Business Travel: Making it More Personal

India Travel Guide and Travel Tips for India Tourism
When you plan to travel to India make sure that India is different place on earth and before you travel to India, you should pack up well with the items that you need. Medicines are very important that you should take with you before you travel to India. Take a pack of those medicines which you think you will not found in India. Almost all the medicines are available in India but some are not original so you should keep in mind that those medicines that are important to you should be in your first aid box.
When you come to India, you should buy the India travel guide and I will suggest you that before leaving your home or planning your holiday in India, you must see the India travel guide books and websites. This will help you to locate and explore India easily and you can enjoy more while Indian tourism. But if you forgot to have an India travel guide then you should buy it at once after you stop at the air port. Hiring travel guide is good option but you should have the knowledge of prices and rates of the things you want to buy from India and the places you want to stay like hotels, restaurants or rental houses. You can find the information in travel to India guide. India is amazing place to see if you come with all preparations. When you are packing your luggage make sure that you put summer and winter clothes because in Indian tourism, you will find places where there is extremely hot and extremely cold weathers. The clothes will protect you in the seasons and you will not bother about buying new clothes form India.
Another important thing that can help you while travel to India. Before you come to India, try to learn Hindi words or vocabulary the regional language of India because many people are ignorant and they have no idea about English or your mother tongue. So you should try to learn some important words that you think will help you while you travel to India.
Your guides can help you to learn Hindi in Indian tourism but it is better to have knowledge before you get at the destination. India is a huge country and in this big country the cultures are blended together. People of different cultures and religions live together. The main four religions are Hinduism, Islam, and Sikhs and christens. What is important for you while you travel to India is to respect their religions and cultures and never do such things that can irritate people. The information about religions and cultures are mentioned in India travel guide. You should learn them and follow their cultures when you are dealing with societies of different cultures.
These are some important tips that you should keep in mind in India tourism. These things will help you and make your travel to India pleasurable and pleasant. Now you can come to India and enjoy your vacations

Business Travel: Making it More Personal
When your office sends you to another city, state, or country for official business travel, you initially feel excited. For some, it's an opportunity to go to a place that they've never been to. For the frequent traveller, a business trip is a chance to explore a certain destination more. Excitement really sets in especially that you virtually don't have to spend a dime for that travel. On the other hand, a business travel can be a source of stress. It's tiring enough to get on board a plane and endure a long flight. How much more if you are pressured at finishing an important presentation? The worst part is, in business travel, you don't own your time fully. Your schedule is bombarded by meetings, client presentations, and even trainings and seminars. So how do you make a business travel less stressful - and consequently more personal? Is it possible to still find time for personal leisure in a company-initiated trip? The answer is yes. Here are a few pointers:
Use a large wallet that can keep all your receipts, your passport, and your passport together. In a business trip, you need to liquidate your expenses. As such, you need to keep your receipts as your Accounting Department would require a copy of those. To avoid having problems come liquidation time, make sure that you keep all your receipts together. Better yet, regularly list your expenses. This saves you time and stress once you get back to your office. Keeping all these valuable documents in one place also keeps your head organized. You only have one wallet to worry about. So you don't need to spend hours rummaging your bag for that single receipt. You can use this time to do the things that you want to do instead.
2. Avoid working during the flight.
If you are sent to another state to give a presentation, then finish your materials before getting on that plane. As much as possible, have everything ready before leaving the office. This way, you can spend time reading or catching up on your favorite movies during the entire flight. This also allows you to have some rest prior to that important meeting, conference or presentation. 3. Make use of free internet messaging services. Now that you are in another place, all the more that you have to keep in touch with your colleagues and family. If you are travelling outside of the country, you would be spending tons of money for telephone bills alone because roaming charges are a lot higher. To avoid this, make use of internet-based telephony services. You can check out Yahoo Messenger or Skype for this purpose. By using these services, you will not only be given the chance to talk to your colleagues for hours, but you'll also be able to contact your family as well. So you can tell your wife or your girlfriend how your day was without necessarily worrying about the telephone charges. Not all people are chosen to represent their company. Not all people are given the chance for a business travel. If you are one of the lucky and worthy ones, grab the opportunity. Make the most out of it. Don't let office work and pressure keep you from enjoying your time in another place. Always find a way to have quality personal time during a business trip.

Indian Cinima History

In the 20th century, Indian cinema, along with the American and Chinese film industries, became a global enterprise. Enhanced technology paved the way for upgradation from established cinematic norms of delivering product, radically altering the manner in which content reached the target audience. Indian cinema found markets in over 90 countries where films from India are screened. The country also participated in international film festivals exspecially satyajith ray(bengali),Adoor Gopal krishnan,Shaji n karun(malayalam) . Indian filmmakers such as Shekhar Kapur, Mira Nair, Deepa Mehta etc. found success overseas. The Indian government extended film delegations to foreign countries such as the United States of America and Japan while the country's Film Producers Guild sent similar missions through Europe.
India is the world's largest producer of films, producing close to a thousand films annually. About 600 of the total films produced are in Telugu and Hindi, approximately 300 each, while the remaining are in other languages. However, Hindi films account for about half of the total revenue generated by cinema in India.The provision of 100% foreign direct investment has made the Indian film market attractive for foreign enterprises such as 20th Century Fox, Sony Pictures, and Warner Bros. Prominent Indian enterprises such as Zee, UTV and Adlabs also participated in producing and distributing films. Tax incentives to multiplexes have aided the multiplex boom in India. By 2003 as many as 30 film production companies had been listed in the National Stock Exchange of India, making the commercial presence of the medium felt.
The Indian diaspora constitutes of millions of Indians overseas for which films are made available both through mediums such as DVDs and by screening of films in their country of residence wherever commercially feasible. These earnings, accounting for some 12% of the revenue generated by a mainstream film, contribute substantially to the overall revenue of Indian cinema, the net worth of which was found to be 1.3 billion US Dollars in 2000. Facilities for film production in the country include Ramoji Film City in Hyderabad, the home of Telugu film industry, the largest film studio complex in the world as certified by Guinness World Records. Music in Indian cinema is another substantial revenue generator, with the music rights alone accounting for 4–5% of the net revenues generated by a film in India. India makes first movie in 1913.Today bollywood become the most movie making industry in the world.
History
A scene from Raja Harishchandra (1913) – The first full-length motion picture.
A scene from the first motion picture of the Assamese film industry, Joymati (1935).
Devika Rani and Ashok Kumar in Achhut Kanya (1936).Following the screening of the moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the films had been in show in Bombay (now Mumbai). The first short films in India were directed by Hiralal Sen, starting with The Flower of Persia (1898). The first full-length motion picture in India was produced by Dadasaheb Phalke, a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harishchandra (1913), a silent film in Marathi. The first Indian chain of cinema theaters was owned by the Calcutta entrepreneur Jamshedji Framji Madan, who oversaw production of 10 films annually and distributed them throughout the Indian subcontinent.
