Vertical Urbanism - Elisha Graves Otis & his patented ‘Life and Labor Saving Hoisting Machinery’.

The skyline of the metropolitan cities across the world are populated with Manhattan like skyscraper buildings. There has been an exponential growth in the high-rise structures -  vertical urbanism - which is necessary in the ever increasing population and the vertical urbanism has the potential to decongest urban sprawl. Indian cities are witnessing immense demographic expansion due to migration from surrounding places, leading to urban sprawl, housing demand, rise in cost of land and therefore vertical urbanism is a best way forward. It is helped by an ever improving technology that makes vertical urbanism a safe reality. The first major technological marvel that helped in the growth of vertical urbanism can best be attributed to the Otis invention of Patented “Life and Labor Saving Hoisting Machinery", which would make it possible to lift men and materials safely to their tops.

It was not until Otis’s invention of this device and its adaptation and commissioning in high raise buildings in the 1880s, that the silhouettes of most cities consisted of buildings which were rarely taller than four or five stories. However, all this changed with a dramatic public demonstration of a patented ‘Life and Labor Saving Hoisting Machinery’ by Elisha Graves Otis. The Great Exhibition - Crystal Palace Exhibition, London - of 1851 and its success had paved a way for another exhibition of its avatar in 1853 in New York,  USA. This exhibition too was named the Crystal Palace Exhibition and it was aimed at displaying an unprecedented progress in technology, industry,  arts and crafts to the public in New York. It was here - in this exhibition - that a bearded man in a frock coat and top hat - Elisha Graves Otis - attracted a large crowd when he made an announcement that he is prepared to risk his life to demonstrate his technological invention. 

In a melodramatic setting, which he had created in an open ambience in the precincts of the Crystal Palace exhibition in New York, Otis stood on an open platform that began to rise towards the ceiling of the hall, where he had assembled his machine. The platform was steadily lifted up on the vertical guide rails by the power of a steam engine until it reached a height of about 50 feet. The visitors could notice a conspicuous counterweight, which was gradually coming down as the platform, on which Otis was standing, was raising upwards. It is now evident that this was an underpinning of a principle mechanism that Otis had used, which essentially functioned like a seesaw -  when one side goes up the other side comes down. In Otis contraption as the platform, on which he stood, went up the counterweight came down. As soon as the platform rose to the highest vertical point, Otis ordered his assistant to cut the rope on which the platform was resting. There was an eerie silence in the crowded audience and when the rope was cut the crowd was stunned to notice the platform fall freely. Before they could think of the worst eventuality that it was the end of Otis, suddenly the platform jerked and halted and remained stationary, high above the onlookers's heads. ‘All safe, gentlemen, all safe’, Elisha Graves Otis yelled to his stunned but relaxed audience. He assured his audience that he was here for a live demonstration of his technological invention, which he described as an "improvement in hoisting apparatus”. This was an improvement in an automatic device, which Otis had designed to prevent the platform from falling. This mechanism was destined to become one of the most successful 19th-century technological development, which helped make possible the urban skylines, which we witness across the world.

Today, the elevators - with the safety mechanism designed by Otis - are found everywhere and there is an inextricable linkage of a lift / elevator and high rise buildings that blend into each other and share a symbiotic relationship in their mutual existence. From the legendary Tower of Babel to the iconic Burj Khalifa, tall buildings are seen all over the world. In Mumbai we have several skyscrapers, which appear to touch the Mumbai skyline. It is estimated that Mumbai has over 4000 skyscrapers, which has earned it a ‘high rise  urban city’ epithet. 

From historic times there is an evidence that humans have always aspired to build to ever greater heights. Over the centuries, different cultures have constructed towering edifices to celebrate their culture and promote their cities -- or simply to show off to the external world. In the early times majestically tall structures were the preserve of great rulers, religions and empires. For instance, the Great Pyramids of Gaza, built to house the tomb of Pharaoh Khufu, or the magnificent Brihadeeshwar temple, which represents the temple building traditions of the great Hindu Kings, were built by the great rulers. Such examples of tall structures are seen across the world. Most of these tall structures were not meant for human dwelling.

However, the 19th century changed all that. It witnessed two revolutionary developments, which  paved the way for rapid rise in skyscrapers. The first and most important development was the safe elevator that was demonstrated by Otis at the Crystal Palace exhibition in New York in 1854. Primitive elevators were used prior to the commencement of safe elevators. These elevators were mostly used to carry materials in factories and warehouses. They were not considered safe for carrying people, because if the cable broke, the elevator car would fall to the bottom of the elevator shaft. This problem of safety was solved by Elisha Graves Otis, an American inventor, who  created a safety device that was meant to keep elevators from falling, even if the cable broke loose. This safety mechanism embedded into the new elevators helped safely carry and transport people. Subsequently, with the introduction of motors the elevators became even more practical and found a place in almost all vertical buildings. 

The second important development that helped in the vertical urbanism came about in the revolutionary changes that were introduced in the building technology. The city of Chicago had witnessed a huge fire accident in 1871. Following a devastating fire, the city experienced an explosive demand for growth. However, there was scarcity of land for meeting the increasing demand for new buildings. The only option was to  go vertical. And for this the technology used in the construction had to change. This led to the changed construction design, which started using high strength bearing grid of steel columns and beams that would support any forces that the building may experience at taller heights. With the passage of time engineers were able to combat all foreseen forces in the skyscraper buildings, which included the dead weight of the building, contents and floor, wind, seismic conditions etc. This new construction method coupled with the safe elevators for vertical transport gave birth to the skyscrapers, leading to a race to construct the ever increasing taller buildings. The results are there for every one to see. Today, the Burj Khalifa, the tallest building in the world, stands at a staggering height of 828 metres and movements in this building is helped by the safe elevators supplied by the Otis company. 

Until the successful demonstration of the safety mechanism in the elevator, riding in an elevator used to be dangerous business. It changed with the May 1854, public demonstration by Elisha Graves Otis. The 42-year-old engineer was a carpenter who was making bed-frames.  He was also a tinkerer with a passion for fixing faults and frailties. He had engaged himself in trying to find solution to the frailties associated with the safety of the elevators and had developed a mechanism for solving the problem of cable failure in platform elevators. There were some faults in his design, which he had improved. He had tested and tried his newly designed device that could prevent a passenger elevator from falling if its rope broke. His design made use of a hoist with a passive automatic braking system. 

