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Player (Conversations)

Conversations and Morning Walks

1968 Conversations and Morning Walks

So why don't you get a financier? We can give so many ideas of Kṛṣṇa consciousness, and we have got our players.
Questions and Answers -- Montreal, August 26, 1968:

Prabhupāda: Suppose if we take film, very long film, what will be the cost?

Dāmodara: Well, in an eight-millimeter, the size film that you saw last night, the other night, it's not very expensive. It costs a little more than a dollar a minute for, you know. So if there was an hour and a half film, it might cost $150. Not much. But to make a film of the quality that's seen in the theater, it's very expensive. An hour and a half film, it's not unusual, a hundred thousand dollars.

Prabhupāda: (laughing) Oh!

Dāmodara: That's quite a bit of difference. You see, when you have sound on a film it makes it very expensive. And the proper lighting. It takes a long time to make a film that has the right quality. It's expensive.

Prabhupāda: So why don't you get a financier? We can give so many ideas of Kṛṣṇa consciousness, and we have got our players.

Dāmodara: Brahmānanda mentioned that I should write to some foundations, groups...

Prabhupāda: Yes.

Dāmodara: ...and I'll do so. There are a couple I've thought of. Making films on Vedic scriptures-they'll be interested in them.

Prabhupāda: Hm.

1969 Conversations and Morning Walks

No, when singing is there, all the players and all the audience and everyone will sing. That will be very nice.
Lord Caitanya Play Told to Tamala Krsna -- August 4, 1969, Los Angeles:

Prabhupāda: So you'll play in the stage or make studio?

Tamāla Kṛṣṇa: Better that we play either in a big area so we can be right in the middle of people. People will be all around.

Prabhupāda: Oh yes. That will be very nice.

Tamāla Kṛṣṇa: Because then we include them.

Prabhupāda: Yes. That is the system. That is called jātrā in India. That is very good system. There is no stage, but by words and feelings everyone becomes absorbed, and chanting. So that will be very nice.

Tamāla Kṛṣṇa: Yes. We will have kīrtana, maybe seven to ten kīrtanas in the play, so everybody will be joining in.

Prabhupāda: Yes. And they'll be asked to join.

Tamāla Kṛṣṇa: Oh yes.

Prabhupāda: That will be very nice.

Tamāla Kṛṣṇa: Even maybe when Lord Caitanya says to Nityānanda Prabhu and to...

Prabhupāda: No, when singing is there, all the players and all the audience and everyone will sing. That will be very nice.

Tamāla Kṛṣṇa: Yes. Even maybe Lord Caitanya says to Nityānanda Prabhu, "Go to all the people and tell them about Kṛṣṇa." So at that moment, we all, all the brahmacārīs, we go into the people and we talk. Then we come back and tell Lord Caitanya. We can preach too.

Prabhupāda: Yes. Yes.

1971 Conversations and Morning Walks

It will appear now I am speaking from beyond this world. Somebody's hearing, here somebody's speaking. Again, when the record player will play.
Room Conversation Excerpt -- August 9, 1971, London:

Guest: There's one philosophical point I would like you to elucidate. I haven't been able to quite understand, certainly the dualistic, incomprehensible... the dualistic-nondualistic philosophy which sees at the same time Kṛṣṇa, as comprehending all of man, all of the world, everything, within the body, we might say, of Kṛṣṇa, And at the same time however, one sees the world as distinct from Kṛṣṇa, in other words, as māyā, and as illusion. And it is this, the dualistic, I would like to... If you could just explain to me the difference between the... I mean, how this fits in, the monistic or the idea of the unitary view that Kṛṣṇa is everything, all and in all. And then at the same time that the world, there is this world of illusion which is somehow distinct from Kṛṣṇa. Could you just explain this point to me?

Prabhupāda: This is very easy to understand. Just like you are recording my speeches in the tape recorder. When you play back it will speak just like I am speaking, but I am not there. Is it not fact?

Guest: Yes.

Prabhupāda: It will appear now I am speaking from beyond this world. Somebody's hearing, here somebody's speaking. Again, when the record player will play...

1972 Conversations and Morning Walks

What is that?
Room Conversation -- July 4, 1972, New York:

Devotee: (10) Time magazine, special issue.