During the early twentieth century cinema as a medium gained popularity across India's population and its many economic sections. Tickets were made affordable to the common man at a low price and for the financially capable additional comforts meant additional admission ticket price. Audiences thronged to cinema halls as this affordable medium of entertainment was available for as low as an anna (4 paisa) in Bombay. The content of Indian commercial cinema was increasingly tailored to appeal to these masses. Young Indian producers began to incorporate elements of India's social life and culture into cinema. Others brought with them ideas from across the world. This was also the time when global audiences and markets became aware of India's film industry.
Ardeshir Irani released Alam Ara, the first Indian talking film, on 14 March 1931. Following the inception of 'talkies' in India some film stars were highly sought after and earned comfortable incomes through acting. As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabha and Devi Devyani marking the beginning of song-and-dance in India's films. Studios emerged across major cities such as Chennai, Kolkata, and Mumbai as film making became an established craft by 1935, exemplified by the success of Devdas, which had managed to enthrall audiences nationwide. Bombay Talkies came up in 1934 and Prabhat Studios in Pune had begun production of films meant for the Marathi language audience. Filmmaker R. S. D. Choudhury produced Wrath(1930), banned by the British Raj in India as it depicted actors as Indian leaders, an expression censored during the days of the Indian independence movement.
The Indian Masala film a slang used for commercial films with song, dance, romance etc., came up following the second world war. South Indian cinema gained prominence throughout India with the release of S.S. Vasan's Chandralekha. During the 1940s cinema in South India accounted for nearly half of India's cinema halls and cinema came to be viewed as an instrument of cultural revival. The partition of India following its independence divided the nation's assets and a number of studios went to the newly formed Pakistan. The strife of partition would become an enduring subject for film making during the decades that followed.
Following independence the cinema of India was inquired by the S.K. Patil Commission. S.K. Patil, head of the commission, viewed cinema in India as a 'combination of art, industry, and showmanship' while noting its commercial value. Patil further recommended setting up of a Film Finance Corporation under the Ministry of Finance. This advice was later taken up in 1960 and the institution came into being to provide financial support to talented filmmakers throughout India. The Indian government had established a Films Division by 1949 which eventually became one of the largest documentary film producers in the world with an annual production of over 200 short documentaries, each released in 18 languages with 9000 prints for permanent film theaters across the country.
The Indian Theatre Association , an art movement with a communist inclination, began to take shape through the 1940s and the 1950s. A number of realistic IPTA plays, such as Bijon Bhattacharya's Nabanna in 1944, prepared the ground for the solidification of realism in Indian cinema, exemplified by Khwaja Ahmad Abbas's Dharti Ke Lal in 1946. The IPTA movement continued to emphasize on reality and went on to produce Mother India and Pyaasa, among of India's most recognizable cinematic productions.
Golden Age of Indian Movies : A scene from Ritwik Ghatak's Nagarik (1952), considered Bengali cinema's earliest art film. Wide open eyes, a continual motif in Satyajit Ray's The Apu Trilogy (1955–1959). Guru Dutt in Pyaasa (1957), for which he was the director, producer and leading actor.Following India's independence, the period from the late 1940s to the 1960s are regarded by film historians as the 'Golden Age' of Indian cinema. Some of the most critically acclaimed Indian films of all time were produced during this period. In commercial Hindi cinema, examples of famous films at the time include the Guru Dutt films Pyaasa (1957) and Kaagaz Ke Phool (1959) and the Raj Kapoor films Awaara (1951) and Shree 420 (1955). These films expressed social themes mainly dealing with working-class urban life in India; Awaara presented the city as both a nightmare and a dream, while Pyaasa critiqued the unreality of city life, Some of the most famous epic films of Hindi cinema were also produced at the time, including Mehboob Khan's Mother India (1957), which was nominated for the Academy Award for Best Foreign Language Film, and K. Asif's Mughal-e-Azam (1960) V. Shantaram's Do Aankhen Barah Haath (1957) is believed to have inspired the Hollywood film The Dirty Dozen (1967). Madhumati (1958), directed by Bimal Roy and written by Ritwik Ghatak, popularized the theme of reincarnation in Western popular culture. Other mainstream Hindi filmmakers at the time included Kamal Amrohi and Vijay Bhatt. While commercial Indian cinema was thriving, the period also saw the emergence of a new Parallel Cinema movement, mainly led by Bengali cinema. Early examples of films in this movement include Chetan Anand's Neecha Nagar (1946), Ritwik Ghatak's Nagarik (1952), and Bimal Roy's Two Acres of Land (1953), laying the foundations for Indian neorealism and the "Indian New Wave". Pather Panchali (1955), the first part of the The Apu Trilogy (1955–1959) by Satyajit Ray, marked his entry in Indian cinema. The Apu Trilogy won major prizes at all the major international film festivals and led to the 'Parallel Cinema' movement being firmly established in Indian cinema. Its influence on world cinema can also be felt in the "youthful coming-of-age dramas that have flooded art houses since the mid-fifties" which "owe a tremendous debt to the Apu trilogy". Satyajit Ray and Ritwik Ghatak went on to direct many more critically-acclaimed 'art films', and they were followed by other acclaimed Indian independent filmmakers such as Mrinal Sen, Adoor Gopalakrishnan, Mani Kaul and Buddhadeb Dasgupta. During the 1960s, Indira Gandhi's intervention during her reign as the Information and Broadcasting Minister of India further led to production of off-beat cinematic expression being supported by the official Film Finance Corporation.
The cinematographer Subrata Mitra, who made his debut with Satyajit Ray's The Apu Trilogy, also had an importance influence on cinematography across the world. One of his most important techniques was bounce lighting, to recreate the effect of daylight on sets. He pioneered the technique while filming Aparajito (1956), the second part of The Apu Trilogy.[36] Some of the experimental techniques which Satyajit Ray pioneered include photo-negative flashbacks and X-ray digressions while filming Pratidwandi (1972).[37] Ray's 1967 script for a film to be called The Alien, which was eventually cancelled, is also widely believed to have been the inspiration for Steven Spielberg's E.T. (1982).[38][39][40] Some of Ritwik Ghatak's films also have strong similarities to later famous international films, such as Bari Theke Paliye (1958) resembling François Truffaut's The 400 Blows (1959) and Ajantrik (1958) having elements that resemble Taxi Driver (1976) and the Herbie films (1967–2005).
