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BY SANTI VARDHANA CAITANYA DASA
PHOTOS BY MULAKARANAM DASA
UPDATES FROM KUALA LUMPUR
6/2/2013 1.26pm
HH Bhakti Vrajendranandana Swami has unfortunately contracted shingles.
The Doctors at Mawar Specialist Hospital are at loss what to do because it would
need a strong dosage of antiviral drugs to counteract the resistant bacterias of the shingles.
They are afraid it would worsen the liver sclerosis.
They are already giving the antiviral drugs. However they are concerned about the liver sclerosis.
Therefore, they had advised that we use traditional medicines or even prayers simultaneously.
Today Maharaja went to Mahkota Hospital in Malacca for liver check up and met
a liver specialist. According to the liver specialist, Maharaja's liver is 10% damaged due to auto immune hepatitis. Auto immune hepatitis is a form of immune disorder whereby the body's own immune cells attacks the liver cells. This progressively damages the liver daily and the doctors have to prescribe immuno-suppressant drugs in order to suppress the immune cells from attacking the liver cells.
Unfortunately, by doing so, it would lower the immune system of Maharaja's body. Any form of sickness could create damage to Maharaja's health. The liver specialist has confirmed that without administering this drug the liver would be completely damaged within a year.
Therefore, the Doctors are looking from all angles to see what is best for Maharaja to recover from all these complications.
We humbly request all devotee to please increase your prayers and hold kirtans in your respective temple for Maharaja's health.
BY SIMHESVARA DASA
18/1/2013 2.44pm
18/1/2013 2pm
The two hour angioplasty operation was successful.
The major block was cleared and Doctors placed a stend
and few other blocks were also cleared.
Maharaja is conscious and responding well to devotees.
He will be monitored for next six hours and will rest at
Mahkota Specialist Hospital Malacca. Tomorrow, HH will be
transferred back to Mawar Specialist Seremban to continue
medication for liver sclerosis.
17/1/2013 9pm HH Bhakti Vrajendranandana Swami Maharaja will be taken to Mahkota Hospital in Malacca tomorrow morning at 7am for angioplasty operation.
17/1/2013 5.51pm
HH Bhakti Vrajendranandana Swami Maharaja had a massive heart attack at 4 PM. His condition is critical now. Simheswara Prabhu has to decide whether to bring Maharaja to the Temple or send Maharaja for the Angioplasty operation.
BY SIMHESVARA DASA
17/1/2013 1.11pm
I had just visited HH Bhakti Vrajendranandana Swami Maharaja. Maharaja is better now. HH is speaking and breathing is with a bit of problem. Dry cough. Plan is to do angioplasty on one or more blocks.
In the collection that is Classic ISKCON Records, there have been a lot of strange practices that went into making these records. From incredibly shoddy recording to bizarre disorganization, it’s been very difficult to figure out not only what was released, but who released it and when.
The Mayapur LP covers all of these bases. And though it’s far from the most disorganized release, this one has me absolutely confused.
By all looks, this is an album that contains a live recording of a Hare Krishna Festival. That festival probably took place in Mayapur. The word “Mayapur” is on the front cover, and on the back there’s a blurb in four different languages that talks about the Mayapur festival. It explains that nobody in this recording was a professional musician.
The label of the record itself gives us a little more information, stating: “Live recordings of a Hare Krishna Festival.” Side one is simply entitled “Part I,” while side two is labeled as “Part II.”
So it seems pretty straight forward. Someone took a microphone and a tape recorder to the Mayapur festival, made some field recordings, maybe touched them up a bit, and then cut a record.
But that’s not actually what’s on the record. The recordings are three tracks of Srila Prabhupada. Two are definitely from the studio, while the last one could be live (or it could simply be in a bigger studio with more devotees).
Getting back to the confusion, I have no absolute idea which record label released this. The record definitely comes from Germany, and in Germany there were two ISKCON-based record labels. One was called Hare Krsna Records, which mostly released recordings made by Hansadutta das. The other was called Radha Krsna Productions, and it mostly released music by Acyutananda das. That said, both labels were somehow related and released at least one identical record (the Hare Krishna Festival, which I’ll reconvert soon, I promise).
