• Indra Rajya Laxmi Award - 2040 B.S.
• Chhinalata Award - 2044 B.S.
• Jagadamba Shree - 2045 B.S.
• Urbashi Rang Award - 2047 B.S.
• Trishakti Patta, Third - 2048 B.S. (posthumously)

Biography in other media[link]

A short biography (available at first, second, and third) has been made as a tribute to Narayan Gopal.

Discography[link]

• Geeti Sradhanjali Vol 1-4 (2049-03-02)
• Swarneem Sandhya Vol 1-2
• Preyasi Ka Yaad Haru (2054-02-16)
• Prem Ko Mala
• Manche Ko Maya
• Malai Nasodha
• Lali Gurash Bhayechu
• Aljhe Cha Kyare
• Timro Mann Ma
• Geeti Yatra Vol 1 (2044-10-10)
• Narayan Gopal Ka Aadhunik Geet Haru Vol 1-9
• Malati Mangale (a musical drama)

Notes[link]

References[link]

• Sayami, Prakash. (2009). समानताको स्वर र असमानतको जीवन : नारायणगोपाल.[1]
• Sayami, Prakash. नारायण गोपाल: व्यक्ति एक, रुप अनेक. [2]
• Sayami, Prakash. (2011-11-19). मितेरी संगीतका सूत्रधारः गोपाल योञ्जन.http://artistnepal.com. [3]
• Thapa, Nagendra. सोम नारायणगोपाल. [4]
• Prasai, Narendra Raj. भूगोलभरि गुञ्जिरहने नारायणगोपाल.[5].
• Koirala, Achyut. नारायण गोपाल बारे थाहा नपाएका कुरा.[6]
• Artist Biography of Swar Samrat Narayan Gopal. [7]
• मंसिर १९, नारायण गोपाल र १९ रहस्य.[8]

External links[link]

• Narayan Gopal Songs Lyrics
• Narayan Gopal Songs [9]