Other regional industries also had their 'Golden Age' during this period. Commercial Tamil cinema experienced a growth in the number of commercially successful films produced. Some of the most famous Tamil film personalities at the time included M. G. Ramachandran, Sivaji Ganesan, M. N. Nambiyar, Asokan and Nagesh.[41] Marathi cinema also ushered in a 'Golden Age' at this time, with some of its directors such as V. Shantaram later playing in instrumental role in mainstream Hindi cinema's 'Golden Age'.[42]
Ever since Chetan Anand's social realist film Neecha Nagar won the Grand Prize at the first Cannes Film Festival,[31] Indian films were frequently in competition for the Palme d'Or at the Cannes Film Festival for nearly every year in the 1950s and early 1960s, with a number of them winning major prizes at the festival. Satyajit Ray also won the Golden Lion at the Venice Film Festival for Aparajito (1956), the second part of The Apu Trilogy, and the Golden Bear and two Silver Bears for Best Director at the Berlin International Film Festival.[43] Ray's contemporaries, Ritwik Ghatak and Guru Dutt, were overlooked in their own lifetimes but had belatedly generated international recognition much later in the 1980s and 1990s.[43][44] Ray is regarded as one of the greatest auteurs of 20th century cinema,[45] while Dutt[46] and Ghatak[47] are also among the greatest filmmakers of all time. In 1992, the Sight & Sound Critics' Poll ranked Ray at #7 in its list of "Top 10 Directors" of all time,[48] while Dutt was ranked #73 in the 2002 Sight & Sound greatest directors poll.[46]
A number of Indian films from this era are often included among the greatest films of all time in various critics' and directors' polls. A number of Satyajit Ray films appeared in the Sight & Sound Critics' Poll, including The Apu Trilogy (ranked #4 in 1992 if votes are combined),[49] The Music Room (ranked #27 in 1992), Charulata (ranked #41 in 1992)[50] and Days and Nights in the Forest (ranked #81 in 1982).[51] The 2002 Sight & Sound critics' and directors' poll also included the Guru Dutt films Pyaasa and Kaagaz Ke Phool (both tied at #160), the Ritwik Ghatak films Meghe Dhaka Tara (ranked #231) and Komal Gandhar (ranked #346), and Raj Kapoor's Awaara, Vijay Bhatt's Baiju Bawra, Mehboob Khan's Mother India and K. Asif's Mughal-e-Azam all tied at #346.[52] In 1998, the critics' poll conducted by the Asian film magazine Cinemaya included The Apu Trilogy (ranked #1 if votes are combined), Ray's Charulata and The Music Room (both tied at #11), and Ghatak's Subarnarekha (also tied at #11).[47] In 1999, The Village Voice top 250 "Best Film of the Century" critics' poll also included The Apu Trilogy (ranked #5 if votes are combined).[53] In 2005, The Apu Trilogy and Pyaasa were also featured in Time magazine's "All-TIME" 100 best movies list.[54]
Modern Indian cinema
A scene from Adoor Gopalakrishnan's Mathilukal (1989).Some filmmakers such as Shyam Benegal continued to produce realistic Parallel Cinema throughout the 1970s,[55] alongside Satyajit Ray, Ritwik Ghatak, Mrinal Sen, Buddhadeb Dasgupta and Gautam Ghose in Bengali cinema; Adoor Gopalakrishnan, John Abraham and G. Aravindan in Malayalam cinema; and Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani and Vijaya Mehta in Hindi cinema.[26] However, the 'art film' bent of the Film Finance Corporation came under criticism during a Committee on Public Undertakings investigation in 1976, which accused the body of not doing enough to encourage commercial cinema.[56] The 1970s did, nevertheless, see the rise of commercial cinema in form of enduring films such as Sholay (1975), which solidified Amitabh Bachchan's position as a lead actor.[56] The devotional classic Jai Santoshi Ma was also released in 1975.[56] Another important film from 1975 was Deewar, directed by Yash Chopra and written by Salim-Javed. A crime film pitting "a policeman against his brother, a gang leader based on real-life smuggler Haji Mastan", portrayed by Amitabh Bachchan, it was described as being "absolutely key to Indian cinema" by Danny Boyle.[57]
Commercial cinema further grew throughout the 1980s and the 1990s with the release of films such as Mr India (1987), Qayamat Se Qayamat Tak (1988), Tezaab (1988), Chandni (1989), Maine Pyar Kiya (1989), Baazigar (1993), Darr (1993),[56] Dilwale Dulhaniya Le Jayenge (1995) and Kuch Kuch Hota Hai (1998), many of which starred Aamir Khan, Salman Khan and Shahrukh Khan.
Roja, the village girl played by Madhoo, in Mani Ratnam's Tamil feature film Roja (1992).The 1990s also saw a surge in the national popularity of Tamil cinema as films directed by Mani Ratnam captured India's imagination.[56] Such films included Roja (1992) and Bombay (1995). Ratnam's earlier film Nayagan (1987), starring Kamal Haasan, was included in Time magazine's "All-TIME" 100 best movies, alongside four earlier Indian films: Satyajit Ray's The Apu Trilogy (1955–1959) and Guru Dutt's Pyaasa (1957).[54] Another Tamil director S. Shankar also made waves through his film Kadhalan, famous for its music and actor Prabhu Deva's dancing. The South Indian film industry not only released cinema with national appeal but also featured multicultural music which found appreciation among the national Indian audience.[58] Some Tamil filmi composers such as A. R. Rahman and Ilaiyaraaja have since acquired a large national, and later international, following. Rahman's debut soundtrack for Roja was included in Time Magazine's "10 Best Soundtracks" of all time,[59] and he would later go on to win two Academy Awards for his international Slumdog Millionaire (2008) soundtrack. Tabarana Kathe, a Kannada film, was screened at various film festivals including Tashkent, Nantes, Tokyo, and the Film Festival of Russia.[60]
Long after the Golden Age of Indian cinema, South India's Malayalam cinema of Kerala experienced its own 'Golden Age' in the 1980s and early 1990s. Some of the most acclaimed Indian filmmakers at the time were from the Malayalam industry, including Adoor Gopalakrishnan, G. Aravindan, T. V. Chandran and Shaji N. Karun.[61] Adoor Gopalakrishnan, who is often considered to be Satyajit Ray's spiritual heir,[62] directed some of his most acclaimed films during this period, including Elippathayam (1981) which won the Sutherland Trophy at the London Film Festival, as well as Mathilukal (1989) which won major prizes at the Venice Film Festival.[63] Shaji N. Karun's debut film Piravi (1989) won the Camera d'Or at the 1989 Cannes Film Festival, while his second film Swaham (1994) was in competition for the Palme d'Or at the 1994 Cannes Film Festival.[64]
Kamal Hassan as Velu Nayakar in Nayagan,was included in Time magazine's "All-TIME" 100 best movies
Bhuvan (Aamir Khan) with his cricket team consisting of village-folk, in Ashutosh Gowarikar's Lagaan (2001).In the late 1990s, 'Parallel Cinema' began experiencing a resurgence in Hindi cinema, largely due to the critical and commercial success of Satya (1998), a low-budget film based on the Mumbai underworld, directed by Ram Gopal Varma and written by Anurag Kashyap. The film's success led to the emergence of a distinct genre known as Mumbai noir,[65] urban films reflecting social problems in the city of Mumbai.[66] Later films belonging to the Mumbai noir genre include Madhur Bhandarkar's Chandni Bar (2001) and Traffic Signal (2007), Ram Gopal Varma's Company (2002) and its prequel D (2005), Anurag Kashyap's Black Friday (2004), and Irfan Kamal's Thanks Maa (2009). Other art film directors active today include Mrinal Sen, Buddhadeb Dasgupta, Gautam Ghose, Sandip Ray, Aparna Sen and Rituparno Ghosh in Bengali cinema; Adoor Gopalakrishnan, Shaji N. Karun and T. V. Chandran in Malayalam cinema; Mani Kaul, Kumar Shahani, Ketan Mehta, Govind Nihalani, Shyam Benegal,[26] Mira Nair, Nagesh Kukunoor, Sudhir Mishra and Nandita Das in Hindi cinema; Mani Ratnam and Santosh Sivan in Tamil cinema; and Deepa Mehta, Anant Balani, Homi Adajania, Vijay Singh and Sooni Taraporevala in Indian English cinema.