The blurb on the back cover alludes to Hare Krsna Records. The center paper label makes no claim to either organization. However, the etching on the runout groove of the vinyl (called the matrix) is: RKP-1006. If true (and I believe it is – mostly because I have to believe in something), that would make this Radha Krsna Productions’ sixth record – and probably their last.
The Music
Side A
1) Hare Krishna MantraSide B
1) Sri-Sri Gurv-astakam
2) Jaya Radha Madhava
The first song, which takes up all of the first side, is the same recording featured on the first Krishna Consciousness record, released by Happening Records in 1966 (which I will get to soon enough). This was the only other time (as far as I can tell) that it appeared on vinyl. The second side contains two songs, the first of which is a fairly famous version of “Sri Sri Guru-astaka.” Both of these songs appear on the Hare Krishna Classics & Originals CD released in the 90s.
The last song is “Jaya Radha Madhava,” but it’s no version I’ve heard anywhere before. It’s not any of the BBT CDs, nor on any of the “Vintage Series” CDs. It’s also not been released on any other vinyl records as far as I can tell. This is a very sweet version with a full congregation of devotees chanting along.
You can listen to samples below:
Wild Speculation
As with most of the Classic ISKCON Records, we’re left with zero details about the recording, pressing and distribution of this release. In actuality, none of it makes any sense. Here’s both a record cover and label that appear to contain recordings of the Mayapur Festival. Yet, when you drop the needle, you’re blessed with Srila Prabhupada instead. How this came about is anyone’s guess.
My speculation is this: The devotees, perhaps in 1976 or so, decided that it would be nice to release a record of field recordings from the Mayapur Festival. Thinking that nothing could possibly go wrong, they threw together an album cover, got a bunch of labels printed and then went to record the festival. Along the way, somehow something went horribly wrong. Maybe the devotee tasked with pushing the [REC] button spaced out. Maybe it was recorded, but somebody misplaced the tapes (ie, “spaced them out”). Maybe the sound quality was so horrible that it was rendered unlistenable. Whatever the reason, the music they wanted to appear on this record wasn’t available.
So rather than trash a thousand (or more? less? who knows!) covers and labels, they decided to fill it with Srila Prabhupada. Listening to it, I can tell that they must have had the master tapes (or a good copy thereof) in their possession. The first song sounds great, especially considering it’s the oldest of the bunch. The second and third sound even better. With these in hand, they then sent thirty-three minutes of mono music to the pressing plant. And what we have now is a Srila Prabhupada album, half of which had been already released, in a record cover claiming that it was a stereo recordings of the Mayapur Festival. Surprise!
The Archival Process
This was one of the easier records to work on. My copy of it is VG+ on the Goldmine Scale, and while it’s got its fair share of pops and clicks, it sounds pretty good. You’ve got to understand that I’m archiving, not restoring. The difference is that while I am doing my best to fix the many, many tiny pops and clicks, it’s simply not possible to fix them all. While I can assure you that this particular record has never sounded better, I also have to remind you that it has been sourced from a 35 year old chunk of vinyl that has gone through the hands of who knows how many people (apparently including someone named Werner Wilde who thought it a good idea to put address stickers on his records). You will still hear some pops and clicks. The only way to really avoid that is to acquire the master tapes and do a full restoration.
I have archived this record in both lossless FLAC (level 8) and as high quality MP3s (320kbps). For most, the MP3s will do just fine.
Just click on the button and it’ll take you to a page where you can download the zip file. Then open the zip file with WinZip (or whatever program you use to open zip files). Add to your MP3 library or burn it to a CD-R. Easy as pie!
Technical Information:
Media Used:
Vinyl LP from my personal collection.