Although he was very confident of the safety of his new device, unfortunately none of his devices were sold fearing for the safety of people. Therefore, Otis had chosen the occasion of the Crystal Palace exhibition to demonstrate publicly the safety of his device to win the confidence of the people and builders. Until his safety mechanism got embedded into the new elevators, earlier elevators would often catastrophically brake down in granaries and warehouses, killing and maiming their passengers. Otis realized that his design, though superior and straightforward, needed showmanship. The World’s Fair was his moment to flaunt his vertical flight of fancy and function. His sustained public demonstrations of the safety of his device at the Crystal Palace world fair in New York ( now Bryant Park) during the period from May to November 1854 ensured that his new device became commercially successful. It debuted at the E.V. Haughwout and Company store in Manhattan on March 23, 1857.

From May to October 1854, Elisha Graves Otis gave repeated performances at the Exhibition in New York City. In the previous year Otis had founded the E. G. Otis Elevator Company in Yonkers, New York, in September 1853. But having received only one order in his first seven months of business, he was happy to accept an invitation to introduce his apparatus to the public. In the Crystal Palace on Forty-Second Street.  

Otis device  was model of engineering simplicity, the safety device consisted of a used wagon spring that was attached to both the top of the hoist platform and the overhead lifting cable. “Under ordinary circumstances, the spring was kept in place by the pull of the platform’s weight on the lifting cable. If the cable broke, however, this pressure was suddenly released, causing the big spring to snap open in a jaw-like motion. When this occurred, both ends of the spring would engage the saw-toothed ratchet-bar beams that Otis had installed on either side of the elevator shaft, thereby bringing the falling hoist platform to a complete stop.” It was no wonder that the invention of this type of safe elevator also played its part in the industrial revolution. This device “transformed real estate in America”.  Prior to the safe elevator coming along, the cheapest rent one could get was the top floor of the building. However all that changed and the top floors became one of the most expensive real estates in New York and this trend continued across the world.  

The US Patent Office granted Otis a patent for his invention of the ‘Improved Hoisting Apparatus” on Jan. 15, 1861. Just three months after he received his patent, he died on April 8, 1861.  His legacy had lived on and today Otis Elevator Company is one of the worlds leading elevator manufacturers, whose elevators are found in most high rise buildings in the world including in the Burj Khalifa building. There was time when Otis became synonymous with elevators and had a monopoly in this business. However the increased demand has brought in many more players in this market. 

Next time when you ride any elevator spare a thought for this show man Elisha Graves Otis, who helped revolutionize vertical urbanism to decongest the cities. 

Images - Courtesy Wiki Commons 

 

Dr. Srinivasan Varadarajan – A Tribute to the great Nonagenarian.

Dr Srinivasan Varadarajan, known for his exemplary, yet forgotten, role in combating the post Bhopal Gas Tragedy, which killed thousands of people and the man who was majorly responsible for developing two of the well-known consumer products – Rin Detergent Soap and the Fair Lovely Cream - for the Hindustan Lever Limited company, which went on to make heavy fortunes from these two products and also the man who served as a two term Chairman, Governing Body, National Council of Science Museums (NCSM) from 1982-83 to 89-90,  and a scientist who held many top positions in the government of India institutions including occupying the position of Secretary DST and DG, CSIR and so also the man who headed many public sectors companies like the IPCL and EIL, breathed his last on the National Technology Day - 11^th May 2022 - at the ripe age of 94 years.  

 I was one among many old timers in NCSM who had an opportunity to meet and interact with Dr Varadarajan on several occasions. He was a regular visitor to the National Science Centre, Delhi (NSCD), where I served in two tenures as Curator from 1988-2001 and as Director from 2007 to 2010. Incidentally, the iconic castle like building of the National Science Centre, New Delhi, located in the prime location - in the Pragati Maidan premises - owes its genesis to Dr Varadarajan, who was responsible for the allocation of this plot of land in Pragati Maidan for the development of the NSCD.  

 In the later part of my tribute, I will cover briefly the contributions of Dr Varadarajan in taking NCSM to greater heights and highlight the constant mentoring and support that he extended to the founder DG of NCSM – Padma Bhushan, Dr Saroj Ghose. Looking at the gigantic contributions that Dr Varadarajan made in multifarious fields, his contribution to NCSM will stand dwarfed and seem insignificant in comparison with his other stellar contributions to the nation. So, I will begin this essay by highlighting his other contributions and let me start it by writing about, what I feel, one of his most significant contributions to India – leading from the front to combat the Bhopal Gas Tragedy and in ensuring that another leak of the deadly MIC gas from the second tank was arrested. Most unfortunately, Dr Varadarajan’s contribution in mitigating the Bhopal Gas Tragedy has not been adequately recognised.

The importance of his contribution in combating Bhopal gas tragedy can best be appreciated when we look at the tragedy that happened at Bhopal and the news headlines that this tragedy received. India Today front paged this incident and covered it under the caption “City of Death” in their December 31, 1984, issue of the fortnightly. The Time magazine front paged this incident under the caption “India’s Disaster—The Night of Death” on the front cover of the December 14, 1984, issue. Almost all the national and international dailies covered this horrendous manmade disaster. There was politics as well in the news coverage with The Wall Street Journal inhumanly stating “of those people killed, half would not have been alive today if it weren’t for that plant and the modern health standards made possible by wide use of pesticides”.

 Bhopal Gas tragedy, which happened on that dark night in December 1984, will continue to be haunted as one of the world’s worst industrial disasters. It is appalling to note that this disaster happened because of the complete lack of professionalism and human failure by the management of the Union Carbide India Limited (UCIL), who were operating this plant. There were tell-tale signs of a disaster waiting to happen but then the company had paid no heed to the earlier safety warnings and the maintenance of the plant was far from what was desirable for such sensitive chemical factories, which were manufacturing pesticides. It was past midnight on December 2, 1984, that nearly 30 of the 42 metric tonnes of Methyl Isocyanate (MIC), which was stored in one of the tanks - Tank 610 - of the UCIL Pesticide Plant suddenly leaked and escaped with great velocity. The leaked MIC gas formed a dense cloud on the skyline surrounding the plant and the gas - being heavier-than-air - started descending on to the slum and shanty areas of the town adjoining the plant. This deadly cloud of MIC gas took a heavy toll on the lives and livelihood of people in the area. Even today, the exact human death toll from the Bhopal gas tragedy is not known. However, it is estimated that nearly 5,000 people died within 2 days, and the death toll eventually reached upward of 20,000. There was another tank 611 in the plant, which too was full of MIC in large quantity. Dr Varadarajan and his team were successful in ensuring the safety of this tank and in avoiding the leakage of the MIC gas from this tank. What the impact could have been had the MIC from the second tank leaked is hard to imagine. We therefore owe a lot to Dr Varadarajan and his team for their extraordinary contribution in helping avoid such a situation.