Influences
Prasads IMAX Theatre houses at Hyderabad, the 2nd largest IMAX-3D in the world (2nd to the world's largest in Sydney, Australia).[67] PVR Cinemas in Bangalore is one of the largest cinema chains in India MG Road Gurgaon, one of the longest commercial streets in AsiaThere have generally been six major influences that have shaped the conventions of Indian popular cinema. The first was the ancient Indian epics of Mahabharata and Ramayana which have exerted a profound influence on the thought and imagination of Indian popular cinema, particularly in its narratives. Examples of this influence include the techniques of a side story, back-story and story within a story. Indian popular films often have plots which branch off into sub-plots; such narrative dispersals can clearly be seen in the 1993 films Khalnayak and Gardish. The second influence was the impact of ancient Sanskrit drama, with its highly stylized nature and emphasis on spectacle, where music, dance and gesture combined "to create a vibrant artistic unit with dance and mime being central to the dramatic experience." Sanskrit dramas were known as natya, derived from the root word nrit (dance), characterizing them as spectacular dance-dramas which has continued in Indian cinema.[68] The Rasa method of performance, dating back to ancient Sanskrit drama, is one of the fundamental features that differentiate Indian cinema from that of the Western world. In the Rasa method, empathetic "emotions are conveyed by the performer and thus felt by the audience," in contrast to the Western Stanislavski method where the actor must become "a living, breathing embodiment of a character" rather than "simply conveying emotion." The rasa method of performance is clearly apparent in the performances of popular Hindi film actors like Amitabh Bachchan and Shahrukh Khan, nationally-acclaimed Hindi films like Rang De Basanti (2006),[69] and internationally-acclaimed Bengali films directed by Satyajit Ray.[70]
The third influence was the traditional folk theatre of India, which became popular from around the 10th century with the decline of Sanskrit theatre. These regional traditions include the Yatra of Bengal, the Ramlila of Uttar Pradesh, and the Terukkuttu of Tamil Nadu. The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The Parsi plays contained crude humour, melodious songs and music, sensationalism and dazzling stagecraft."[68] All of these influences are clearly evident in the masala film genre that was popularized by Manmohan Desai's films in the 1970s and early 1980s, particularly in Coolie (1983), and to an extent in more recent critically-acclaimed films such as Rang De Basanti.[69]
The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways. "For example, the Hollywood musicals had as their plot the world of entertainment itself. Indian filmmakers, while enhancing the elements of fantasy so pervasive in Indian popular films, used song and music as a natural mode of articulation in a given situation in their films. There is a strong Indian tradition of narrating mythology, history, fairy stories and so on through song and dance." In addition, "whereas Hollywood filmmakers strove to conceal the constructed nature of their work so that the realistic narrative was wholly dominant, Indian filmmakers made no attempt to conceal the fact that what was shown on the screen was a creation, an illusion, a fiction. However, they demonstrated how this creation intersected with people's day to day lives in complex and interesting ways."[71] The final influence was Western musical television, particularly MTV, which has had an increasing influence since the 1990s, as can be seen in the pace, camera angles, dance sequences and music of recent Indian films. An early example of this approach was in Mani Ratnam's Bombay (1995).[72]
Like mainstream Indian popular cinema, Indian Parallel Cinema was also influenced also by a combination of Indian theatre (particularly Sanskrit drama) and Indian literature (particularly Bengali literature), but differs when it comes to foreign influences, where it is more influenced by European cinema (particularly Italian neorealism and French poetic realism) rather than Hollywood. Satyajit Ray cited Italian filmmaker Vittorio De Sica's Bicycle Thieves (1948) and French filmmaker Jean Renoir's The River (1951), which he assisted, as influences on his debut film Pather Panchali (1955). Besides the influence of European cinema and Bengali literature, Ray is also indebted to the Indian theatrical tradition, particularly the Rasa method of classical Sanskrit drama. The complicated doctrine of Rasa "centers predominantly on feeling experienced not only by the characters but also conveyed in a certain artistic way to the spectator. The duality of this kind of a rasa imbrication" shows in The Apu Trilogy.[70] Bimal Roy's Two Acres of Land (1953) was also influenced by De Sica's Bicycle Thieves and in turn paved the way for the Indian New Wave, which began around the same time as the French New Wave and the Japanese New Wave.
Theatrical Poster Directed by Karan Johar Produced by Hiroo Yash Johar Gauri Khan Written by Story and Screenplay: Shibani Bathija Dialogues: Shibani Bathija Niranjan Iyengar Starring Shahrukh Khan Kajol Music by Shankar-Ehsaan-Loy Cinematography Ravi K. Chandran Editing by Deepa Bhatia Studio Imagenation Abu Dhabi Dharma Productions Red Chillies Entertainment Distributed by FOX Star Entertainment Fox Searchlight Pictures (USA) 20th Century Fox (worldwide sales) Release date(s) February, 2010 Running time 161 minutes [1] Country India Language Hindi/Urdu English Budget Rs. 380 million[2] US$ 8.18 million Buyover: Rs. 1 billion US$ 21.53 million
Cinema of Assam
The Assamese language film industry traces its origins works s of revolutionary visionary Rupkonwar Jyotiprasad Agarwala, who was also a distinguished poet, playwright, composer and freedom fighter. He was instrumental in the production of the first Assamese film Joymati in 1935, under the banner of Critrakala Movietone. Although the beginning of the 21st century has seen Bollywood-style Assamese movies hitting the screen, the industry has not been able to compete in the market, significantly overshadowed by the larger industries such as Bollywood .
Bengali cinema
Satyajit Ray, Bengali filmmaker.Main articles: Bengali cinema and Cinema of West Bengal. The Bengali language cinematic tradition of Tollygunge in West Bengal has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed.[75] Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai.[76] Bengali filmmaking also includes Bangla science fiction films and films that focus on social issues.[77] In 1993, the Bengali industry's net output was 57 films.