Audio Equipment Used:
Turntable: Pro-Ject Debut Carbon w/ acrylic platter and Speedbox II
Cartridge: Ortofon 2M Red
Preamp: Bellari VP-130 w/ Sovtek 12AX7LPS Vacuum Tube
Soundcard: Roland Edirol UA-1EX USB external soundcard
Software Used:
Audacity 2.0.1 on Linux Mint 14 (recorded at 24bit/96kHz)
Gnome Wave Cleaner 0.21-17 (click/pop removal)
Gnac 0.2.4 (to convert file to 16 bit FLAC level 8 and 320kbps MP3)
Artwork:
Scanned at 300dpi with Epson v500 Scanner
Edited and Restored Using GIMP Image Editor 2.8.2
The Oxford Centre for Hindu Studies, in partnership with the Alliance of Religions and Conservation, is addressing the need for custodianship of pilgrim sites within India. They have begun the Bhumi Project, an endeavor aimed to create awareness regarding the effects of pilgrimage on the environments of holy refuges. In November, I attended a conference on this subject as the representative of the Temple of the Vedic Planetarium. Many pilgrimage towns were represented for a weekend of discussions centering on planning the environmental sustainability of these revered sanctums.
Spiritual havens in India attract millions of visitors each year as they offer their obeisances to treasured deities and honor sites of worship. Grand festivals glorifying significant gods are auspicious milestones in the calendars of many. Attendance is welcomed and the festivities abound with joy.
However, while each step of a parikrama and each esteemed celebration are invaluable tributes, the aftermath of such glorification remains the responsibility of the local communities. Considerations such as green energy, trash disposal and recycling are among the many topics needing attention to ensure that the environmental impact on these respected places of homage is contained.
Since the Temple of the Vedic Planetarium will be a prominent feature in Mayapur and the surrounding areas, the management and planning officials of the project have assumed the responsibility of stewards of the local communities. Several progressive technologies will be employed in the new temple, the most exciting being one which will harness the natural power of Mother Ganga. Called a hydrokinetic turbine, the system is simple technology and easy to build. It has a proven history of successful installations worldwide on slow running rivers and canals. An area of the Ganga has been found which is deep enough and has enough speed to accommodate the needs of this small device. The turbine will float like a boat in the river and a single installation will produce approximately 75 kilowatts per hour. This translates into producing nearly half of Mayapur’s daily 4000 kilowatt consumption in 24 hours. Additionally, the hydrokinetic turbine is safe for the aquatic life and natural habitat in the river due to its slow rpm, open structure and silent operating.
Building a spiritual city is a huge undertaking requiring the dedication and forethought of many. The directors of the ToVP recognize the duties of their positions and work tirelessly to commemorate the sanctity of Mayapur in thought, word and deed.
For more information on the Bhumi Project, please visit bhumiproject.org.
As I’m getting ready to pitch into Side Two of the Mayapur LP, I’ve also decided to start a Facebook Page for Sit Properly.
Rather than updating this blog every time I have something to say, I’ll post it on Facebook. This will keep you good people in the loop as to how the digitization of each Classic ISKCON Record is coming along.
Take a gander to your right and you’ll see the Facebook Like Box. Click it and it’ll take you to our page.
This will cut down on the frivolous and random posts on the blog, allowing the music to be the focus. And that’s the point.
Haribol!
Eric
Want to get a break from the city? Smell some fresh air?
Come join us a for a fun weekend escape outside, put your feet on the grass, get your hands in the soil, walk in fresh native bush, eat mesmerising food, try kirtan, try yoga, surround yourself with good as people.
Flick us an email if you’re interesting in coming to the next weekend!
Start the weekend at midday with lunch and a welcome from the Atma Staff. Free time until the evening, waiting for late arrivals and then yoga at 6:00 followed by dinner. The evening concludes with a circle of song.
Open the mind with early morning meditation, followed by a sunrise yoga class. Breakfast is a time to connect with your fellow yogis and continue your morning getting acquainted. A walk in the rainforest will highlight your day. Lunch is followed by the workshop: “Diet: eating for optimum physical health and mental happiness”. After dinner we’ll finish the evening with music and heart songs.
Rise and shine with meditation, yoga, followed by brunch, before a leisurely return to the city.
Atma Yoga is an urban human community; a spiritual sanctuary in Brisbane’s commercial heart.
“Be the change you want to see in the world” – Gandhi
Our mission is to become the change we wish to see in the world, and serve others to help them do the same.
