Mass Human Sacrifice at Punta Lobos, Peru



Huarmey has been a place for fishing from ancient times to the present day, indeed, the name itself means fisherman in the ancient language Muchic (Guaxme). It was during an investigation into what was apparently a pre-Hispanic cemetery at Punta Lobos, near the installations operated by Compañía Minera Antamina at the port of Huarmey, that we were astonished to find that the cemetery for young fishermen was in fact the site of a large-scale human sacrifice.
Towards the end of the 14th Century the armies of the Chimu emperor Minchaaman were engaged in an aggressive military campaign to increase the already extensive lands under their rule. In this campaign the Huarmey valley was encircled, conquered and finally annexed to the Chimu imperial state. Later, in an impressive religious ceremony, a fishing village was selected and offered in sacrifice to the god Ni, lord of the sea and the principal deity of the conquerors, to thank him for the military victory. The scene chosen for this ceremony was Punta Lobos.



The bodies of the sacrificed men were watched to make sure carrion-eating animals did not go near them, while the sea and sand slowly covered them. While this was happening, at the other end of the beach the survivors of the sacrifice, the women, the children and the old, offered a number of ceramic vessels containing food and drink, as well as fishing tackle such as nets, cord and weights, so that the dead fishermen could continue with their work in the afterlife.


Five centuries later, bodies mutilated by grave robbers gave no indication that the small cemetery at Punta Lobos had such a fascinating and terrible history. The Chimu, inheritors of the ancient religious traditions of the Moche, also included massive human sacrifices in their ceremonies as their ancestors had done centuries before them. But, just as the Chimu surpassed their ancestors in jewelry, textiles and other arts, so they did in the magnitude of their religious ceremonies. Never before has a ritual of this size been discovered.

The bodies of 107 fishermen remained intact despite an unsuccessful search for artifacts by grave robbers or huaqueros; more than 20 were mutilated by the Chimu themselves and around 70 were destroyed by the huaqueros.

A detailed analysis of the bodies confirms the first impression that most of the victims show marks of the knives by which they were put to death. Bound and blindfolded, the fought against inevitable death until, choking on their own blood they fell face down onto the sand.

Later research has shown that most of the sacrificed fishermen were all men, young or adult and healthy for that period, highly skilled in fishing and diving, like the fishermen of today who live by the beaches of Huarmey.







Divya Bharti - She would be 36 today. Her 36th Birthday.

Remembering Divya... it is almost 17 yrs since she passed away. Had she been today... she would have been the top icon of the bollywood film industry. It's my attempt to get back her as the LEGEND.



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The End of the Universe

(Main Theories on How the Cosmos Will Cease to Exist )

The beginning of the Universe is still not completely understood, although as it is explained in Origins of the Universe there are many theories. The same holds true for the end of the Universe. No one knows how it will end but scientists have deduced a few theories that could shed some insight as to what the future will bring to the Cosmos.

There are many theories for the end of the Universe. Some of these theories actually don't foresee an end at all, but claim that everything is infinite, or even that it keeps repeating. Taking them from the best scientists and cosmologists the following are the main theories for the future of the Universe explained.

The Big Freeze Theory

This theory suggests that if the Universe is either flat or hyperbolic (as in the shape of a saddle) then it fits into the Big Freeze scenario. The shape of the Universe is determined by the density it contains.

As explained in NASA's Universe 101 website, depending on the ratio of the Universe's density to the critical density the geometry of the Universe can be spherical, flat or hyperbolic (shaped like a saddle). A flat or saddled shaped Universe would give way to the Big Freeze end of the Universe. This ending suggests that the Universe will expand forever ultimately making everything too cold to sustain life.

The Big Rip Theory
The Big Rip theory follows the rules of general relativity. It claims that the Universe will continually expand at an accelerated pace until it leads to everything getting ripped and torn apart. "The expansion becomes so fast that it literally rips apart all bound objects," explains Robert Caldwell from Dartmouth University, the lead author of the theory.

This theory puts 'phantom or dark energy', and unknown force, as the the culprit for the expansion and ultimately the 'big rip' of all galaxies, stars, planets, any matter that exists in the universe.

The Big Crunch Theory
This theory is also known as the Cyclic Universe Theory, which is an end of the Universe theory as well as an origins of the Universe theory. Developed by Princeton University's Paul Steinhardt and Neil Turok of Cambridge, it describes how the Universe goes into a series of 'big bangs' and then 'big crunches' over and over again.