The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Calcutta. Within a decade, the first seeds of the industry was sown by Hiralal Sen, considered a stalwart of Victorian era cinema when he set up the Royal Bioscope Company, producing scenes from the stage productions of a number of popular shows at the [[Star Theatre, Calcutta], Minerva Theatre, Classic Theatre. Following a long gap after Sen's works, Dhirendra Nath Ganguly (Known as D.G) established Indo British Film Co, the first Bengali owned production company, in 1918. However, the first Bengali Feature film, Billwamangal, was produced in 1919, under the banner of Madan Theatre. Bilat Ferat was the IBFC's first production in 1921. The Madan Theatres production of Jamai Shashthi was the first Bengali talkie.[79]
In 1932, the name "Tollywood" was coined for the Bengali film industry due to Tollygunge rhyming with "Hollywood" and because it was the center of the Indian film industry at the time. It later inspired the name "Bollywood", as the Mumbai-based industry later overtook Tollygunge as the center of the Indian film industry, and many other Hollywood-inspired names.[80] The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s. A long history has been traversed since then, with stalwarts such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak and others having earned international acclaim and securing their place in the history of film.
Bhojpuri cinema
Bhojpuri language films predominantly cater to people who live in the regions of Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region. Besides India, there is a large market for these films in other bhojpuri speaking countries of the West Indies, Oceania, and South America[81]. Bhojpuri language film's history begins in 1962 with the well-received film Ganga Maiyya Tohe Piyari Chadhaibo ("Mother Ganges, I will offer you a yellow sari"), which was directed by Kundan Kumar.[82] Throughout the following decades, films were produced only in fits and starts. Films such as Bidesiya ("Foreigner," 1963, directed by S. N. Tripathi) and Ganga ("Ganges," 1965, directed by Kundan Kumar) were profitable and popular, but in general Bhojpuri films were not commonly produced in the 1960s and 1970s.
The industry experienced a revival in 2001 with the super hit Saiyyan Hamar ("My Sweetheart," directed by Mohan Prasad), which shot the hero of that film, Ravi Kissan, to superstardom.[83] This success was quickly followed by several other remarkably successful films, including Panditji Batai Na Biyah Kab Hoi ("Priest, tell me when I will marry," 2005, directed by Mohan Prasad) and Sasura Bada Paisa Wala ("My father-in-law, the rich guy," 2005). In a measure of the Bhojpuri film industry's rise, both of these did much better business in the states of Uttar Pradesh and Bihar than mainstream Bollywood hits at the time, and both films, made on extremely tight budgets, earned back more than ten times their production costs[84]. Although a smaller industry compared to other Indian film industries, the extremely rapid success of their films has led to dramatic increases in Bhojpuri cinema's visibility, and the industry now supports an awards show[85] and a trade magazine, Bhojpuri City[86].

Bhojpuri film have got a distuingsed name in whole world. The chief minister of Bihar Mr. Nitish Kumar is going to start a film Industry in Rajgir ( distance from Patna is 80 Km). That film industry will provide job for a lot of people belongs to Bihar and East UP. There are many films in which the bollywood actors such as Amitabh Bachchan, Ajay Deogan, Nagama, Mithun Chakravarti etc worked it and supported to Bhojpuri film industy.........
Bollywood
Nargis and Raj Kapoor in Awaara (1951), also directed and produced by Kapoor.Main article: Bollywood
The Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of Indian cinema.[87] The term "Bollywood" is sometimes incorrectly applied to Indian cinema as a whole, especially outside South Asia and the South Asian diaspora.[88] Bollywood initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959).[89] International visibility came to the industry with Raj Kapoor's Awara.[90] Bollywood grew during the 1990s with the release of as many as 215 films in 1991.[11] With Dilwale Dulhania Le Jayenge, Bollywood registered its commercial presence in the Western world.[11]
In 1995 the Indian economy began showing sustainable annual growth, and Bollywood, as a commercial enterprise, grew at a growth rate of 15% annually.[11] With growth in commercial appeal the earnings of known Bollywood stars such as Shahrukh Khan,Aamir Khan and Hrithik Roshan reached 150 million rupees per film by the year 2010.[12] Female stars such as Madhuri Dixit, too, earned as much as 12.5 million rupees for a film.[11] Many actors signed contracts for simultaneous work in 3–4 films.[12] Institutions such as the Industrial Development Bank of India also came forward to finance Bollywood films.[12] A number of magazines such as Filmfare,Stardust, Cineblitz etc. became popular.[91]
Gujarati cinema
This regional film industry of Gujarat started its journey in 1922. Since then the Gujarati films immensely contributed to the Indian cinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its origin Gujarati cinema has experimented with various stories and issues from the Indian society. Furthermore, Gujarat has immense contribution to the Bollywood as several Gujarati actors have brought glamour to the Indian film industry.
The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship and family oriented subjects with human aspirations and deal with the Indian family culture. Thus, there can be no turning away from the essential humanity of these Gujarati cinema. The first Gujarati movie was released in the year 1932 `Narasinh Mehta` which was directed by Nanubhai Vakil. The film starred Mohanlala, Marutirao, Master Manhar, and Miss Mehtab. It was of the `Saint film` genre and was on the life of the saint Narasinh Mehta who observed a creed that was followed centuries later by Mahatma Gandhi. The film was matchless as it avoided any depiction of miracles. In 1935, another social movie `Ghar Jamai` was released, directed by Homi Master. The film starred Heera, Jamna, Baby Nurjehan, Amoo, Alimiya, Jamshedji, and Gulam Rasool. The film featured a `resident son-in-law` (ghar jamai) and his escapades as well as his problematic attitude towards the freedom of women. It was a comedy oriented movie and was a major success in the industry.
Gujarati films thus proceeded with several other important social, political as well as religious issues. The years 1948, 1950, 1968, 1971 moved with a wide variety of dimension. The Gujarati movies such as Kariyavar, directed by Chaturbhuj Doshi, Vadilona Vanke directed by Ramchandra Thakur, Gadano Bel directed by Ratibhai Punatar and Leeludi Dharti, directed by Vallabh Choksi brought immense success to the industry. The problems of modernisation are the underlying concern of several films. The movies like Gadano Bel had a strong realism and reformism.
The film industry in Gujarat experimented with various issues. Gujarati films such as Leeludi Dharti reflect the rural world with its fertility rituals. In 1975 Tanariri, directed by Chandrakant Sangani presents highlights the little known side of Akbar who is usually presented as a consistently benign ruler. The first cinemascope film of Gujarati cinema was Sonbaini Chundadi, directed by Girish Manukant released in the year 1976. Besides these, Bhavni Bhavai released in the year 1980 was directed by Ketan Mehta. It boasted of superlative performances, fine camerawork and won two awards - National Award for Best Feature Film on National Integration, and another award at the Nantes festival in France. In 1992, Hun Hunshi Hunshilal, directed by Sanjiv Shah was sought to be post-modern.
Gujarati films were further enriched by the brilliant performances of the film personalities. Anupama, Upendra Trivedi, Arvind Trivedi, Ramesh Mehta and Veljibhai Gajjar, Dilip Patel, Ranjitraj, Sohil Virani, Narayan Rajgor, Premshankar Bhatt, Jay Patel, Ashvin Patel, Girija Mitra, Anjana, Manmohan Desai, Sanjay Gadhvi, Kalyanji Anandji, Deepika Chikhalia, Bindu Desai, Renuka Sahane and Priti Parekh are the celebrities who have contributed a lot to the Gujarati film industry.