Prabhupāda: (devotees are laughing as they look at magazine) What is that?

Devotee (10): It says "Vai..., Vaikuṇṭha Playhouse, statement of purpose." There's a theatrical group called the Vaikuṇṭha Players.

Ātreya Ṛṣi: (break) ...Śrīla Prabhupāda, fourth of July.

Prabhupāda: Huh?

1973 Conversations and Morning Walks

How people are kept into ignorance. Life is so valuable, and they are wasting time in that way. Life is valuable, how life should be utilized, what is the object of life—they do not know anything.
Morning Walk At Cheviot Hills Golf Course -- May 13, 1973, Los Angeles:

Prabhupāda: (About tennis players) How people are kept into ignorance. Life is so valuable, and they are wasting time in that way. Life is valuable, how life should be utilized, what is the object of life—they do not know anything.

Svarūpa Dāmodara: Without knowing that the soul is eternal, everybody would be acting like this.

Prabhupāda: Yes. That is... Bodily concept of life means animal life. The animal does not know. Sa eva go-kharaḥ (SB 10.84.13). Go-kharaḥ. Go means cows, and kharaḥ means ass. One who is in the, under bodily concept of life, he is no better than animals. So when the animal talks of knowledge, an intelligent man laughs. That is our position. The animals, they are talking of knowledge.

Paramahaṁsa: At least, the animals live by certain codes. They do not kill unless necessary. They only eat when necessary, whereas man, he kills unnecessarily, eats unnecessarily. So forgetting God, we are even lower than animals.

Prabhupāda: Yes. Therefore we suffer also, more than the animals. (pause) So Kṛṣṇa consciousness movement is not a bogus religious sentimental movement. It is a scientific movement. So now it is up to you to prove this. Then you will be actually Kṛṣṇa conscious.

Dolls means just like doll-player, they make the dolls dance. It is like that. Puppets, yes, puppets. That is literally. Because gopīs were just dancing according to Kṛṣṇa's desire. They are so devotees that whatever Kṛṣṇa desires, they are prepared to do.
Morning Walk -- August 30, 1973, London:

David Lawrence: Where, is it the demoness Pūtanā takes Kṛṣṇa and Kṛṣṇa sucks her breast?

Śyāmasundara: Should it be taken literally or allegorically?

Prabhupāda: No, literally, literally.

David Lawrence: Yeah, literally as a physical fact.

Prabhupāda: Oh yes, oh yes.

David Lawrence: Now, having said that then, if one goes on logically...

Prabhupāda: You'll find so many demons like Pūtanā even at the present moment.

David Lawrence: So one could leap from behind a tree, putting it tritely if you like.

Prabhupāda: The, the Bhāgavatam, there is nothing... well, there are some figurative use. Just like we speak the story of Aesop's fables. That is for instruction. Just like jackal is talking with a lion. You see? So, there are stories like that.

David Lawrence: Yes, there are figurative stories.

Prabhupāda: Yes.

David Lawrence: I mean, one or two of the stories there's a reference to Kṛṣṇa and the unmarried gopīs, saying that He treated them like dolls yet they were well pleased with Him. Now, would it be right to say that the main point of that story, rather than...

Prabhupāda: Dolls?

David Lawrence: Yes, it says He treated them rather like dolls. It's your own translation on that one. But they were well pleased with Him. Is the point of the story...

Prabhupāda: Dolls, dolls means just like doll-player, they make the dolls dance. It is like that.

David Lawrence: Yes, as He wishes.

Prabhupāda: Puppets, yes, puppets.

David Lawrence: Yes. I mean is that to be taken again literally or is there, as you say, a figurative meaning there in terms of faith?

Prabhupāda: No, that is literally. Because gopīs were just dancing according to Kṛṣṇa's desire. They are so devotees that whatever Kṛṣṇa desires, they are prepared to do.

What is that nature? Nature means an instrument. Instrument, there must be one player. Nature is instrument. Just like this is an instrument. It is not recording by itself. When you push the button, then it works. You cannot say that "It is working by nature."
Morning Walk -- December 16, 1973, Los Angeles:

Prabhupāda: What is that nature? Nature means an instrument. Instrument, there must be one player. Nature is instrument. Just like this is an instrument. It is not recording by itself. When you push the button, then it works. You cannot say that "It is working by nature."