As explained in their May 24, 2002 paper "A Cyclic Model of the Universe" in the journal Science, Steinhardt and Turok say this results in the Universe creating and destroying itself indefinitely in a never-ending cycle. This theory model also lends itself well to the concept of the Universe's accelerating expansion due to dark energy.

Multiverse Theory
This theory does not predict an end, but suggests that there are many other universes out there that exist as bubbles along this Universe. Theoretical physicist Michio Kaku explains how this could be possible due to the notion that energy expands faster than the bubble that is the Universe can sustain, thus creating many other Universe bubbles.

There are many different directions that the Multiverse Theory also can go other than the bubble idea, such as Parallel Universes. In this model, linked to the String Theory, it is believed that parallel universes would exist simultaneously to the Universe as it is today, but invisibly residing in higher or lower dimensions that cannot be seen by the human eye.

Of course, this parallel universe is highly conceptualized and there are still many things to be learned by scientists to be able to validate it, but science has proven that they are quite possible. As for the end of the Universe theories, they are being debated and researched and cosmologists will someday be much closer to the realization of how the end will come, if at all.



(source: http://astrophysics.suite101.com/article.cfm/the_end_of_the_universe)

A Service of Love - O' Henry



 A Service of Love - O' Henry


When one loves one's Art no service seems too hard.

That is our premise. This story shall draw a conclusion from it, and show at the same time that the premise is incorrect. That will be a new thing in logic, and a feat in story-telling somewhat older than the great wall of China.

Joe Larrabee came out of the post-oak flats of the Middle West pulsing with a genius for pictorial art. At six he drew a picture of the town pump with a prominent citizen passing it hastily. This effort was framed and hung in the drug store window by the side of the ear of corn with an uneven number of rows. At twenty he left for New York with a flowing necktie and a capital tied up somewhat closer.

Delia Caruthers did things in six octaves so promisingly in a pine- tree village in the South that her relatives chipped in enough in her chip hat for her to go "North" and "finish." They could not see her f--, but that is our story.

Joe and Delia met in an atelier where a number of art and music students had gathered to discuss chiaroscuro, Wagner, music, Rembrandt's works, pictures, Waldteufel, wall paper, Chopin and Oolong.

Joe and Delia became enamoured one of the other, or each of the other, as you please, and in a short time were married--for (see above), when one loves one's Art no service seems too hard.

Mr. and Mrs. Larrabee began housekeeping in a flat. It was a lonesome flat--something like the A sharp way down at the left-hand end of the keyboard. And they were happy; for they had their Art, and they had each other. And my advice to the rich young man would be--sell all thou hast, and give it to the poor--janitor for the privilege of living in a flat with your Art and your Delia.



Flat-dwellers shall indorse my dictum that theirs is the only true happiness. If a home is happy it cannot fit too close--let the dresser collapse and become a billiard table; let the mantel turn to a rowing machine, the escritoire to a spare bedchamber, the washstand to an upright piano; let the four walls come together, if they will, so you and your Delia are between. But if home be the other kind, let it be wide and long--enter you at the Golden Gate, hang your hat on Hatteras, your cape on Cape Horn and go out by the Labrador.

Joe was painting in the class of the great Magister--you know his fame. His fees are high; his lessons are light--his high-lights have brought him renown. Delia was studying under Rosenstock--you know his repute as a disturber of the piano keys.

They were mighty happy as long as their money lasted. So is every-- but I will not be cynical. Their aims were very clear and defined. Joe was to become capable very soon of turning out pictures that old gentlemen with thin side-whiskers and thick pocketbooks would sandbag one another in his studio for the privilege of buying. Delia was to become familiar and then contemptuous with Music, so that when she saw the orchestra seats and boxes unsold she could have sore throat and lobster in a private dining-room and refuse to go on the stage.

But the best, in my opinion, was the home life in the little flat-- the ardent, voluble chats after the day's study; the cozy dinners and fresh, light breakfasts; the interchange of ambitions--ambitions interwoven each with the other's or else inconsiderable--the mutual help and inspiration; and--overlook my artlessness--stuffed olives and cheese sandwiches at 11 p.m.