There is so much written on the Bhopal gas tragedy, however, not much has been written on the stellar role that Dr Varadarajan and his team of scientific community played during this testing times and how they put aside their own personal safety and were engaged at site in trying circumstances to save the lives of people and so also the plant and other assets. Dr S. Varadarajan spearheaded “Operation Faith” that saved many lives and minimized other damage to a maximum extent. Dr Varadarajan was concerned about the possibility of the MIC leaking from the second tank 611, which had equal amount of MIC stored in it. He feared the possibility of Bhopal 2 happening if this tank leaked. In order to mitigate this problem Dr Varadarajan had to understand what led to the leakage of the MIC gas in the first place. The second problem was to learn from this failure and derive a mechanism to safely dispose the remaining MIC from tank 610 and 611. There was another question that needed to be answered: what were the effects of the toxic MIC gas on the people around. How and why did the MIC cause death and damage, and how can such damage be countered or avoided.

 Dr Varadarajan and his team went about understanding and solving the problem by addressing the issue scientifically and thoughtfully engineering solution for the problems. They also addressed other pathology and treatment related matters. Exceptional chemist that Dr. Varadarajan was and so also an effective leader that he had distinguished himself as, he and his team studied at lightning speed the chemistry and storage conditions of the deadly gas, MIC. He realised that MIC boils at 80°C but evaporates at lower temperature. This showed that MIC gas is best stored under refrigerated conditions - below 10°C. Unfortunately, this was not done at the factory by UCIL primarily for cutting costs. Dr Varadarajan also realised that ultrapure MIC can be inert and that trace impurities can set up a chain reaction and one of them can produce a solid polymer. This solid polymer could clog up pipes through which MIC can be transferred from the storage tank.

Immediately after the Bhopal Gas tragedy, Shri Krishnaswamy Rao, the Cabinet Secretary, Government of India, directed Dr S Varadarajan, who was the Secretary Department Science & Technology, to rush to the site at Bhopal. Dr Varadarajan accompanied by his team from Council for Scientific and Industrial Research (CSIR) reached Bhopal. He inspected the site and the tanks and obtained inputs from the people working in the factory and referred to manuals and protocols that were warranted. The situation was very tense and there was no support for the team from either the UCIL or from the Government of MP, who were shell shocked to react to the emergency. Dr Varadarajan decided to look into the residues still left in tank 610, in order to get an idea of what all could have happened to the MIC. This was a risky affair but then Dr Varadarajan was more concerned for the safety of the people rather than his own personal safety. 

Dr Varadarajan’s inspection of the plant and his understanding of the conditions helped him with a lead on what could be done to safely dispose the MIC off tank 611, which too had about the same 40 tonnes of MIC. He needed support from the local government in Bhopal and from the senior officers of MP and therefore he called up his Cabinet Secretary to seek this support. By then the entire case was handed over to the CBI and therefore the Cabinet Secretary told Varadarajan that “you are the in charge of the situation and that everyone including the CBI will work at your orders”. He used this opportunity to somehow manage to convince the judiciary to release two of the engineers of UCIL, who were already rounded up and arrested, to understand the factory conditions better. He was successful but with a condition that soon after they are done with them, the UCIL engineers must be brought back in jail. 

Dr Varadarajan consulted Prof M M Sharma, an eminent Chemical Scientist on this issue and also put together a team of 16 members consisting of chemical engineers and related experts, which included Dr. L.K. Doraiswamy, N.R Ayyangar, C.S.P Iyer, A .A Khan, A.K. Lahiri, K.V. Muzamdar, R.A Mashelkar, R.B Mitra , O.G.B Nambiar, V.Ramachandran, V.D Sahasrabuddhe, S. Sivaram, M. Sriram, G. Thyagarajan and R.S. Venkataraman. Dr Varadarajan and his team quickly set up temporary facilities to examine how MIC was manufactured and stored at Bhopal, what led to “the event”, and how to get rid of the MIC from tank 611. They were successful in achieving their objective and this special operation was termed “Operation Faith”, by Dr Varadarajan, which remains one of the most profound operations that was ever carried out not just in India but globally. Dr Varadarajan adopted a process of converting 21 tons of MIC from tank 611 into a chemical called Sevin, at the rate of 3-4 tons daily. They commenced this operation on Sunday, December 16th, 1984 and ended six days later. This scientifically and technically validated operation carried out under the leadership of Dr Varadarajan saved what would definitely have led to a ‘Bhopal 2 tragedy'.

Unfortunately, not many know of this extraordinary contribution of Dr Varadarajan and today when Dr Varadarajan is not with us, it is time that we must remember his services to the nation during the Bhopal tragedy and pay our reverence to him for his stellar role in the “Operation Faith”, which saved many lives.

Dr Varadarajan is also known for his report on the impact of pollution on Taj Mahal. In the year 1973, the Government of India had announced setting up a 6 million tonne per year Petroleum Oil Refinery at Mathura, which was to be commissioned by Indian Oil Corporation, a public sector company. This decision had raised some apprehensions about the possible adverse effects of gaseous emission from the refinery on the white marble of the Taj Mahal and other historic monuments in the Agra-Mathura region. For addressing the pollution concerns, an expert committee was constituted by the Government of India to submit a report on the “Atmospheric environmental quality and presentation of Taj Mahal and Agra monuments.” This committee was headed by Dr Varadarajan. Varadarajan Committee conducted studies on the atmospheric air quality in the region and estimated the extent of release of various components in the gaseous emissions, which was a landmark report that helped Taj Mahal and other surrounding monuments from further deterioration from environmental problems.

Dr Srinivasan Varadarajan was born to Smt. Kanamma and Sri V Srinivasan on 31st March, 1928 in Bangalore. He was the eldest child and had two sisters - Kamla and Lalitha. His father was a well-established lawyer and so also his grandfather, who too was a lawyer and a friend of Rajagopalachari. Interestingly, Varadarajan did not go to school till age 8 and was taught by numerous people at home. His father was traveling extensively during those days and had no time for the young Varadarajan. However, precocious child that Varadarajan was, he made great progress in his academics, studying at home and managed to get admitted straight to the high school, which he completed successfully. Varadarajan then joined the college at the prestigious Loyola College in Madras (now Chennai). During those days pursuing Honours degree was considered to be prestigious and Dr Varadarajan wanted to try his hand at the BSC Honours in chemistry. The competition for the entrance to this course was intense. Varadarajan was able to successfully clear all the tests and made it to the Loyola College for his Chemistry Honours. He completed his BSc Honours in Chemistry from the college and obtained his degree from Madras University in 1948. The same year he also obtained a MA degree. For his MSc, he went to the Andhra University, Waltair (Vishakpatnam), where he worked with Prof Seshadri and successfully completed his MSc degree and from there he moved to Delhi along with his Professor Seshadri and completed his Doctorate and obtained a PhD in 1952.