Kannada cinema
A painting of Rajkumar in a streetboard in BangaloreKannada film industry, also known as Sandalwood, is based in Bangalore and caters mostly to the population of state of Karnataka.
Dr.Rajkumar is an icon for Kannada film industry. In his career, he performed versatile characters and sung nearly 3000 songs for movies and albums[citation needed]. Some of the noted Kannada directors include Girish Kasaravalli, Puttanna Kanagal, G.V.Iyer, Girish Karnad, T.S. Nagabharana etc. The other popular actors include Vishnuvardhan, Ambarish, Ravichandran, Ramesh, Ananth Nag, Shankar Nag, Prabhakar, Upendra, Sudeep, Darshan, Shivaraj Kumar, Puneet Rajkumar, Kalpana, Bharathi, Jayanthi, Pandari bai, B Sarojadevi, Sudharani, Malashri, Tara, Umashri and Ramya.
G.K. Venkatesh, Vijaya Bhaskar, TG lingappa, Rajan-Nagendra, Hamsalekha and Gurukiran are noted music directors.
Kannada cinema, along with the Bengali Movies and Malayalam Movies, has contributed to Indian parallel cinema. Some of the influential movies in this genre are Samskara (based on a novel by U R Ananthmurthy), Chomana Dudi by B. V. Karanth, Tabarana Kathe. Samskara, Vamshavruksha, Paniyamma, Kadu Kudure, Hamsageethe, Chomana Dudi, Accident, Ghata Shradhdha, Akramana, Mooru Dhaarigalu, Tabarana Kathe, Bannadha Vesha, Mane, Kraurya, Taayi Saaheba, Dweepa are other acclaimed arthouse movies.

Malayalam cinema
Adoor Gopalakrishnan, Malayalam filmmaker.The Malayalam film industry, based in the southern state of Kerala, is known for films that bridge the gap between parallel cinema and mainstream cinema by portraying thought-provoking social issues. Noted filmmakers include Adoor Gopalakrishnan, Shaji N. Karun, G. Aravindan, Padmarajan, Sathyan Anthikad, Priyadarsan and Sreenivasan.
Vigathakumaran, a silent movie released in 1928 produced and directed by J. C. Daniel, marked the beginning of Malayalam cinema. Balan, released in 1938, was the first Malayalam "talkie". Malayalam films were mainly produced by Tamil producers till 1947, when the first major film studio, Udaya, was established in Kerala. In 1954, the film Neelakkuyil captured national interest by winning the President's silver medal. Scripted by the well-known Malayalam novelist, Uroob, and directed by P. Bhaskaran and Ramu Kariat, it is often considered as the first authentic Malayali film[92]. Chemmeen (1965), directed by Ramu Kariat and based on a story by Thakazhi Sivasankara Pillai, went on to become immensely popular, and became the first Malayalam film to win the National Film Award for Best Film[93][94]. This early period of Malayalam cinema was dominated by actors Prem Nazir, Sathyan, Sheela and Sharada.
The 70s saw the emergence of 'New Wave Malayalam Cinema'. Adoor Gopalakrishnan captured international acclaim through his debut film Swayamvaram (1972). Other noted movies of the period include Nirmalyam by M. T. Vasudevan Nair, Uttarayanam by G. Aravindan, Cheriachante Krurakrithyangal (1979) and Amma Ariyan (1986) by John Abraham etc.
The period from late 1980s to early 1990s is popularly regarded as the 'Golden Age of Malayalam Cinema' with the emergence of actors Mammootty and Mohanlal and filmmakers like I.V. Sasi, Bharathan, Padmarajan, Sathyan Anthikad, Priyadarsan, A. K. Lohithadas, Siddique-Lal and Sreenivasan. This period of popular cinema is characterized by the adaptation of everyday life themes and exploration of social and individual relationships.[95] These movies interlaced themes of individual struggle with creative humour as in Nadodikkattu (1988). Piravi (1989) by Shaji N. Karun was the first Malayalam film to win the Caméra d'Or-Mention at the Cannes Film Festival. This period also marked the beginning of movies rich in well-crafted humour like Ramji Rao Speaking (1989).
During late 1990s and 2000s, Malayalam cinema witnessed a shift towards formulaic movies and slapstick comedies. The Malayalam film industry in recent times has also been affected by the rise of satellite television and widespread film piracy.
Marathi cinema
Some of the earliest Indian filmmakers, such as Dadasaheb Phalke belonged to the state of Maharashtra, which is where Marathi cinema finds its audience.[96] Marathi cinema is marked by escapist trends which tend to cater to the common moviegoers and provide affordable entertainment.[96] Art cinema finds proponents in Jabbar Patel, Amol Palekar etc.[97] In 1993 the Marathi industry's net output was 35 films.[78] However, this number declined to 25 in 1994 and finally to as low as 10 films per year in 1996.[97]
Oriya cinema
The Oriya Film Industry refers to the Bhubaneswar and Cuttack based Oriya language film industry. Sometimes called Ollywood a portmanteau of the words Oriya and Hollywood, although the origins of the name are disputed.[98] The first Oriya talkie Sita Bibaha was made by Mohan Sunder Deb Goswami in 1936. Mohammed Mohsin started the revolution in the oriya film industry by not only securing the essence of the oriya culture but also bringing in the newness in the was the film industry was watching oriya movies. His movies heralded in the golden era of the oriya film industry by bringing in freshness to Oriya movies.[99] then 1st color film was made by a legend cinematographer Mr. Surendra Sahu.named " A Banara Chhai" Shadow of this forest.
Punjabi cinema
K.D. Mehra made the first Punjabi film Sheila (also known as Pind di Kudi). Baby Noor Jehan was introduced as an actress and singer in this film. Sheila was made in Calcutta and released in Lahore, the capital of Punjab; it ran very successfully and was a hit across the province. Due to the success of this first film many more producers started making Punjabi films. As of 2009, Punjabi cinema has produced between 900 and 1,000 movies. The average number of releases per year in the 1970s was nine; in the 1980s, eight; and in the 1990s, six. In 1995, the number of films released was 11; it plummeted to seven in 1996 and touched a low of five in 1997. Since 2000s the Punjabi cinema has seen a revival with more releases every year featuring bigger budgets, home grown stars as well as bollywood actors of Punjabi descent taking part.