But after a while Art flagged. It sometimes does, even if some switchman doesn't flag it. Everything going out and nothing coming in, as the vulgarians say. Money was lacking to pay Mr. Magister and Herr Rosenstock their prices. When one loves one's Art no service seems too hard. So, Delia said she must give music lessons to keep the chafing dish bubbling.

For two or three days she went out canvassing for pupils. One evening she came home elated.

"Joe, dear," she said, gleefully, "I've a pupil. And, oh, the loveliest people! General--General A. B. Pinkney's daughter--on Seventy-first street. Such a splendid house, Joe--you ought to see the front door! Byzantine I think you would call it. And inside! Oh, Joe, I never saw anything like it before.

"My pupil is his daughter Clementina. I dearly love her already. She's a delicate thing-dresses always in white; and the sweetest, simplest manners! Only eighteen years old. I'm to give three lessons a week; and, just think, Joe! $5 a lesson. I don't mind it a bit; for when I get two or three more pupils I can resume my lessons with Herr Rosenstock. Now, smooth out that wrinkle between your brows, dear, and let's have a nice supper."

"That's all right for you, Dele," said Joe, attacking a can of peas with a carving knife and a hatchet, "but how about me? Do you think I'm going to let you hustle for wages while I philander in the regions of high art? Not by the bones of Benvenuto Cellini! I guess I can sell papers or lay cobblestones, and bring in a dollar or two."

Delia came and hung about his neck.

"Joe, dear, you are silly. You must keep on at your studies. It is not as if I had quit my music and gone to work at something else. While I teach I learn. I am always with my music. And we can live as happily as millionaires on $15 a week. You mustn't think of leaving Mr. Magister."

"All right," said Joe, reaching for the blue scalloped vegetable dish. "But I hate for you to be giving lessons. It isn't Art. But you're a trump and a dear to do it."

"When one loves one's Art no service seems too hard," said Delia.

"Magister praised the sky in that sketch I made in the park," said Joe. "And Tinkle gave me permission to hang two of them in his window. I may sell one if the right kind of a moneyed idiot sees them."

"I'm sure you will," said Delia, sweetly. "And now let's be thankful for Gen. Pinkney and this veal roast."

During all of the next week the Larrabees had an early breakfast. Joe was enthusiastic about some morning-effect sketches he was doing in Central Park, and Delia packed him off breakfasted, coddled, praised and kissed at 7 o'clock. Art is an engaging mistress. It was most times 7 o'clock when he returned in the evening.

At the end of the week Delia, sweetly proud but languid, triumphantly tossed three five-dollar bills on the 8x10 (inches) centre table of the 8x10 (feet) flat parlour.

Sometimes," she said, a little wearily, "Clementina tries me. I'm afraid she doesn't practise enough, and I have to tell her the same things so often. And then she always dresses entirely in white, and that does get monotonous. But Gen. Pinkney is the dearest old man! I wish you could know him, Joe. He comes in sometimes when I am with Clementina at the piano--he is a widower, you know--and stands there pulling his white goatee. 'And how are the semiquavers and the demisemiquavers progressing?' he always asks.

"I wish you could see the wainscoting in that drawing-room, Joe! And those Astrakhan rug portieres. And Clementina has such a funny little cough. I hope she is stronger than she looks. Oh, I really am getting attached to her, she is so gentle and high bred. Gen. Pinkney's brother was once Minister to Bolivia."
And then Joe, with the air of a Monte Cristo, drew forth a ten, a five, a two and a one--all legal tender notes--and laid them besideDelia's earnings.

"Sold that watercolour of the obelisk to a man from Peoria," he announced overwhelmingly.
"Don't joke with me," said Delia, "not from Peoria!"
"All the way. I wish you could see him, Dele. Fat man with a woollen muffler and a quill toothpick. He saw the sketch in Tinkle's window and thought it was a windmill at first, he was game, though, and bought it anyhow. He ordered another--an oil sketch of the Lackawanna freight depot--to take back with him. Music lessons! Oh, I guess Art is still in it."
"I'm so glad you've kept on," said Delia, heartily. "You're bound to win, dear. Thirty-three dollars! We never had so much to spend before. We'll have oysters to-night."
"And filet mignon with champignons," said Joe. "Were is the olive fork?"

On the next Saturday evening Joe reached home first. He spread his $18 on the parlour table and washed what seemed to be a great deal of dark paint from his hands. Half an hour later Delia arrived, her right hand tied up in a shapeless bundle of wraps and bandages.