Yoga is a process of transformation. Living a yogic life and beginning that transformation is not easy, especially in today’s age. Without the support and encouragement of fellow travelers on the path, becoming a perfected yogi is a difficult and daunting task. But through collective spiritual endeavor, we make it easy.
Teachers
Param Satya
While I’m waiting for the last piece of equipment to arrive (the Sovtek 12AX7LPS Vacuum Tube), I thought I’d give a rundown of the hardware that I’ll be using this time around compared to what I used before. This is really of no interest to anyone aside from the geekily curious.
First, let’s start with the heart of it all – the turntable. I’ve upgraded to the Pro-Ject Debut Carbon, a belt-driven, quiet deck with a one-piece carbon fiber tonearm. When I first started this project in 2007, I had a portable plastic picnic player. It was nice to have turntable again, but sound quality wasn’t exactly its top priority.
I then wandered into an Audio Technica LP-120, which is a knock off of the much more famous Technics 1200. You’ll recognize these iconic tables as the “wheels of steel” used by every DJ ever. While it was a step in the right direction, and I made certain tweaks to it to better the sound quality, it simply was a DJ table through and through. The Pro-Ject is infinitely better for my purposes.
I’ve also changed the phono preamp, a necessary component for getting any sound of your table. Each preamp is different and some sound great, while others are barely passable. What I had before was a very budget-minded preamp that actually performed pretty well. What I have now, the Bellari VP130 Tube Preamp, sounds amazing. I love a warm sound when it comes to vinyl, and the Bellari is smooth and comforting even with the stock tube. The Sovtek 12AX7LPS should make it even more so.
But that’s not all I changed. For instance, I swapped out the metal platter on the Pro-Ject with an acrylic one. This does away with the felt mat and thus the static produced. This means less pops and clicks (many pops/clicks are produced not by scratches in the vinyl, but by static).
I also added a device called the Speedbox II. One of the issues with belt drive turntables is their inability to play at constant speeds (when compared to direct drive tables). Most folks would never notice this. But for my purposes, the less pitch shifting that occurs, the better. Plus, though I don’t have perfect pitch, I could hear a bit of warbling on held out, steady notes. It simply provides a more accurate speed and sound. It also slows the motor down, and that cuts down on motor noise. Other things like better cables and stylus are new, as well.
What all this means is that before the sound even gets to the computer, it will be much cleaner and more accurate than before.
The computer’s job is then to translate the music to digital without changing the sound. This is, of course, impossible, but I want it to be as close t perfect as I can get. For that, I’ll be recording at 24bits with a sampling rate of 96kHz. This is much, much higher quality than a CD (16/44.1), but allows tons of room for editing out pops and clicks. Let’s face it, the records I’m converting here are not pristine.
I’ll then convert the files down to 16bit FLACs and 320k MP3s (both resampled to 44.1kHz so they can be played in regular MP3 players, too). The FLACs will be for people who are okay with big files (and want to burn CDs) and will indeed sound better than the MP3s, which are much smaller, but will still sound pretty darn good.
Basically, I’m going to start with a huge audio file that gives me room to edit out to stuff that shouldn’t be there so that when it gets to you, the listener, it sounds amazing.
What’s really fun about this is that it will all be done on a Linux operating system (LinuxMint)! For a complete run down of the tools and equipment I’ll be using, see below.
Technical Information:
Audio Equipment Used:
Turntable: Pro-Ject Debut Carbon w/ acrylic platter and Speedbox II
Cartridge: Ortofon 2M Red
Preamp: Bellari VP-130 w/ Sovtek 12AX7LPS Vacuum Tube
Soundcard: Roland Edirol UA-1EX USB external soundcard
Software Used:
Audacity 2.0.1 on Linux Mint 14 (recorded at 24bit/96kHz)
Gnome Wave Cleaner 0.21-17 (click/pop removal)
Gnac 0.2.4 (to convert file to 16 bit FLAC level 8 and 320kbps MP3)
Mirror, mirror on the wall, tell me how I'm special, among them all. Innocent, guilty, or somewhere between? Privately, introspective spiritual persons often interrogate themselves about their honest-to-goodness (or honest-to badness) genuine worth. It's good to face the truth and swallow hard: harbouring material desire is not innocent, normal,or even acceptable—that is, when considered from the viewpoint of the real world, Krishna's perspective.