Karandhara: They might say that by "nature" they mean it happens naturally. What's happening naturally, they mean it doesn't require anyone...

Prabhupāda: No, what things are happening naturally? Your father begets you, therefore you talk. Naturally you have not come. If your father would not begotten you through your mother, how did you come? Naturally your mother does not become pregnant. What things happening naturally?

1975 Conversations and Morning Walks

You are expert mṛdaṅga player? I have seen. He is very, very nice.
Room Conversation with Tripurari -- March 2, 1975, Atlanta:

Tripurāri: (break) ...these are prabhus from different temples. Some work under the direction of the temple presidents and some work under my direction. And all these devotees distribute at the airports. Mostly big books.

Prabhupāda: And you are all feeling all right? Eh? Is there any difficulty?

Tripurāri: No, Śrīla Prabhupāda.

Devotees: Increasingly blissful.

Prabhupāda: That is fine. That is wanted. You are expert mṛdaṅga player? I have seen. He is very, very nice.

So, drama is good.
Morning Walk -- April 19, 1975, Vrndavana:

Prabhupāda: Where is Prajāpati? He is not here?

Jayatīrtha: No.

Prabhupāda: He is going to...

Jayatīrtha: He's here in Vṛndāvana, but he hasn't come on the walk.

Prabhupāda: So, he is going to demonstrate anything? No.

Rāmeśvara: Is he going to do any play?

Tamāla Kṛṣṇa: Dances?

Jayatīrtha: I'm not sure.

Tamāla Kṛṣṇa: What is your desire for that, Prabhupāda?

Prabhupāda: No, no, I told him that you make some play for showing here in Vṛndāvana.

Tamāla Kṛṣṇa: It's all right that the women are dancing?

Prabhupāda: Hmm?

Śrutakīrti: You said plays. He could do plays.

Prabhupāda: Yes. Women as far as possible should be no... That's not good.

Devotee (1): He spoke to me about it. He wants to do four performances here.

Tamāla Kṛṣṇa: Is that dancing he wants to do or plays?

Devotee (1): Dancing.

Prabhupāda: With women?

Devotee (1): I don't know.

Prabhupāda: No.

Devotee (1): He has to do play?

Prabhupāda: So without woman there is no dancing? (laughter)

Tamāla Kṛṣṇa: His whole troupe is women. The New York devotees, the Vaikuṇṭha Players, they have drama group.

Prabhupāda: So, drama is good. Woman dancing will not be very much appreciated here.

There was an incident. One big philosopher and one big dramatic player. He was also very famous. So he went to see that philosopher and sent his card. He said, "Oh, why shall I see this dancing dog? He may be famous as a dancing dog, but I have no business with him. If some philosopher comes, then it will be a pleasure to talk with him. What does he know? He may be expert in dancing. It is not philosophy." So he refused to see him. "Why shall I see this dancing dog?" He used these words. "He's a dancing dog"
Evening Discussion -- May 6, 1975, Perth:

Prabhupāda: Why these rascals say, "Can you show me God?" What qualification have you got? He doesn't think like that, that "I have no qualification." He thinks that "I am very advanced." That is foolish. Therefore Kṛṣṇa says, nāhaṁ prakāśaḥ. Similarly a third-class man goes to a high-court judge. Foolish rascals has come. "Who is that?" "I don't know." There was an incident. One big philosopher and one big dramatic player. He was also very famous. So he went to se that philosopher and sent his card. He said, "Oh, why shall I see this dancing dog? He may be famous as a dancing dog, but I have no business with him. If some philosopher comes, then it will be a pleasure to talk with him. What does he know? He may be expert in dancing. It is not philosophy." So he refused to see him. "Why shall I see this dancing dog?" He used these words. "He's a dancing dog" (inaudible). So similarly, why this ordinary man claims to see God? A dancing dog? A devotee says, marma-hatāṁ karotu vā. A devotee is always anxious to see God, but he said that "I am not qualified. So even I become broken-hearted not seeing God, still Kṛṣṇa is my Lord. I may see, or may not see. That is His mercy. But in all circumstances, He is my worshipful Lord." That is devotee. "Oh, I could not see God? I have done so much?" Kṛṣṇa is not so obliged that because by concoction you think you have done something, and therefore He is obliged to come before you and dance. Kṛṣṇa is not so little.