"How is this?" asked Joe after the usual greetings. Delia laughed, but not very joyously.

Clementina," she explained, "insisted upon a Welsh rabbit after her lesson. She is such a queer girl. Welsh rabbits at 5 in the afternoon. The General was there. You should have seen him run for the chafing dish, Joe, just as if there wasn't a servant in thehouse. I know Clementina isn't in good health; she is so nervous. In serving the rabbit she spilled a great lot of it, boiling hot, over my hand and wrist. It hurt awfully, Joe. And the dear girl was so sorry! But Gen. Pinkney!--Joe, that old man nearly went distracted. He rushed downstairs and sent somebody--they said the furnace man or somebody in the basement--out to a drug store for some oil and things to bind it up with. It doesn't hurt so much now."

"What's this?" asked Joe, taking the hand tenderly and pulling at some white strands beneath the bandages.

"It's something soft," said Delia, "that had oil on it. Oh, Joe, did you sell another sketch?" She had seen the money on the table. "Did I?" said Joe; "just ask the man from Peoria. He got his depot to-day, and he isn't sure but he thinks he wants another parkscape and a view on the Hudson. What time this afternoon did you burn your hand, Dele?"

"Five o'clock, I think," said Dele, plaintively. "The iron--I mean the rabbit came off the fire about that time. You ought to have seen Gen. Pinkney, Joe, when--"
"Sit down here a moment, Dele," said Joe. He drew her to the couch, sat beside her and put his arm across her shoulders.
"What have you been doing for the last two weeks, Dele?" he asked.
 
She braved it for a moment or two with an eye full of love and stubbornness, and murmured a phrase or two vaguely of Gen. Pinkney; but at length down went her head and out came the truth and tears.

"I couldn't get any pupils," she confessed. "And I couldn't bear to have you give up your lessons; and I got a place ironing shirts in that big Twentyfourth street laundry. And I think I did very well to make up both General Pinkney and Clementina, don't you, Joe? And when a girl in the laundry set down a hot iron on my hand this afternoon I was all the way home making up that story about the Welsh rabbit. You're not angry, are you, Joe? And if I hadn't got the work you mightn't have sold your sketches to that man from Peoria.

"He wasn't from Peoria," said Joe, slowly.
"Well, it doesn't matter where he was from. How clever you are, Joe --and--kiss me, Joe--and what made you ever suspect that I wasn't giving music lessons to Clementina?"
"I didn't," said Joe, "until to-night. And I wouldn't have then, only I sent up this cotton waste and oil from the engine-room this afternoon for a girl upstairs who had her hand burned with a smoothing-iron. I've been firing the engine in that laundry for the last two weeks."
"And then you didn't--"
"My purchaser from Peoria," said Joe, "and Gen. Pinkney are both creations of the same art--but you wouldn't call it either painting or music.

And then they both laughed, and Joe began:
"When one loves one's Art no service seems--"
But Delia stopped him with her hand on his lips. "No," she said-- "just 'When one loves.'"




Gloomy Sunday - The Sucide Song



Gloomy Sunday - the notorious 'Hungarian Suicide Song' - was written in 1933. Its melody and original lyrics were the creation of Rezső Seress, a self-taught pianist and composer born in Hungary in 1899. The crushing hopelessness and bitter despair which characterised the two stanza penned by Seress were superseded by the more mournful, melancholic verses of Hungarian poet László Jávor.

When the song came to public attention it quickly earned its reputation as a 'suicide song'. Reports from Hungary alleged individuals had taken their lives after listening to the haunting melody, or that the lyrics had been left with their last letters. The lyricists Sam M. Lewis and Desmond Carter each penned an English translatation of the song. It was Lewis's version, first recorded by Hal Kemp and his Orchestra, with Bob Allen on vocals (1936), that was to become the most widely covered.

The popularity of Gloomy Sunday increased greatly through its interpretation by Billie Holiday (1941). In an attempt to alleviate the pessemistic tone a third stanza was added to this version, giving the song a dreamy twist, yet still the suicide reputation remained. Gloomy Sunday was banned from the playlists of major radio broadcasters around the world. The B.B.C. deemed it too depressing for the airwaves. Despite all such bans, Gloomy Sunday continued to be recorded and sold. People continued to buy the recordings; some committed suicide. Rezső Seress jumped to his death from his flat in 1968.