Ouch! Who wants to be known as damaged goods—deformed, misshapen, even perverted.
Gradually, as we spiritually advance in bhakti, we shed the illusory cloak that confers an imagined respectability upon our foolish temporary desires and pursuits for temporary gain. We realize that somehow we have to squeeze into one of two cubby-holes: straightaway embracing the full standard for sane life or determinedly developing toward that normal standard of spiritual sanity.
Though overnight enlightenment hasn't happened to us, yet we certainly can be progressive and proactive about our spiritual growth. What hurts us most is when we seek to justify or rationalize the material desires that we allow to corrupt us—you know, the maya nonsense that has deviated us from our original constitutional position.
The guiding principle of bhakti in this Age of Quarrel is both magnanimously liberal and therapeutically prescriptive: "The Krishna consciousness movement is meant to attract all types of men, even those who desire things other than the Lord’s devotional service. Through the association of devotees, they gradually begin to render devotional service." (Cc. Madhya 24:124 purport)
As I’ve been getting ready to start up again, I’ve been trying to figure out which albums to convert first. I’m going to start with the album entitled simply: Mayapur. It was the sixth release by Radha Krishna Productions, though their name doesn’t appear anywhere on the cover or label. Oddly, only “Hare Krishna Records” is mentioned. This is the only Classic ISKCON record that I’ve never converted before.
The label claims that it is a live recording of a Hare Krishna festival, but it absolutely is not. It’s actually three recordings of Srila Prabhupada in the studio. You’ve definitely heard one of the songs before. Probably two. But the third seems to be something that has never been released digitally at all. In fact, I’ve only ever heard it here. That’s exciting!
I’ll then start with the selections that I had first done in 2007. I’ll probably kick that off with Krishna Consciousness by Srila Prabhupada. This was the first ISKCON record ever released. I have it posted, of course, but the MP3s are in a very low quality and no lossless FLAC files exist for it.
From there, I’ll probably head to the double LP called The Beautiful Hare Krsna People, released by Radha Krishna Productions out of Germany. The history of this one is weird and varied, clouded in a Tolkien-like mystery that makes absolutely no sense whatsoever. Due to the freakish practice of reissuing the same music under various labels and titles, converting this LP will take care of several other releases.
After that will come one of the many, many records inexplicably titled Hare Krsna Festival. This one was released by both Radha Krishna Productions (RKP-1004) and Hare Krishna Records (HKR-1003).
I’ve also been looking for a better copy of Acyutananda Swami’s Songs of the Bengali Vaisnavas, also entitled Lieder Der Bengali Vaisnavas, and most commonly known as India, since that’s the only word appearing on the front cover. My copy, the probable second pressing, sounds horrible. You can read all about it here. I’m currently looking for a clean first pressing.
This is proving very difficult. I’ve found ten record sellers (mostly in Germany) who quite possibly have the first edition. I emailed all of them, asking three specific questions to determine if they have the version I’m looking for.
First, I asked which cover was used. Was it the one with the “cut out” or was it the one without? Second, I asked if the text on the back was in German or English. Third, I asked if the labels were yellow or had a picture on them.
After four days, only two have responded. The first gave me a straight answer, telling me exactly which version they had (sadly, it wasn’t the version I was looking for). The second just said “I’m sorry. No.” Which makes no sense at all, since I wasn’t asking any yes or no questions. The remaining eight have been silent, which is a huge bummer since I’m pretty sure at least two of them have the exact version I’m looking for.
So anyway, I’ll keep everyone updated on the progress.
As it stands now, here is the schedule (with absolutely no promises of a time frame):
-Mayapur
-Krishna Consciousness by Srila Prabhupada
-The Beautiful Hare Krsna People Double LP
-Hare Krishna Festival (RKP-1004/HKR-1003)
-Songs of the Bengali Vaisnavas by Acyutananda Swami (if I find a first pressing)
From there, I’ll move on through the rest of my collection, which can be viewed here. I’m still unsure whether or not I’ll be converting the George Harrison-produced Apple Records since they’re readily available on CD. They are definitely my lowest priority at this point.