That old cinema player, His name was Max Linder. So this Max Linder was going to a ball dance, and he was waiting in the park, and the ball dance coat, you know? It has got a tail. So he was sitting in a bench, and some naughty boys came and they nailed the tailing part. So when he got up it became torn. So this hip was visible. So when was dancing in the ball others were seeing his, "What is this?" So he went to the mirror, he saw, "Oh?" So he began to dance and show everyone like this. So others said, "What is this?" "This is the latest fashion in ball dancing." "Oh?" Then all cut their tail coat. You see? "The latest fashion."
Morning Walk -- June 7, 1975, Honolulu:

Paramahaṁsa: They say that if you have a herd of sheep and one, the first part of the herd falls off of a cliff, then all the rest of them will simply walk off the cliff.

Prabhupāda: Yes. That is called veriya dāsan. In Hindi, veriya dāsan.

Paramahaṁsa: What is that called?

Prabhupāda: Veriya dāsan.

Paramahaṁsa: What does that mean?

Prabhupāda: No, veri means lamb or sheep. Their walk... If you can push one of them in the slaughterhouse, all of them enter. This is called veriya dāsan. You haven't got to endeavor to push others. You just push one only. "Fut, fut, fut, fut, fut, fut, fut," they all enter. (Laughter) In Hindi it is called veriya dāsan. Just cheat one veri, and all others will be followers. (break) Long ago, when we were boys, we saw one comic cinema. That old cinema player was... His name was Max Linder. Max Linder. So this Max Linder was going to a ball dance, and he was waiting in the park, and the ball dance coat, you know? It has got a tail. So he was sitting in a bench, and some naughty boys came and they nailed the tailing part. So when he got up it became torn, like... So his, this hip was visible. So when was dancing in the ball others were seeing his, "What is this?" (laughter) So he went to the mirror, he saw, "Oh?" So he began to dance and show everyone like this. So others said, "What is this?" "This is the latest fashion. This is the latest fashion in ball dancing." "Oh?" Then all cut their tail coat. You see? "The latest fashion."

Devotee: That's how they got the cut now. There's a cut in the coat in the back.

Prabhupāda: This is the veriya dāsan.

1976 Conversations and Morning Walks

In every big temple there is shenai. All through the year, morning, night, not only temple, rich man's house. And they are so nice player that early in the morning, people, the resident, will rise by hearing the shenai. And at night they will go to bed and sleep hearing the shenai.
Morning Walk -- March 11, 1976, Mayapur:

Prabhupāda: In every big temple there is shenai. All through the year, morning, night, not only temple, rich man's house. And they are so nice player that early in the morning, people, the resident, will rise by hearing the shenai. And at night they will go to bed and sleep hearing the shenai.

Jayapatāka: Was that early in morning or late at night?

Prabhupāda: No, other time also. But this time especially.

Lokanātha: They also used to keep cock, hens and the cock.

Prabhupāda: Yes.

Anyway, they're artists. They're artists. They're not happy. Divorced.
Room Conversation -- June 18, 1976, Toronto:

Puṣṭa Kṛṣṇa: I was in the car with you in the back seat.

Prabhupāda: Oh, you were in the car?

Puṣṭa Kṛṣṇa: They all fell asleep. I was chanting. You were sitting, you didn't even go to sleep that night (laughs). Even though it was late at night, it was about eleven, twelve, one o'clock at night, you didn't want to stay at that bhogī yogi house. I remember that. And he drove very, very fast back to Portland. That was a very nice engagement.

Prabhupāda: Hmm. That was Śyāmasundara's father's car. So he's a good driver, (laughter) but very dangerous driver. I do not know, Śyāmasundara, his father is a rich man, lawyer, got good estate and he's the only son. He did not like to stay with father.

Hari-śauri: No one in the West likes to stay with their parents.

Prabhupāda: Two sisters, very beautiful girls. They're unhappy.