On to the legends:

   1. Up to seventeen suicides were purportedly linked in some way to the song "Gloomy Sunday" in Hungary before the song was (allegedly) banned. These "links" included people who reportedly killed themselves after listening to the song (either from a recording or performed by a band), or who were said to have been  found dead with references to "Gloomy Sunday" (and/or its lyrics) in their suicide notes, with "Gloomy Sunday" sheet music in their hands, or with "Gloomy Sunday" playing on gramophones.

      I don't know how any of these claims could be verified short of paging through old Hungarian newspapers; even then, it would be difficult at this late date to separate exaggerated and fabricated reports from true ones. I suspect that this portion of the legend is trivially true, a combination of Hungary's historically high suicide rate and the assumption of a causal ? rather than a coincidental ? relationship between the song and suicides that caused rumors and media reports to be greatly exaggerated.

      Hungary has had the highest suicide rate of any country for many years (as high as 45.9 per 100,000 people in 1984), so a few dozen suicides there over a year's time certainly wouldn't have been unusual, even in 1936. Nor is it at all uncommon for suicides to work something from popular songs or books or films into their deaths. Only when one particular song was coincidentally linked to a sufficient number of suicides to draw attention to _all_ the suicides in which it played a part did people start to claim that it was somehow the cause of these deaths.

   2. Many claims are made about the reaction to "Gloomy Sunday" by Hungarian authorities, from "discouraging" public performance of the song to an outright ban on it. I have found no reliable information about when, where, or by whom this song might have been banned in one form or another. My guess, based on similar legends (such as the claim that Donald Duck was banned in /insert Scandinavian country of choice/), would be that some Hungarian municipalities may have instituted some types of (possibly  voluntary) restrictions on the song, but that there was no nation-wide ban on "Gloomy Sunday."



   3. The claims about American reaction to the song are even wilder. Some sources claim that no "Gloomy Sunday"-inspired suicides were reported in the USA at all, while others attribute cases of suicide (up to "200 worldwide") in both the USA and Britain to the English-language version of "Gloomy Sunday" (including "young jazz fans" who became depressed after hearing Billie Holiday's version of the song). Likewise, while some sources say that there were no restrictions whatsoever placed on the song in the USA, others claim that it was "banned from the airwaves." (Sometimes the ban is said to have been directed at a particular version of the song, such as Billie Holiday's recording of it.) Some sources even claim that a sort of "compromise" ban was enacted as many radio stations played only the instrumental version of the song.

   4. The "girlfriend who inspired the song committed suicide" claims sounds like an embellishment of the basic legend, as I only found one source that mentioned it. It claimed that Javor "wrote the song for a former girlfriend," and that shortly after its release she committed suicide and left behind a note reading simply "Gloomy Sunday."

   5. Rezso Seress did indeed commit suicide, jumping from a Budapest building in 1968. This portion of the legend also appears to have been embellished, with some sources claiming that he was depressed because he'd never been able to produce another hit after "Gloomy Sunday."



Szomorú Vasárnap

Szomorú vasárnap száz fehér virággal
Vártalak kedvesem templomi imával
Álmokat kergető vasárnap délelőtt
Bánatom hintaja nélküled visszajött
Azóta szomorú mindig a vasárnap
Könny csak az italom kenyerem a bánat...

Szomorú vasárnap
— László Jávor original Hungarian version
Gloomy Sunday

Gloomy Sunday with a hundred white flowers
I was waiting for you my dearest with a prayer
A Sunday morning, chasing after my dreams
The carriage of my sorrow returned to me without you
It is since then that my Sundays have been forever sad
Tears my only drink, the sorrow my bread...

Gloomy Sunday
literal English translation

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    Divya Om Prakash Bharti Or As Known Divya Bharti (Hindi: दिव्या भारती), (25 February 1974 - 5 April 1993) was an Indian Bollywood Actress. Before Her Death She Was Number 3 In The Bollywood Industry Just Behind Madhuri Dixit And Sridevi Sadly Before Her Tragic Death. She started her career in 1990 with Telugu films making her debut in Bobbili Raja. After several other hits in the South she entered Hindi films with 'Vishwatma' in 1992 as her debut Film Which Was Average In The Box Office But She Claimed A Huge Praise in her song Saat Samundar Paar which at the time was an big hit song which made her fame. She appeared in more than 14 Hindi films within a year, the years between 1992 and Mid 1993 which Is known a smashing record at the time for a newcomer which till now is a world record for the most films within a year that no one could ever beat. She married Sajid Nadiadwala In May 1992. Her career was cut short by her tragic death in April 1993 at the age of 19. Her death was left mysteriously unknown as they could not find enough evidence of how she died therefore they closed the case in 1998 as it proved to be difficult to find any solution in how to solve her death.