Tamil cinema
Kamalhassan and Amala in the poster of Pushpak,a black comedy film directed by Singeetham Srinivasa RaoThe Tamil language film industry, known as Tamil cinema, is one of the largest film industries in India in terms of quality and technology, and is based in the Kodambakkam district of Chennai, Tamil Nadu. Tamil films are screened by the Tamil diaspora all over the world and people of all states of South India. Tamil films have good portrayal of Tamil culture which has subdued sexual expressions and moderate glamour, unlike its northern counterpart.[100] Tamil cinema has been a force in the local politics of the Tamil Nadu state with some of the industry's personalities, such as M. G. Ramachandran, M. Karunanidhi, and J. Jayalalitha, having held political offices.[101] With the establishment of the Madras film Institute the quality of Tamil cinema improved during the 1980s and it further gained international exposure with the works of filmmakers like Mani Ratnam.Today, Tamil films are distributed to various theatres around the world such as in Sri Lanka, Singapore, South Korea, Malayasia, Mauritius, South Africa, Western Europe, North America, and other significant Tamil diaspora regions.[102] In 1993 the Tamil industry's net output was 168 films.[78] Tamil stars such as Kamal Hassan earning the most National Film Awards and Filmfare Awards, and also has the distinction of being the actor with the most number of films submitted by India in contest for the Academy Award for Best Foreign Language Film and Rajinikanth has hugest fans and the most popular and the highest paid actor in India .[102] Great music directors like Ilaiyaraja, A.R.Rahman are from Tamil film Industries.


Geners and styles
Masala films
Masala is a style of Indian cinema, especially in Bollywood and South Indian films, in which there is a mix of various genres in one film. For example, a film can portray action, comedy, drama, romance and melodrama all together. Many of these films also tend to be musicals, including songs filmed in picturesque locations, which is now very common in Bollywood films. Plots for such movies may seem illogical and improbable to unfamiliar viewers. The genre is named after the masala, a term used to describe a mixture of spices in Indian cuisine.
Parallel cinema
Parallel Cinema, also known as Art Cinema or the Indian New Wave, is a specific movement in Indian cinema, known for its serious content, realism and naturalism, with a keen eye on the social-political climate of the times. This movement is distinct from mainstream Bollywood cinema and began around the same time as the French New Wave and Japanese New Wave. The movement was initially led by Bengali cinema (which has produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, and others) and then gained prominence in the other film industries of India. Some of the films in this movement have garnered commercial success, successfully stradling art and commercial cinema. An early example of this was Bimal Roy's Two Acres of Land (1953), which was both a commercial success and a critical success, winning the International Prize at the 1954 Cannes Film Festival. The film's success paved the way for the Indian New Wave.[2][3][105]
The most famous Indian "neo-realist" was the Bengali filmmaker Satyajit Ray, closely followed by Ritwik Ghatak, Mrinal Sen, Shyam Benegal, Adoor Gopalakrishnan[26] and Girish Kasaravalli.[100] Ray's most famous films were The Apu Trilogy, consisting of Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959). The three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are frequently listed among the greatest films of all time.[53][54][106][107]
Film music
Music in Indian cinema is a substantial revenue generator, with the music rights alone accounting for 4–5% of the net revenues generated by a film in India.[12] The major film music companies of India are Saregama, Sony Music etc.[12] Commercially, film music accounts for 48% India's net music sales.[12] A film in India may have many choreographed songs spread throughout its length.[108]
The demands of a multicultural, increasingly globalized Indian audience often led to a mixing of various local and international musical traditions.[108] Local dance and music nevertheless remain a time tested and recurring theme in India and have made their way outside of India's borders with its diaspora.[108] Playback singers such as Lata Mangeshkar drew large crowds with national and international film music stage shows.[108] The end of the 19th century and the beginning of the 21st saw extensive interaction between artists from India and the western world.[109] Artists from Indian diaspora blended the traditions of their heritage to those of their country to give rise rise to popular contemporary music.[109]
Global discourse
Indians during the colonial rule bought film equipment from Europe. The British funded wartime propaganda films during the second world war, some of which showed the Indian army pitted against the axis powers, specifically the Empire of Japan, which had managed to infiltrate into India. One such story was Burma Rani, which depicted civilian resistance offered to Japanese occupation by the British and Indians present in Myanmar. Pre-independence businessmen such as J. F. Madan and Abdulally Esoofally traded in global cinema.
Indian cinema's early contacts with other regions became visible with its films making early inroads into the Soviet Union, Middle East, Southeast Asia,[111] and China. Mainstream Hindi film stars like Raj Kapoor gained international fame across Asia[112][113] and Eastern Europe.[114][115] Indian films also appeared in international fora and film festivals.[111] This allowed 'Parallel' Bengali filmmakers such as Satyajit Ray to achieve worldwide fame, with his films gaining success among European, American and Asian audiences.[116] Ray's work subsequently had a worldwide impact, with filmmakers such as Martin Scorsese,[117] James Ivory,[118] Abbas Kiarostami, Elia Kazan, François Truffaut,[119] Steven Spielberg,[38][39][40] Carlos Saura,[120] Jean-Luc Godard,[121] Isao Takahata,[122] Gregory Nava, Ira Sachs and Wes Anderson[123] being influenced by his cinematic style, and many others such as Akira Kurosawa praising his work.[124] The "youthful coming-of-age dramas that have flooded art houses since the mid-fifties owe a tremendous debt to the Apu trilogy".[35] Subrata Mitra's cinematographic technique of bounce lighting also originates from The Apu Trilogy.[36] Since the 1980s, some previously overlooked Indian filmmakers such as Ritwik Ghatak [125] and Guru Dutt [126] have posthumously gained international acclaim.
Many Asian and 'Third World' countries increasingly came to find Indian cinema as more suited to their sensibilities than Western cinema.[111] Jigna Desai holds that by the 21st century Indian cinema had managed to become 'deterritorialized', spreading over to the many parts of the world where Indian diaspora was present in significant numbers, and becoming an alternative to other international cinema.[127]
Indian cinema has more recently begun influencing Western musical films, and played a particularly instrumental role in the revival of the genre in the Western world. Baz Luhrmann stated that his successful musical film Moulin Rouge! (2001) was directly inspired by Bollywood musicals.[128] The critical and financial success of Moulin Rouge! renewed interest in the then-moribund Western musical genre, subsequently fueling a renaissance of the genre.[129] Danny Boyle's Oscar-winning film Slumdog Millionaire (2008) was also directly inspired by Indian films,[57][130] and is considered to be a "homage to Hindi commercial cinema".[31] Other Indian filmmakers are also making attempts at reaching a more global audience, with upcoming films by directors such as Vidhu Vinod Chopra, Jahnu Barua, Sudhir Mishra and Pan Nalin.[131]

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Nellore Velama Sangam Directory

History of Vema's : The history of Velamas is as old as Telugu bravery. Their military exploits form an important part of Telugu tradition, history, and folklore. The battle of Palnadu, Palnati Charitra, battle of Bobbili etc speak volumes about their chivalry. They are known to be fearless and battle hardy warriors. The lives of popular velamas such as Thandra Papa Rayudu, Palnati Brahmanaidu, and Rani Mallama Devi are synonymous of bravery. Their heroic traditions such as ' Sati ' prove that they are of Aryan descent with extensive inter mingling with other martial races of India. Velamas are well known for their liberal outlook, which is obvious from the war of Palnadu. Velama kings regularly clashed with the Reddy's but had friendly dealings with the Orissa Gajapatis and the Bahmanis due to political compulsions at that time. The Velamas, as we are known today, are mostly located in
Rayalaseema Region : In districts of Chittoor, Nellore, Cuddapah, and Ananthapur.