Dr Varadarajan served at the Department of Chemistry as a research assistant between 1949-51 in Delhi, subsequently he worked as a Lecturer in Chemistry from 1951-53. While serving as lecturer in Chemistry, Dr Varadarajan managed to obtain an overseas fellowship of the Royal Commission for the 1851 exhibition, which was tenable for three years. This gave him an entry to the prestigious Cambridge University, UK. His travel grants to the UK were provided by the British Council. The fellowship was tenable for three years from 1953-56. He joined Cambridge in 1953 and was attached to Prof Sir Alexander Todd. He worked in the lab of Prof Todd at Cambridge. Prof Alexander Robertus Todd was a Scottish biochemist whose research on the structure and synthesis of nucleotides, nucleosides, and nucleotide coenzymes earned him the Nobel Prize for Chemistry in 1957. Dr Varadarajan was privileged to be a part of this research and jointly published a paper with Prof Todd on this subject. At the insistence of his guide and mentor. Prof Todd, Varadarajan reluctantly enrolled for another PhD degree at Cambridge, which he successfully completed and earned a PhD from Cambridge in 1956. While at Cambridge he worked in several areas of research with Prof Todd and DM Brown. His research areas included synthesis of nucleosides, nucleotides, structure of ribonucleic acid (RNA) phosphate linkage etc. it was during this period that Varadarajan also acquainted himself with the application of X-ray crystallography in the Laboratory of Sir Lawrence Bragg, who jointly with his father was awarded the Nobel Prize in Physics for their services in the analysis of crystal structure by means of X-rays.

His work at Cambridge earned him a Visiting Lecturer fellowship in Biology at the prestigious Massachusetts Institute of Technology, USA, during the period 1956-57. He then returned back to UK where he served as a Beit Memorial Fellow in Medical Research in Addenbrookes Hospital, Department of Radio therapeutics, University of Cambridge (1957-59). During this period, he also managed to obtain an ICI Post-Doctoral Fellowship and a Senior 1851 Exhibition Fellowship in 1957. During his stay in Cambridge he met his life partner Ms Lotikapurkayastha, whom he married and hosted a reception for his friends and those who attended his reception included Prof Shivaramkrishnan Chandrasekhar, known for his extraordinary contributions in Liquid Crystals and his widf Ila among others. Lotika Varadarajan, too was a great scholar, author, historian, international textile authority and an inspirational teacher. She passed away in October, 2017. Dr Varadarajan returned back to India in 1959 and joined the famous company, Hindustan Lever of the Unilever International Group, where he initiated his research work on consumer products.

His research work at Hindustan Lever led to transformation of non-edible oil and forest products to valuable industrial raw materials, such as detergents and perfumery goods. High Protein Efficiency Value Edible Nutrition Products were also formulated and provided to several million people in drought condition in Western India by HLL. Two of the products that he worked on and introduced at HLL into the market – Rin Detergent Soap and the Fair and Lovely Cream – have been the most successful fast moving consumer goods which continue to be recognised as a brand even today. Long after he left HLL, Dr Varadarajan continued to enjoy the same respect and status from the company. His research at HLL led to large volume production arising from the Indian scientific research, innovation and novel technologies, which yielded national economic output and social benefits not just to the company but also to the society. HLL company came to be recognised as a technology enterprise within the country and internationally. During 1959-74, Dr Varadarajan successfully Headed the Research and Technology group for the manufacture of new high value chemical products, while continuing his association with Unilever Research Internationally and contributing to National Science Policies in the country. Large number of Scientists from Indian research moved to high positions in General Management in Unilever in Western Europe, Asia and South America from 1975 providing for economic and social growth from science. He left HLL in 1974.

Dr Varadarajan by then had carved out a name for himself and was soon recognised by the Government of India, which offered him the position of Chairman of Public Sector Organizations such as Indian Petrochemical Corporation (IPCL) (1974-81). Petrofils Cooperative (1975-80), Engineers India Ltd (EIL) (1975-78; 1981-82), and Bridge and Roof Co. (1978-83). He brought about transformational changes in the public sector companies that he headed particularly IPCL and EIL. Incidentally the Bridge and Roof Public Sector Company, which Dr Varadarajan headed, was responsible for the construction of the Nehru Science Centre, Mumbai building and the National Science Centre building in Delhi. Dr Varadarajan’s presence as the GB Chairman of NCSM, under which NSCM and NSCD function, helped us immensely in the construction of the two buildings.  His efficient ways of handling the public sector companies helped him in getting an offer to work as the Secretary, DST, Government of India. He also served as the DG Council of Scientific Industrial Research (CSIR). It was during his association with the government, as the Secretary, that he was tasked with a mission of mitigating the Bhopal gas tragedy by the Cabinet Secretary. He also served as Vice Chairman, National Biotechnology Board, and Chief Consultant Planning Commission of India (1986-88).

Dr Varadarajan was very closely associated with the science museums in India. He served as the Chairman of the Governing Body of NCSM for two terms 1982-83 to 1989-90. It was during this period that NCSM took a trajectory of rapid expansion. Initially the museums - BITM, Kolkata and VITM, Bangalore – were part of CSIR and even the Nehru Science Centre, Mumbai began as part of CSIR until a separate autonomous council – NCSM – was formed to govern the science centres and museums in India in 1978. NCSM received momentum during the tenure of Dr Varadarajan as its Chairman. The NSC Mumbai was opened in November 1985 when Dr Varadarajan was the Chairman of GB NCSM. In 1985 a mega Festival of India (FOI) exhibition was planned and organised in USA. Dr Varadarajan visited one of the FOI sites in US. From just 2 museums under CSIR, the NCSM grew rapidly and today there are 25 science centres and museums that function under NCSM and close to another 40 science centres have been developed by NCSM on turn key basis and handed over to the state governments. The major impetus for the growth of science museums in India was given by Dr Varadarajan when he served as the Chairman of the GB of NCSM. Dr Varadarajan stood by Dr Saroj Ghose, the founder DG of NCSM, and guided and mentored him and connected him to the who’s who in the powers of corridor. It was Dr Varadarajan who was responsible for getting the prime plot of land in Pragati Maidan for the development of National Science Centre, Delhi.