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    Early life and background

    Divya was born in Mumbai,India, a daughter of Omprakash Bharti, an insurance officer, and Meeta Bharti(Lodhi), a housewife. Divya Bharti(Lodhi) had a younger brother Kunal. Divya's mother was a second wife of Omprakash Bharti.

    Divya Studied at Maneckji Cooper High School in Juhu, Mumbai. There, Divya completed grade 9th. Divya was not keen on acting during her school years. However, She used to take part in fashion shows during the Ganapati festival and she won many awards for this, while still in school.

    Divya was good at studies, but she also excelled at extra-curricular activities. Divya and her brother were very good swimmers. They were champion swimmers for the Mumbai's club called Khar Gymkhana. Divya was also an expert driver. She learned to drive at age of fourteen.

    Career

      Breakthrough In Bollywood

    Divya was in the ninth grade when she began to get film offers. Her face resembled to those days' superstar Sridevi and so got noticed by many directors and producers. At first her parents were hesitant, because even Divya wasn't interested. Till Nandu Tolani offered her Gunahon Ka Devta. Finally, Divya agreed to enter in to showbiz, when her mother told her that she would have to give up her studies, she got so excited. Divya was 14 and half then, In late 1988.Meanwhile, the Bharti learned via a friend that Dalip Shankar wanted a new girl opposite Aamir Khan in Aatank Hi Aatank and Rudra Avtaar. By her parents permission, Divya signed both films. During those time,Kirti Kumar, Govinda's brother noticed the charming Divya at video library. He followed her to her residence and then he called up the director Nandu Tolani, who resides in the next building and asked about Divya.

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    Radha Ka Sangam Episode

    The next thing the Bhartis knew was that Kirti Kumar was eager to sign Divya for Radha Ka Sangam opposite Govinda. Kirti went personally to meet Dalip Shankar and managed to release her from their contract. Kirti quoted in March 1989 in Showtime Magazine "I told Dalip that he could take any girl, but i'd never be able to find another Radha. Kirti changed her name from Divya to Radha. Producer Kirti launched her with much fanfare. He gave interviews on how he had found his perfect Radha after scouring the whole of India for her. And then before the first shot was taken, Divya "Radha" Bharti was out of the film after grooming for two years and replaced by Juhi Chawla. The reasons each side gave for the fall-out were different. Various Magazines wrote different things behind dropped out. Some said "Kirti became over-possessive about her", other said "Lawrence D'souza, who was to direct the film, left the project. Then Kirti decided to take over the film. Being new to direction, he had to drop Divya because he felt he could not handle a newcomer", other magazines wrote "Divya was having an affair with Govinda and Kirti couldn't tolerate that. Others wrote "It was Divya's immaturity, which made her drop out of film.

    Re-struggle 

    Rise to Stardom in Telugu Cinema  

    And that was the green signal for other film makers to enter the fray. She was screen-tested by big names Boney Kapoor, Mahesh Bhatt, Shabnam Kapoor, Shekhar Kapoor and Subhash Ghai. They all raved about her but no one signed her, there were rumor that it was her childish reputation had preceded her. In magazines, she had earned a name for being wild and crazy. In fact, for his big budget film Prem, Boney Kapoor signed Divya. Eight days later, Divya was out and Tabu was re-signed. Later Subhash Ghai too called her for Saudagar opposite Aamir Khan and 20 days later she was out and he signed Manisha Koirala and Vivek Mushram. By then, the rejection had affected fifteen years old Divya. Since she was already out of school, they would not accept her back. As result, she was forced to sit idle. Fortunately, One of the biggest producer of Telugu cinema, D. Ramanaidu landed up at Divya's doorstep. He offered Divya , Bobbili Raja, a telugu film opposite Daggubati Venkatesh. Immediately, Divya got a Tamil Film and Rajiv Rai approached her for Vishwatma.