And for those who might ask if I’ll be converting a specific record from the 80s, the answer (which is probably “no”) and its explanation can be found here.
When all the vinyl is finished, I will start in on the cassettes! So basically, sometime in 2016.
It’s been nearly two years since I’ve done anything with this site. I had been in the middle of reconverting all of the Classic ISKCON Records from vinyl to digital. The older files (done in 2007) sounded fairly bad. The newer ones (from 2011) sound quite a bit better, but still don’t sound as good as I’d like them.
Recently, I’ve upgraded my equipment and will soon be going back through all of the Classic ISKCON Records and bringing them all up to the sound quality they deserve. They’ll be available in both high bitrate MP3 as well as lossless FLAC files.
That said, everything that I’ve ever converted from vinyl to digital is still available here. When I convert a new version, I’ll post it here and update the links, etc.
As for the Classic ISKCON Tapes, I would really like to update them as well. The problem is that I no longer have a tape deck. That will hopefully soon be remedied. No promises on the time frame though.
For now, I’ve got a record or two that I’ve never posted. They’ll be the first that I do and will become the template of everything I do from here on out.
If you are aware of any ISKCON records or tapes (recorded/released before 1979) that I don’t have, please let me know. I’d love to complete my collection and offer them to the assembled devotees.
Haribol!
-Eric
The first question often asked about the Bhagavad-gita is why was it spoken on a battlefield? Despite a common view that religion is a major cause of war, in most people’s minds the two should remain separate. Religion or spirituality should result in peace not conflict. If one’s spiritual practises bring about the bloodthirsty desire to eliminate the followers of some other faith then they must be suspect. That would surely seem to make sense.
Nevertheless the Gita did arise from a war, the great Battle of Kurukshetra. Not only that, but its final message to Arjuna—a mighty warrior who had suddenly veered towards pacifism—was to give up his “petty weakness of heart” and sally forth to slay his enemies in battle. How then is it a religious text?
Perhaps we should begin by defining religion. Dictionaries usually describe it as a system of belief in some supernatural power. That is where the conflicts tend to arise. My beliefs may well be different to yours, and human nature is such that we identify with these to the point where we create divisions based upon them. Hence we have many religious communities going under different names—Christian, Jewish, Muslim, Hindu, etc. In most people’s minds this is what is meant by religion, all these various designations. The Gita however gives a broader definition.
In Sanskrit, the language of the Gita, the word for religion is dharma. This translates more accurately as the essential nature of a thing. In the case of a person this nature is to serve. We are always serving someone or something, be it our boss, family members, country, or maybe just our dog. We cannot avoid service. Even if we have no one to serve we will still serve our own mind and senses, which constantly demand satisfaction in one way or another. We cannot sit peacefully for very long before one bodily demand or another impinges upon us and we have to act to satisfy it.
Vedic wisdom tells us that this service propensity is actually meant for God. This is real religion, the dharma of the soul. No doubt the adherents of all the above named faiths and most others will concur with this, despite their external differences. Whatever our practises the ultimate aim must be to know and love God, to unite with him and serve him eternally. When we serve anything other than God we are never satisfied; we constantly search for the lasting fulfilment that no amount of sensual pleasure or material relationships can provide. As Augustine said, “Our hearts are restless till they rest in Thee.”
This is the message propounded by the Gita. It speaks of all beings as eternal parts of God having an unbreakable loving relationship with him. Arjuna’s dilemma as a warrior who was not inclined to fight was only the external context for a far deeper message than just getting him to take up his weapons. That message is encapsulated in the Gita’s key verse in the ninth chapter, where Krishna says, “Always think of me, offer me your respects, worship me and become my devotee. Surely then will you come to me.” This is the essence of all religion and it was what Arjuna had forgotten. He was thinking he had so many other duties which had all begun to seem onerous, conflicting and ultimately impossible. He got to the point where he did not know which way to turn or what to do. Krishna’s response was simple; just do what I want and you will be peaceful and happy.