NCSM started a national level science seminar (NSS) for the school students and the first NSS was organised in 1982 when Dr Varadarajan was the Chairman. The event was organised in Delhi and Dr Varadarajan elevated this event to the pinnacle, which is yet to be reached till today. He ensured that the national winner student of the NSS along with other participants from different states of India met the Honourable Prime Minister, Smt. Indira Gandhi and all the participants of NSS were taken to the Rashtrapti Bhavan where they met the then President of India, Gyani Jail Singh.  The NSS event organised by NCSM also caught the attention of NASA and the winner student was sponsored by JPL to visit different NASA facilities and this too was made possible courtesy Dr Varadarajan. NCSM has been conducting the NSS ever since but then only one other time the winners have been able to go abroad and the bench mark set by Dr Varadarajan and Dr Ghose in the very first seminar is yet to be reached. I vividly recollect Dr Varadarajan attending many national level science seminars in Delhi. Two of the accompanying photos are testimony to this fact.

Dr Saroj Ghose, the founding DG of NCSM and a visionary who has been majorly responsible for the success of NCSM has stated that Dr Varadarajan was his mentor and guide and that his service to NCSM will ever remain etched in the annals of its history. But then I have also faced some awkward moments in Delhi. Dr Ghose had retired from service and Dr Varadarajan was no longer our GB Chairman. Yet, as always, he used to attend many of the programs and inauguration at NSCD. I vividly remember one such event. Dr Varadarajan turned up for an inauguration event in Delhi in the year 1999 or 2000 and most embarrassingly we were questioned as to why he has come and that we should not bother for him since he is a “spent force”. Each time he attended a program in Delhi he mixed with us freely and spoke of his reminiscence and how he was able to get the land in Pragati Maidan for building the NSCD. I also vividly remember another incident – around 1993 or so. Dr Varadarajan was shifting his house and he had called up Mr Bhaumik the then Director of NSCD and volunteered to donate most of his books from his collections to the NSC Library. Mr Hariharan, the then SPO and Mr PC Bagchi, the SMO of NSCD were sent to the house of Dr Varadarajan to collect these books. I remember the wide variety of books, which he donated to NSCD some of which were very rare. The last time I met Dr Varadarajan was in 2008. That was when I was the Director of NSC Delhi and we had inaugurated an exhibition titled Our Body Guards – Human Immune System. One fine day Dr Varadarajan accompanied by some of his friends walked into the NSCD and Mr Ramdas Iyer and I had the honour to walk him through this exhibition. He was highly impressed with this exhibition and immediately called up Dr Vijayan who was then the president of the Indian National Science Academy, and asked him to visit this exhibition. Dr M Vijayan a well-known Molecular bio-physicist and structural biologist visited our exhibition the next day and we had the honour to walk him around the exhibition. Unfortunately, Dr Vijayan too passed away last month.

There is one other significant trait of Dr Varadarajan, which will remain etched with me. Whenever Dr Varadarajan visited our centre and when either a working lunch or dinner was organised for the guests, the first thing he ensured was that his driver is treated with the same lunch or dinner that he was being offered. This showed how he cared for his staff. No wonder he was a great leader and that these traits helped him in being an outstanding leader who could command the highest of respect from his colleagues.

Given the achievements of Dr Varadarajan, many national and international awards and recognitions were befittingly conferred on him. Dr Varadarajan was very closely associated with all the science and engineering academies in India. He served as the President of Indian National Science Academy (1996-98), Indian Academy of Sciences, Bangalore (1980-82), and Indian National Academy of Engineering (1992-95). He was also the President of the Oil Technologists Association of India (1984-86) and Treasurer Materials Research Society of India (1990-94). He was the Honorary Professor in Chemical Sciences, Technology and in Management in IIT Delhi. He was Member of International Committee of ICSU on Chemical Research Applied to World Needs (CHEMRAWN); the small India-Japan Eminent Persons Group of Governments and the INSA-Japan Science Advisory Council. He was elected Fellow of the Academy of Sciences for the Developing World (TWAS), National Academy of Sciences (India), Allahabad (Honorary Fellow), National Academy of Agricultural Sciences of India, Society of Engineers, All India Management Association, and Jawaharlal Nehru Centre for Advanced Scientific Research.

He was the recipient of the Padma Bhushan and also INSA CV Raman Medal. He also was awarded the INSA Medal for Promotion and Service to Science, Indian National Academy of Engineers Lifetime Contribution Award in Engineering, Life Time Science Award in Petroleum and also an Award in Biological Chemistry, Chemical Technology. 

After serving actively for nearly seven decades Dr Varadarajan died at the ripe age of 94 years on 11^th May, 2022 – National Technology Day. He has left behind a legacy of great achievement that must serve as a role model for many people. Most unfortunately, there was hardly any coverage of his death in any of the front-line national media. This has always been the case with most scientists in India, whose contributions have mostly been brushed under the carpet and so has it been in the case of Dr Varadarajan. 

Long Live Dr Varadarajan.

Images: Courtesy Indian Academy of Science ( IASc) Oral History Archive : S Varadarajan

Nehru Science Centre, Mumbai and National Science Centre, Delhi (Ramdas Iyer)

 Birth Anniversary Tribute to Dadasaheb Phalke - Father of Indian Cinema ( 30April 1870-16 Feb 1944) 

On this day in April, one hundred fifty two years ago - 30th April 1870- was born the father of Indian Cinema, Dhundiraj Govind Phalke (popularly called Dadasaheb Phalke), a man whose creativity, vision and passion for making moving images gave birth to the film industry in India, which has grown to become a multi billion dollar industry today. Dadasaheb Phalke, with the release of his first feature film in India ‘Raja Harishchandra’, which he painstakingly produced in 1913, not only became the Father of Indian Cinema, but also sowed the seeds for a deep-rooted connection between cinema and people of India and so also a cinema culture. This connection, including with the Indian expatriates  all across the globe, has only grown stronger with the passage of time. India  now holds  a unique distinction of producing the maximum number of films in the world in a year.