    After being dropped out of so many Big Projects, Divya got depressed and left Mumbai. On the evening of her return, the producer of Bobbili Raja sent his men over. They wanted Divya to fly down the same night. As Divya quoted in the Nov 1991 "Movie" magazine, "I didn't want to go. I said no but mummy said yes. Imagine, the film became a super-hit and i became a superstar". The move paid off. Bobbili Raja released in the summer of 1990 became a colossal hit. She had captured the south by storm, and she was a goddess there. Even a temple had been built in her name. With more hits, she became a big name in Telugu cinema. In box-office rating, she figured next only to the indomitable Vijayshanti. Her price, according to an insider, had touched a whopping 25 Lakhs per film and 1 lakh per each additional day (If shooting postponed south producers were paying 15 lakhs for 15 days) , which was a big amount in 1991. In Bollywood, only Madhuri Dixit and Sridevi were getting those kinds of price. In 1991 Divya gave back-to-back hits including Rowdy Alludu, Dharma Kshetram and Assembly Rowdy opposite superstars of Telugu cinema including Chiranjeevi, Balakrishna and Mohan Babu. In north India, she was known as the Sridevi of Telugu films. But, that was not what Divya was looking for. She wanted to make it big in Mumbai. And she was back with fresh determination. Meanwhile, She didn't want to disappoint her Telugu audience and she cut down to do one movie per year.

     Rise to Stardom in Bollywood

      When Divya heard that Rajiv Rai was on the lookout for a new face for his film Vishwatma opposite Sunny Deol, she daringly walked into Rajiv Rai's office with her portfolio. And the same day signed the film. Rajiv was making the sequel to his Blockbuster film Tridev.

    The film was produced by Trimurti Films Pvt. Ltd. is one of the biggest and oldest film production. Their films put many now-superstars on the map including Hema Malini in Johny Mera Naam and Amitabh Bachan in Deewar. Vishwatma was launched in the late 1990 with grand mahurat. Film actor Dharamendra gave the mahurat shot. Soon Divya was left for long outdoor shooting in Nairobi. By the time Divya came back, film offers started pouring up in Divya's lap. Without single release so far, Divya signed 14 films. She Was Also Known As Shahrukh Khan's Leading Lady as Shahrukh said she was the one that made him famous in the films Deewana, And Dil Aashna Hai.
    2 January 1992 was a big day for Divya. She had many reasons for wanting the film to be successful. vishwatma did do well however the film's success didn't come close to that of Tridev and the film was declared a flop. The film premiere was attended by many film personalities including Amitabh Bachan, Yash Chopra, Jackie Shroff, Juhi Chawla, Raveena Tandon, Manisha Koirala, Chunky Pandey and many more. Although, "Saath Samundar Paar", which was picturized with Divya, became a hit and even today the audience remembers Divya in that song.
    Seven days later, Divya's musical bonanzas Dil Ka Kya Kasoor released. It was supposed to establish her as popular heroine but opened to empty theaters. No one expected film to bomb so badly. Although, the film failed to impress an audience, Filmfare magazines started including Diyva in the list of 1992 top ten best actress performances. Surprisingly, even when other now-wellknown newcomers was introducing to showbiz), Divya collapsed debut made a magazine headline, when many actress included Madhoo in Phool aur Kaante and Chandni in Sanam Bewafa super hit films didn't made them star, Divya's flops made her star. Divya defended herself by quoted, " I wanted to prove myself. But, I've fallen flat on my face. Now, I have to begun my climb all over again. Yet, I'm positive that one day success will be mine", (Stardust, March 1992).

    And, Thus Divya too was deleted from the ranks of the promising newcomers for a while. Then Pehlaj Nihlani's Shola Aur Shabnam came along. The film proved a box office hit and Divya was riding high again. Not only did it present Divya in a noble character, but also gave big boost to Govinda's career and launched David Dhawan as established director.
    Four Months later, Raj Kanwar's love story Deewana became the biggest hit of 1992, where she held her own against veteran Rishi Kapoor and the debutant Shahrukh Khan, who later went on to become Bollywood superstar and an icon of Indian Cinema. With the super success of Deewana, Divya got rid of her promising newcomer status and entered the A-list. Her performance in Deewana was highly appreciated. Around that time, Divya's other films Balwaan, with Sunil Shetty, and Jaan Se Pyaara, with Govinda released and did well at the box office. By the end of the year, Hema Malini's Dil Aashna Hai released, in which Divya played a bar dancer, who was looking for her mother. Although the film was a box-office failure, her performance in the film was much appreciated by critics.