Puṣṭa Kṛṣṇa: They're unhappy?

Prabhupāda: Yes. His two sisters.

Puṣṭa Kṛṣṇa: I heard he was preaching to them. At least one of them that came to the temple that time. She came to that program.

Prabhupāda: She first of all came in London.

Puṣṭa Kṛṣṇa: She was piano player.

Prabhupāda: Anyway, they're artists. They're artists. They're not happy. Divorced. His mother is very gentle, I have seen. Father is also respectable man.

Puṣṭa Kṛṣṇa: Family life in the West is disastrous.

Prabhupāda: The father wants to get them back at home, but they don't.... The father is also taking pills for sleeping. (laughs) Father is also not happy.

Best thing is to preach for some time. Go with the saṅkīrtana party. He's a good mṛdaṅga player also. His photograph is there.
Room Conversation -- June 28, 1976, New Vrindaban:

Prabhupāda: Seven-three? Oh. So our Ṛṣi Kumāra has come back.

Ṛṣi Kumāra: I couldn't stay away any longer, because I was so bored with everything I was doing. All I could do was chant, and then I had to come back. There's nothing that satisfies except Kṛṣṇa.

Prabhupāda: Best thing is to preach for some time. Go with the saṅkīrtana party. He's a good mṛdaṅga player also. His photograph is there.

Devotee: From the very beginning.

Prabhupāda: Fifth Avenue.

Rādhāvallabha: Brahmānanda?

Prabhupāda: Yes. He was Brahmānanda's assistant always. Mām eva ye prapadyante māyām etāṁ taranti te. Simply capture Kṛṣṇa's lotus feet. Māyā will not be able to... When you have come here?

Ṛṣi Kumāra: We just got here his afternoon.

Prabhupāda: "We" means along with...?

Ṛṣi Kumāra: I came with Rādhāvallabha prabhu.

He's also Shankar?
Conversation with George Harrison -- July 26, 1976, London:

George Harrison: You know, I think you met Laksmi Shankar, lady singer? Her daughter, who is also a singer, Viji, Viji Śrī Shankar, and she's marrying a South Indian violin player, L. Shankar.

Prabhupāda: He's also Shankar?

George Harrison: Well, he's called L. Shankar. You know that South India they have a funny way around them, they have like a surname. He's just called L. Shankar. His brother is called L. Subhramanyam

Why don't you keep one record player.
Room Conversation -- November 15, 1976, Vrndavana:

Devotee: Also another thing, this is... You may remember when you were in Los Angeles last time, Kṛṣṇa-kanti and Mangalananda asked you if they could do this contemporary style music with Kṛṣṇa lyrics. So this is the very first copy. Actually there's not much to see it's just like any other album. This is the first test pressing.

Hari-śauri: He has a cassette which you can listen to some time if you want.

Prabhupāda: Yes, I can listen. Play it.

Devotee: You would like to hear something?

Prabhupāda: Hm.

Hari-śauri: It's done to like modern popular music.

Prabhupāda: Mm.

Hari-śauri: With the lyrics about Kṛṣṇa.

Prabhupāda: Why don't you keep one record player.

Hari-śauri: Well record players are a bit bulky to carry. They have it on cassette.

Prabhupāda: No, this time anyone comes, ask them to bring one record player. Japanese record player is very cheap.

Devotee: Yeah, I think that's a good idea to have because all these albums are coming out now.

Hari-śauri: But you can get them all on cassette...

Prabhupāda: Between fifteen dollars, sixteen dollars.

Hari-śauri: We can't carry it all. We've got so much baggage we couldn't possibly carry all...

Devotee: Actually cassette is more practical.

Hari-śauri: These cassettes we can get, we can have everything on cassette.

Prabhupāda: All right.

1977 Conversations and Morning Walks

Where is that report?
Room Conversation -- March 24, 1977, Bombay:

Girirāja: And everyone appreciated the Vaikuṇṭha Players. And there were nice reports in the newspaper.

Prabhupāda: In the newspaper there is report?

Girirāja: Yes.

Prabhupāda: Where is that report?

Tamāla Kṛṣṇa: That was yesterday. Today we have checked up. Yesterday's press conference was reported.