Cinema is one common connect, alongside cricket, which unites every one in India cutting across age, gender, states, region, religion, language and what have you.  Therefore, it is no wonder that the often used phrase, ‘Unity in Diversity’, which is used for portraying the vibrancy of the Indian Democracy, is exemplified in the common connect of Cinema and Cricket with all Indians. As a country, we are obsessed with cinema and treat cine stars and cricket players as demigods and consume most products that are endorsed by these stars. It is therefore apt that we pay our reverence to the father of Indian cinema, Dadasaheb Phalke, whose 152nd birth anniversary we are celebrating today and to the man who made cinema possible. 

It was on 3rd May 1913 that Dadasaheb Phalke released  his and  India’s first feature film, ‘Raja Harishchandra’, a silent movie in Bombay (now Mumbai). This film, based on the story of the righteous king - Harishchandra- who sacrifices everything to honour his promise, was screened at the Coronation cinema in Girgaum, Bombay. It was reported that a huge crowd had gathered to watch a ‘miracle’ become a reality and come alive in front of their eyes. The film was shot with a moving camera and was made with hand-driven machines, without any studio facilities and by inexperienced technicians and others in every department of filmmaking. Raja Harishchandra was a one-man contribution. The complexity in making this film by Dadasaheb Phalke is evidenced from one of the interview that Phalke gave, where he said ‘I had to teach acting, write the scenarios, do the photography and actual projection too. Nobody knew anything in India about the industry in 1912”, the year when he produced this film with lots of trials and tribulations. Phalke therefore is befittingly entitled to the epithet - Father of Indian Cinema. Interestingly he chose some interesting bylines to invite people to see his film. He wrote “Watch people move in the magic photographs! A picture two miles long! Only three annas!” This is how a magician named Dadasaheb Phalke invited people in the street to come and watch his first film. 

Phalke’s tryst with cinema began with his chance viewing of a silent classic French Film ‘The Life and Passion of Christ’, in 1911. This movie, produced by Ferdinand Zecca in 1903 under the French title ‘Vie et Passion du Christ, succinctly depicted the Biblical story of the birth, death and resurrection of lord Jesus. This film made a lasting impression on Phalke who from his childhood days was influenced by Indian epics and mythological stories of gods and goddesses and other mythological characters, which he had read from his childhood days. The story of Christ that the film portrayed motivated him to imagine portraying such stories of Indian epic gods and goddesses and other characters. He writes about this influence in one of his memoirs : “While The Life of Christ was rolling fast before my physical eyes, I was mentally visualizing the gods, Shri Krishna, Shri Ramachandra, their Gokul and Ayodhya…”. It is therefore no wonder that Phalkey was profoundly influenced by Indian epics, Puranas and mythological stories, which can be seen in his films that he produced later. From Raja Harishchandra to Phalke’s last and only talkie, Gangavataran (1937), most of his 95 plus films drew inspirations from the ancient Indian epic stories, the Puranas and from other Sanskrit literature. 

Although it is now well established and widely believed that Raja Harishchandra, produced by Phalke, was the first Indian feature film there is however some debate on this issue. Some people say that Shree Pundalik, was the first full feature film in India, which was produced by Dadasaheb Torne and was released  in 1912. However, it must be noted that Raja Harishchandra was truly the first indigenous film, which was acted, directed and produced’ by an all-Indian team. Where as Shree Pundalik, was a recorded stage play, which was filmed by a British cameraman and processed in London. Dadasaheb Phalke, in sync with the mood of the nation had proudly asserted, “My films are swadeshi in the sense that the capital, ownership, employees and the stories are all swadeshi.” Therefore, Raja Harishchandra must befittingly be considered as the first Indian cinema and Dadasaheb Phalke the founding father of Indian Cinema.

In the global historical context, the genesis for film making, however, traces its beginning to the development of a technology that resulted in the portrayal of the moving images, an idea which occurred to the genius inventor, Thomas Alva Edison. Edison describes the reason what made him to invent this new technology ‘peep show’ in his quote “The idea occurred to me that it would be possible to devise an instrument which should do for the eye what the phonograph does for the ear”. Ever since there have been constant technological developments in the world of cinema the premiership of which goes to the famous Lumiere Brothers, who were among the first film makers in history. Lumiere brothers patented an improved cinematograph, which in contrast to Thomas Edison's "peepshow" kinetoscope, allowed simultaneous viewing by multiple people. This was the beginning of the cinema, which started in 1895 in France. The Lumiere Brothers came to present their historic cinema in Bombay. On 7th of July 1896 they presented six of their films at the then famous Watson Hotel in Bombay.  This incident of the first film show in India has been immortalised through projection mapping exhibit in the National Museum of Indian Cinema, which I had the honour to be involved in its development alongside the team from NCSM. 

The turn key establishment of the National Museum of Indian Cinema (NMIC), an idea that was mooted some time in late 2009 by the Ministry of I&B in Delhi, when Mr Jawhar Sircar, was the Secretary of both Ministry of Culture and I&B and Ms Ambika Soni was the Cabinet Minister, was tasked to NCSM.  The aim was to develop a dedicated Cinema Museum and launch it in Mumbai in the Films Division premises during the centenary of the Indian Cinema (2013). Unfortunately, that did not happen. However, NCSM was able to develop the first phase of the Cinema museum which was housed in the Gulshan Mahal heritage precinct of Films Division. One of the most attractive feature of this exhibition is a diorama which depicts the scene from Raja Harishchandra and we have a sculpture of Dadasaheb Phalke and part of the Raja Harishchandra film, obtained from the National Archives, is presented in this exhibit. The NMIC in its entirety finally came to light with the magnificent inauguration of the Museum, by the Honourable Prime Minister, Shri Narendra Modi ji, on the 19th January 2019. The Honourable PM spent considerable amount of time visiting all the four exhibition halls in the new building and also the exhibition hall at the Gulshan Mahal. He spent time at the Dadasaheb Phalke exhibit. Yours truly along with couple of my other colleagues from CRTL Kolkata were privileged to witness the historic opening of the Museum in which NCSM has played a pivotal role in the curation and turn key development of the NMIC.

Dadasaheb Phalke was born on 30 April 1870 in Tryambakeshwar, a small town located at the foot of Brahamagiri hill, near Nashik, to an orthodox Marathi Chitpavan Brahmin family. His father, Daji Shastri Phalke was a well known Sankrit scholar. Trimbakeshwar is considered as one of the most sacred places in India and is home to one of the twelve jyotirling. Dadasaheb Phalke’s father was quite well known in the area as an accomplished scholar and therefore Dadasaheb Phalke developed his interest in literature, art and culture from his father. After his initial schooling, Dadasaheb Phalke (Dhundiraj Govind Phalke) moved to Bombay ( now Mumbai) and took his admission at the Sir J. J. School of Arts in 1895 from where he completed a one year course in drawing. He then moved to Kala Bhavan Baroda where he studied sculpture, painting, engineering, photography and drawing. Dadasaheb also had the distinction of working with the painting genius Raja Ravi Verma as an apprentice for some time when the latter was staying in Mumbai. Many students from JJ worked with Raja Ravi Verma during this period that included Dhundiraj Phalke. So influenced was Phalke by Ravi Verma’s paintings, that much like the painter brought to life the images of gods on his canvas, Phalke was determined to bring them alive on screen. Impressed with Dadasaheb Phalke it is said that Ravi Verma had gifted him a costly camera. 