As it happened at that time Krishna wanted Arjuna to fight. After all, sometimes fighting and violence are required when there are disturbing elements in society. We need the forces of law and order, which was Arjuna’s duty, but that’s not the real point. The ultimate message of the Gita is not about fighting or any other specific kind of work. It is about surrendering to God, acting only for his pleasure, recognising that this is truly in our own and everyone else’s best interests. When Arjuna understood this point his dilemma was over and he became peaceful. “My illusion is gone,” he told Krishna. “I am now free of duality and prepared to do whatever you ask.” And as Krishna asked him to fight that very fighting became a pure spiritual activity that led Arjuna to the highest point of self-realisation.
All of us are like Arjuna in so many ways. We stand on the battlefield of life faced with all kinds of challenges which often seem overwhelming. Sometimes we too don’t know which way to turn but the message of the Gita is also there for us. “Turn to me,” says Krishna. “I will always protect you and in the end bring you back to me.” That is the fight facing us all, turning from illusion towards Krishna, but with his help we like Arjuna will surely emerge victorious.
A curious confection: The British ‘Stick of Rock’ is made entirely of pink and white coloured sugar and has the name of the seaside town where it is sold running all the way through it. No matter where you slice it, or suck it, you’ll always get the same name, the same sweet taste. So it is with the Vaishnava tradition. The sampradaya is sweet all the way through as is the Name of God. And the stick – the parampara – is the structure that delivers it.
The words sampradaya and parampara are often used interchangeably, as if they conveyed exactly the same meaning. Sampradaya means a school of thought or philosophical conclusion or siddhanta, embodied by a community of orthodox practitioners. Parampara is, quite literally, ‘one after the other’ – an historical chain of spiritual preceptors, each of whom was a legacy-holder for the same path and practice.
Sampradaya refers to what the sincere aspirant may contact in the here and now, how he may be taught the siddhanta in the present day, and locate a current exemplar of the tradition. Whereas parampara refers to how the siddhanta has been transmitted down through the years. It is a chain of illustrious preceptors, each of whom was connected to the previous one, either through accepting the teachings (siksha) or by becoming initiated with a mantra (diksha), or a combination of both. The parampara is a lineage of successive gurus which is established retrospectively, sometimes long after their physical demise. A leading member of the sampradaya – usually the current acarya himself – looks back over the centuries, traces his finger over the spiritual family tree, and concludes: ‘This is how we all got here.’
When we describe a parampara we single out certain persons who have contributed the most in establishing the siddhanta, explaining it to others; defending it from intellectual attack; and leaving behind a body of literature that served best to perpetuate the siddhanta beyond the lifetime of the authors. Yet in choosing some lineage-holders we simultaneously de-select others. They were not unworthy souls, rather, they were great Vaishnavas, each playing their part in supporting, defending and extending the sampradaya in their own time. But others were singled out to have their names as a permanent fixture in the list of the greatest historical contributors.
No devotees living today – including those who initiate disciples – know whether they will be ‘in the parampara,’ although by definition they are already ‘in the sampradaya.’ Of course, for disciples, their own chosen guru is the current representative of the parampara. But if the disciples do not initiate their own disciples then that singular branch of the parampara will terminate at the death of the last disciple.
It may be that the majority of current initiators in the ISKCON branch of the Gaudiya lineage – by this process of discipular termination – will not feature in the parampara 100 years hence, and what to speak of 300 years. They might be collectively featured in some future chronicle as the sincere and determined followers of A.C. Bhaktivedanta Swami Prabhupada; as those who met him personally and helped him in his mission to establish Gaudiya teachings outside India. But the moving index fingers of historians or acaryas of the far-distant future may pass immediately from Srila Prabhupada to the next major contributor in the chain. Names that are firmly fixed in the minds of all today, written in black ink as it were, may fade to grey or disappear completely, as many thousands throughout history have already done. Those who criticize the ISKCON movement for having what they consider to be less-than-suitable names ‘in the parampara’ should not unduly trouble themselves: time and tide will wash away anyone who is undeserving. And those who are already brilliant will continue to shine.