Lokanātha: They covered yesterday.

They were asking me whether they are professional men. "No, no, these all my disciples."
Room Conversation First Day in Juhu Quarters -- March 30, 1977, Bombay:

Lokanātha: It has become one of the main attractions of the public, this Vaikuṇṭha Player performance(?). After..., two nights after the program, I inquired from the public on the microphone, "Do you like this drama?" Immediately everybody raised their hands: "Yes!"

Prabhupāda: They were asking me whether they are professional men. "No, no, these all my disciples."

Gopāla Kṛṣṇa: They're actually much better than any of the professional men.

Prabhupāda: Oh, yes.

And another effect was, because sometimes there were need of proxy. Some player has not come, and the rehearsal is going on. So the result was that each and every one of us learned the play of others. There was no scarcity of duplicate. So that was the first and last of playing in dramatic drama in my life. Caitanya-līlā.
Room Conversation First Day in Juhu Quarters -- March 30, 1977, Bombay:

Prabhupāda: We played caitanya-līlā in our younger days. So we brought one very famous man, Amritlal Bose. He is one of the three chief men who started theatrical performances in Bengal. Amritlal Bose, Girish Candra Ghosh, and one some Pathan. This Amritlal Bose was a big author also, for writing comic books. And very expert lecturer. So somehow or other, we contacted him, and we used to call him, (Bengali:) dādā-mahāśaya. Dādā-mahāśaya means grandfather. He was of our grandfather's age. In the evening he was drinking. Very luxurious. So when he came, he said, "Yes, I will give you direction. You are all aristocratic family. But you must know that what is the difference between this professional and this aristocratic family." So he explained that "Caitanya-līlā, in the public theater, anyone can pay eight annas." That eight annas was third-class ticket. Eight annas, one rupee, two rupees and five rupees. "So they can see Caitanya-līlā. Then where is the difference between your playing and their playing?" So he explained that "There must be some difference, that the public, after seeing your playing, they should appreciate so much that they will agree they will never see. So I want to train you like that. Are you prepared?" His first condition. So we were boys at the time... "Yes, sir. Yes. Whatever you say." Then he said, "Then I take charge of training you." So his next condition was that "You cannot play unless I say it is all right." So we practiced for more than one year. Still, he did not say that "You are all right." He did not say. By force, practically, that "Now we shall play, sir." "All right, you can play, but it is not to my perfectional ideas." So I had the part of Advaita Ācārya. So on the stage, when we saw, all the public, they are crying, the audience. Regularly crying. We could not understand how they are crying, because we are dry; we have learned how to play, that's all. But he has trained in such a way that we could appreciate everyone was crying by seeing Caitanya, everyone was hanker to play, act. So it was due to training. He trained in such a way that we could not understand how we are playing, but the audience, they appreciated so much. Every one of them was crying. And another effect was... Because sometimes there were need of proxy. Some player has not come, and the rehearsal is going on. So the result was that each and every one of us learned the play of others. There was no scarcity of duplicate. So that was the first and last of playing in dramatic drama in my life. Caitanya-līlā. We had own club, Indian, Indian, like that.

He can do.
Conversation with Tamala Krsna about Yadubara -- April 22, 1977, Bombay:

Tamāla Kṛṣṇa: He says they've been requested by the various temples around our society to film Sudāmā Mahārāja's theater group playing "The Age of Kali" and, perhaps, other plays so that these films could be shown at Sunday feasts, because they can't have the theater group in every temple.

Prabhupāda: Oh, it is good idea. Good idea.

Tamāla Kṛṣṇa: You like that idea.

Prabhupāda: Hm, hm.

Tamāla Kṛṣṇa: He says, "Also these films could be shown on television. 'The Age of Kali' play is especially dramatic and would appeal to a mass audience for television." He says, "In this way we could introduce our philosophy to many millions of people. The players are very expert, and I feel the people in general will appreciate their efforts."

Prabhupāda: He can do.

Page Title:Player (Conversations)
Compiler:Matea, MadhuGopaldas
Created:01 of Sep, 2009
Totals by Section:BG=0, SB=0, CC=0, OB=0, Lec=0, Con=20, Let=0
No. of Quotes:20