Dadasaheb also tried his hand with the government service and in 1903, he joined the Archeological Survey of India as a draftsman and photographer. However, not satisfied with the job, Phalke resigned in 1906 and set up a printing press at Lonavala under the name of "Phalke Engraving and Printing Works" in partnership with  RG Bhandarkar. Here too luck eluded him and when his partner was changed, Dadasaheb gave up this profession as well. In the meanwhile he had travelled to Germany in connection with his printing press and it is here that he acquainted himself with films. The moment of his tryst with films came when he watched  the film The Life of Christ and the rest what they say is history, which started with Dadasaheb Phalke making his first film Raja Harishchandra in 1912 and it was shown to public at Coronation Cinema in Mumbai on 3 May 1913 for the first time. All the departments for making Raja Harishchandra were handled by Indians and there were no foreigners included. The success of his first movie gave Phalke the confidence of making many more movies. Dadasaheb Phalke made a total of 95 movies and 26 short films during his career spanning 19 years. Some of the other films produced by Phalke include Mohini Bhasmasur (1913), Savitri Satyavan (1914),

Lanka Dahan (1917), Shri Krishna janma (1918), Kaliya Mardan (1919)

Sairandari (1920), and Shakuntala (1920), Bandhan (1932) and Gangavataran (1937). 

He also was instrumental in establishing Hindustan Films, the first film company in India with support from some noted businessmen of Mumbai. The businessmen were taken into partnership so that the finances of the company did not suffer. Phalke created a model studio and also imparted training to various actors as well as technicians. Unfortunately, Hindustan Films studio did not last long. He was a visionary who foresaw the potential of the film medium and also made people realize its cultural and financial worth. Through his relentless commitment and earnest efforts, cinema has become an inevitable part of Indian culture in today’s world.

Dadasaheb Phalke retired and settled in Nashik, where he breathed his last on 16 February 1944. Unfortunately, the man who laid the foundation for film making in India including sowing the seeds for the gigantic film industry of ours spent his last few years in misery and died almost unnoticed far away from the industry in Nasik with hardly a handful of people attending his funeral…

Twenty five years after his death in 1969, the Government of India, befittingly  established ‘Dadasaheb Phalke Award’ to recognize his lifetime contributions to India cinema. This award continues to be recognised as one of the most prestigious awards in Indian cinema. The first Phalke Award was given to the actress Devika Rani.

Interestingly although biopic films are becoming an order of the day with many biopic films that have hit the screen since many years, it took a long time for some one to attempt making a biopic on the legendary Dadasaheb Phalkey. Fortunately Paresh Mokashi, made amends and in the year 2009, he directed a Marathi biopic film on Dadasaheb Phalke under the title ‘Harishchandrachi Factory’.

Long live the legacy of Dadasaheb Phalke.

Happy Birthday (24 April) Sachin Tendulkar - The God of Cricket

In the history of Indian Cricket, no one has had a fan following - more than a billion - larger than Sachin Tendulkar.  Sachin Tendulkar celebrates his 49th birthday today - 24 April 2022 - and on this occasion I am reminded of three Cricket Connects exhibitions ( South Africa, Australia and England), which I had the honour to be associated with as co curator for the South Africa exhibition and as Curator for Australia and England exhibitions. I fondly recollect how we presented Sachin Tendulkar in these three exhibitions, which were developed under the auspices of the cultural exchange program of the Ministry of Culture, between India and these three countries. I also fondly remember an exhibition, ‘Deconstructed Innings - A Tribute to Sachin Tendulkar’, which I had the honour to host at the NGMA Mumbai, when I was the Director of NGMA Mumbai. This exhibition presented an artistically deconstructed innings of Sachin Tendulkar.  Ten eminent artists were chosen by the organisers to interact with Sachin Tendulkar to create art installations in different medium to present a deconstructed innings of the legend, using the language of art and its creativity.

Cricket Fans, not just in India but all across the globe, keep the spirit of Sachin alive long after he has laid his bat to rest. He has connected Indians to cricket and to his own play more than anyone else in the history of this game, which unites all Indians. His performance used to be the reason for whole country's happiness or sadness. Harsha Bhogle, an erudite and highly respected commentator, once said "India sleeps well when Sachin plays well”. The crazy and unsportsmanly attitude of the crowd at the Eden Garden during the semi-final world cup match against Sri Lanka after Sachin was out stands testimony to the dependence of the cricket fans on Sachin.

For the ‘Cricket Connects - India Australia’ exhibition, which was presented at the Sydney Cricket Ground, Australia, I had chosen a common connect that the two countries share in cricket - Hero Worship. Australia idolizes and worships Sir Don Bradman - whose achievements remain unparalleled and near impossible - as their hero. Sachin Tendulkar, who himself is a hero worshipper of the legendary Don, is similarly idolised and hero worshipped by Indians all across the globe. This section was covered under the heading ‘ The God (Sachin Tendulkar) and the Gods God ( Don Bradman)’.  In the 1930's, with the country in deep economic depression and still grieving for the thousands killed in World War I, Bradman's achievements were a cause for Australian National pride. The spirit of the Don is evidenced from a statement by the former Prime Minister of Australia, John

Howard, a cricket lover, who, during his visit to Sir Donald a few days before his death, said ''He had a great impact on Australian life, especially during the desperate years of the Depression. His prowess on the cricket field lifted the hopes and spirits of the people, who at times felt they had little else.''

 

The Nobel Laureate, Nelson Mandela, also the recipient of the Bharat Ratna, the highest civilian honour of India, was an avid follower of the Bradman. One of Mandela’s first questions to the former Australian Prime Minister, Malcolm Fraser, when Fraser met him in Cape Town’s Polls Moor Prison in 1986, was, “Tell me, Mr Fraser is Donald Bradman still alive?” Such was the charm and following of Bradman all across the globe. Four years later, when Mandela was released from the prison, Fraser handed over Don’s signed bat for Mandela, which read “To Nelson Mandela in recognition of a great unfinished innings – Don Bradman".