    Suddenly, with big hits under her belt, Divya had become the hottest property in showbiz. And many predicted that she was poised to hit the number one slot not very far. In fact, In September,'Movie' magazines such as "Movie", "Stardust" an "Filmfare" putnher at the 3rd position actress by the bases of price, popularity and position right after Madhuri Dixit and Sridevi. But, destiny had other plans, on the fateful day of 5 April 1993, Divya fell on the compound from her 5th floor apartment, She was only nineteen.

    Personal life

    Barely 16, Divya met Sajid Nadiadwala in 1990 at Filmcity, when Sajid dropped by the sets to Meet his friend Govinda. Divya was shooting with Govinda_Ahuja on the sets of Shola Aur Shabnam. It was Govinda who introduced Sajid to Divya. Soon, it became a routine for the unit to see Sajid on sets everyday.

    As Sajid quotes in Movie June 1993 issue "Somewhere around 15 January 1992 Divya told me that she wanted to get married. The very next day she was tense because her name was being linked with all heroes. She wanted to marry and put an end to all these controversies. People expect me to have a relationship with everyone, she would complain.

    Then on 20 May 1992. Divya got married to Sajid in the presence of her hairdresser Sandhya, the hairdresser's husband and a kazi at Tulsi apartments, Sajid's Versova residence. She converted to Islam and took on a new name, "Sanah". As Sajid quotes "We kept the marriage a secret because her career was at stake. Her producers would have panicked. In retrospect, I wish we had told the truth. Divya wanted to announce that we were married but i kept telling her to wait for a while. I wish I hadn't. Every time she saw the rushes of her films, she would sigh, "This will flop and people will ask me to quit". But that never happened, her films were hits. By the end of 1993, she would have completed all her assignments.v

    Death

    Around midnight 5 April 1993, Divya fell to her death off her husband's 5-storey apartment building, Tulsi 2 in Mumbai.There were numerous speculations by the media regarding Divya's sudden demise, including the possibility of accidental death, suicide and even murder. Divya's dress designer is believed to have been present at the apartment at the time of death but the unfortunate event could not be avoided. Police closed the investigation into her death in 1998, but the circumstances of her death still remain murky.

    Her body was released on 7 April 1993 and the funeral took place the same day. About 500 people attended the funeral of then youngest heroine of the silver screen, including Anil Kapoor, Govinda, Kamal Sadanah, Raj Babbar, Yash Chopra, Jimmy Nirula, Sudhakar Bokade, Mukesh Duggal,Mahesh Anand, Aruna Irani, Raza Murad, Vikas Anand, Venkatesh, Ram Mohan, Javed Khan, Raj Kanwar, Nitin Manmohan and Pehlaj Nehlani, maker of her first hit, Shola aur Shabnam. A large number of film personalities, including Hema Malini, Jaya Bhaduri Urmila Matondkar, Saif Ali Khan, Shahrukh Khan, Shilpa Shirodkar, Sonu Walia, Somy Ali, Babita, Karisma Kapoor, Sangeeta Bijlani, Tabu, Manisha Koirala and Asha Parekh, offered condolences to the bereaved family members at their residence. Her family also stated in an interview if my daughter was taking drugs and drinking, how comes she completed 14 films within a year that shows how my divya doesnt drink or take drugs shes perfectly innocent and others too knows that she was a innocent bright talented girl.

    She was scheduled to star in movies including Mohra, Laadla, Andolan, Angrakshak ,Kartavya (1995), and Vijaypath before her death; her roles were recast. Divya had almost completed 80% of Laadla before her death but the entire movie was redone with Sri Devi. and footage of her performance on scenes that she had completed was released years later. The movie would have released in 1993 had Divya completed the movie but it was eventually released in 1994.

    Divya's two final completed films, Rang and Shatranj, were released months after her death. These films—in addition to several films produced by her husband Sajid Nadiadwala—were dedicated to her memory.

    1998

    In 1998 they decided to close the case since it proved too difficult to find what had really happened for the real reason that caused her tragic death but till now her death remains a mystery and never be known of how she died but till today is remembered of her brilliant personality and acting and will never be forgotten. Because of her overwhelming performance she is still love & remembered by the people.


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