Sachin Tendulkar is to India what Bradman has been to Australia. Sachin has carried the hopes and aspirations of one billion plus Indian cricket fans for all of 23 long years that he played the game. Sachin’s unparallel achievements and his simplicity and humility have aided his cricket fans to placing him on a God’s pedestal. This was evidenced in one of the beautiful art installations which was featured in the exhibition at NGMA Mumbai. Sachin’s fan following and his reverential position was mirrored in the painting titled “Arrival of a Cricket God” by Manjunath Kamath. This work formed a part of an exhibition “Deconstructed Innings: A tribute to Sachin Tendulkar” that was exhibited at the premier art institute of the country the National Gallery of Modern Art (NGMA), Mumbai. The artist essays the birth of Sachin to be an auspicious occasion where little Sachin is blessed by the mythical godly figures. The artist draws his inspiration from Indian Calendar Art, popular culture, and epics to celebrate the legendary stature of Sachin Tendulkar and presents a visual imagery, which includes metaphoric mythical elements that is juxtaposed with the childhood image of Sachin’s arrival at the centre. There is also a book titled “If Cricket is Religion, Sachin is God” written by Vijay Santhanam and S B Subramanyam, which also juxtaposes the position of Cricket and Sachin for Indians.

When was Sachin played for India, more often than not, India’s chances for success rested on his shoulders. Entire stadium erupted at the very sight of seeing the little master walk out to the wicket from the pavilion and the very crowd entered into a deadly silence, and often emptying the stands, when the bowler got the better of Sachin. Sachin was born in Mumbai, on 24April, 1973 in Dadar. Shivaji Park where the last rites of Lata Mangeshkar - one of the who’s who of India who were the fans of Sachin Tendulkar - were performed was also the place where Sachin played cricket. The city of Mumbai and so also Dadar has a very rich cricket history. In another art work titled “The City of Dreams” exhibited at NGMA,  Artist – Remen Chopra, presented a sculptural representation of Sachin’s Cricket career, in a skyline of his city of dreams - Mumbai - that is symbolic of his unprecedented achievements on the field.

Many of Sachin’s fans have come dangerously close to believing that Tendulkar is/was God. Certainly much of Tendulkar’s batting seemed like a gift from above. But the impression short-changes him for no one worked harder to hone his natural talent. Sachin, who is a devout Hindu, does not like the comparison to God. In one of his recent interaction with his adoring fans he said that he "is not a god as he makes mistakes and gods do not", but that had little impact on many of his fans. Every 'God' has his share of non-believers. The great Sachin too had some. Some critics started writing his epithet when he was past 35. He bounced back and proved his critics - who

had coined a new phrase ‘End’ulkar, to signal the end of Tendulkar, wrong. At the age of 37, he had his most fertile year (2010); scoring more than 1500 Test runs in a year and also achieved a feat not witnessed until that point of time in cricketing history, a double century in an ODI.

Among his innumerable fans, one man, Mr Sudhir Chaudhary, from Odisha is conspicuous. He used to be seen with his whole body painted with the colours of the national flag and at the bottom were the three golden words: 'the god of cricket'. Like a true disciple, he has followed Tendulkar wherever he went.  Likewise there are several other diehard fans of Sachin who are equally passionate about their idol, including one Mr.Manu Singh, from Australia, Pavan Kumar from Hyderabad and Hasnain Masood from UAE, who continue to keep the spirit of Sachin alive. The exhibition “Deconstructed Innings” at the NGMA is an outcome of the reverence that Indians have

for their idol.

Sachin’s great deeds were foretold when he was still a boy, the lofty predictions scarcely allowing for sport’s inherent caprice. And incredibly, beginning with the debut series in 1989, the legend has fulfilled all but the wildest of predictions. The pressure to succeed every single time, the claustrophobia that comes with every little action being scrutinised can

scarcely be conceived. And yet Tendulkar wore it with lightness and dignity, making brilliance a commonplace and unremarkable.

Sachin has been bestowed with innumerable recognition honours and awards including the coveted Bharat Ratna, which he received in February 2014. Alongside all his accolades Sachin Tendulkar has preserved his treasured honour, which comprises a set of thirteen coins he earned from his coach – Ramakant Achrekar. These special coins were depicted in a art work titled “Treasure Box” by Trilochan Anand, in the NGMA Mumbai exhibition.

At the World Cups, Sachin was more prolific than anywhere else. His total tally at the World Cups (2278 Runs) is 30.6% greater than his closest and arch rival Ricky Ponting (1743 runs). And if you think he has played more, he has played 1 match less than Ponting in WCs. Sachin has to his credit 6 centuries and 21 half tons in World Cup. Sachin’s achievements can best be summarised in the words of Ponting who wrote in his forward for a book titled Tendulkar in Wisden: An Anthology, “For me, he's the greatest batsman after Don Bradman. While I hold Brian Lara in high regard, because of his match winning ability, I don't think any batsman can achieve more out of the game than Sachin has".

Sachin also has to his credit an unprecedented record of scoring 100 hundreds in international matches. He has played in a record 200 Tests and he continues to be the highest scorer in both Tests and ODI. He also ho,da several other records, which are hard to conquer. Sachin however had to wait for a long time to get to his 100th hundred. He says “When I got to my 100th international century, I was not jumping or celebrating. My first question to God was why did it take so long? What did I do wrong? With a billion plus people waiting for this, it shouldn’t have taken so long”.

Sachin played 664 international matches in 24 years. It means around 27.67 matches per year and still maintained an average of approximately 44 and 54 in ODIs and Tests respectively. Although Sachin’s average is less than Bradman’s, the matches that Sachin Tendulkar played are way higher and so also the pressure and fan expectations under which he played the games. His consistency, keeping in mind his longevity in the game, the varying opponents and conditions, is probably the best at the international stage.

 

Cricket is said to be a game dominated by the batsmen. Although the argument is debatable, it seems more than partially true to the naked eye. Our human mind is programmed to relate and picturise events, ideas, objects and persons. So whenever the word 'batsman' pops up, we either relate to Sachin Tendulkar or Sir Donald Bradman.

 

Cricket to Sachin was not just a game but a 'word of God’. He is the reason cricket has become like a religion in India and every child in the 90s was born with an innate passion for cricket. Today as Sachin celebrates his 49th birthday here is wishing him a very happy birthday. May you continue up to inspire millions and may you co to use to be remembered.