Telangana Region : In districts of Karimnagar, Warangal, Nalgonda, Adilabad, Nizambad, Rangareddy, Medak, Mahboobnagar, Khammam, and Hyderabad.
Coastal Andhra Region : In districts of Krishna, West Godavary, East Godavary, Prakasam, Vizianagaram, Vishakapatnam, and also Srikakulam districts.
Tamilnadu Region : City of Chennai, in districts of northern Tamilnadu, and in districts of southern Tamilnadu like Madurai, Tiruvallur, Kancheepuram etc.
Those who have migrated to Karnataka are mostly located in city of Bangalore.
Politically, socially, and economically, Velamas played a prominent role in the growth of Andhra Pradesh and Tamilnadu.
Traditionally velamas are refered to as Dora (s) and Dorasani (s) ( traditional titles for men and women respectively ) in the villages of Andhra Pradesh and enjoyed very high social status in the society since hundreds of years due to their specific, unique, behaviour patterns / styles and willingness to suffer and sacrifice in exchange for their perceived notion of individual honor and dignity for themselves as well as for their families and social circles.

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NELLORE VELAMA SANGAM MEMBERS & ADDRESSES

Sri Aruna Kumar Koka
Opp. Sri Anjaneyaswamy Temple
10/442, Santhapeta, NELLORE -1. Ph:2331155
Sri Audinarayana Kalluru
16-4-1506, Rohini Nagar,
(R.T.C.) Muthukur Road,
Dargamitta, NELLORE - 3 Ph : 2344091
Dr. Anjaneyulu Motupalli
New Military Colony,
Podalkur Road,
A.K.Nagar Post, NELLORE - 4 Ph : 2322664
Smt. AnjanammaDasamaneni (P.W.D.)
Opp. Childrens Park,
Saibaba Temple
Ramji Nagar, NELLORE - 2 Ph: 2345066
Cell: 98856 80342
Sri Abbaiah Naidu Rayaluru
(R.T.C.)
Raju Complex,
Bhakthavathsala Nagar NELLORE-4 Cell 98858 85020
Sri Audiseshaiah Naidu
Vemulachedu
Nawabupet Police Line, NELLORE-2
Sri Ashok Kumar Ch. (Postal)
26-1-741, Bhakthavatsala Nagar,
A.K.Nagar, NELLORE-4 Ph:6527082, Cell 94404 3193
SriAudimunuswami Naidu Y.
Co-op. Sub-Registrar, (Retd.)
Main Road, Fathekhanpet
NELLORE-3
Anil Bolleni
B.V. Nagar, NELLORE -4
Ph : 2308884, Cell: 9985294849
Sri Brahammaiah G.V.
(Electricity Department)
25-1 -931, 4th Street, Nethaji Nagar,
A.K.Nagar, NELLORE-4
Cell: 99484 38738
Sri Bhaskar Valluru
Mukundapuram,
Near Police Qrs. Nawabupet
NELLORE -2.
Sri Bhaskaraiah Kodavaluru
(L.I.C. Retd.)
27/146. Revenue Colony, A.K.Nagar,
NELLORE -4. Ph : 2328872, 2322447
Sri Bhaskara Rao Parlapalli
L.I.C. Officer,
Pogathota, NELLORE -1
Ph : 2326716, Cell: 94404 66345
Sri Bhaskara Naidu Y
Mandal Revenue Officer
Gayatri Nagar, 2nd St., A.K.Nagar,
NELLORE - 4 Ph : 2334457
Sri Bhaskar Thopugunta
Plot 145, Or. No. 179, Jakeer Hussain
Nagar Colony, NELLORE - 2
Sri Bhaskara Rao Navuru
Sub-Registrar, (Retd.)
26-1-713, Bhakthvatsala Nagar,
A.K.Nagar Post, NELLORE-4 Cell: 93953 77063
Sri Bhaskara Rao
Atmakuru Gamallavari St.,
Bujjamma Thota Nawabupeta, NELLORE-2
Sri Babu Naidu Somarajupalli
7/917, Isukadonka,
Ranganayakulapet, NELLORE -1
Sri Bhaskar Pelluru
Maruthi Nagar,
Mypadu Gate, NELLORE –2
Sri Balakrishnaiah Talamanchi
32/1707, Kisan Nagar, NELLORE -2.
Sri Bala Murali Penuballi
Senior Asst. Civil Supplies Dept.,
Rajagari Street, Mulapet, NELLORE -3.
Sri Bhaskara Rao Rayasam (RTC)
Dhadivari Street,
Pedda Bazaar, NELLORE -1
Sri Balasundaram Urunduru
Judicial Department (Retd.)
24/51, Sowbhagya Nagar,
Opp. Ramaiah School,
Mulapet, NELLORE -3
Sri Babu Rao Kotagiri
Lorry Owner,
6-270/3 Pappulaveedhi,
NELLORE-2 Ph: 2322192
Sri Balarama Naidu Thotapalli
Gandlaveedhi,
Navabupeta, NELLORE -2
Bhaskara Rao G.V.
25/338, Lakeview Colony,
10th Cross Road,
A.K.Nagar, Podalakur Road, NELLORE -4
Sri M. Bhadraiah
Auto Driver
Navabupeta, NELLORE -2
Cell: 9908917750
Sri Bhaskaraiah Parlapalli
L.I.C. Colony,
Near Engineering College,
NELLORE -3
Sri Balasubrahamanyam A
26-3-107, B.V. Nagar, Nellore -4
Ph : 2302378
Sri Brahmananda Rao Amuluru
Agricultural Officer, (Retd.)
1st. Floor, S.V.S.Emarald Appts.
Bezawada Obul Reddy Nagar,
Back Side to M.G.Brothers, Dargamitta, NELLORE -3
Bharati Navuru M.A.
Lecturer, D.K.W. College,
Police Colony, AX.Nagar, NELLORE
Sri Bhaskara Rao Navuru
Rtd. S.R.O
26-1-713, B.V.Nagar, A.K.Nagar,
NELLORE -4. Cell: 93930 20754
Sri Chalapathi Rao V
Retd. S.T.O.
Bungalow Thota, Nawabupet,
NELLORE -2 Ph : 2313825
Sri Chiranjeevulu Vemulachedu
4/1362, Ramachandra Puram,
Opp: Sridevi Rice Mill,
Nawabupet, NELLORE -2 Ph : 2303992
Sri Chenchuramaiah Velineni
Retd. Deputy DEO.,
5th Street, Postal Colony,
A.K. Nagar, NELLORE -4 Ph:2309883
Sri Chenchu Krishnaiah Ch.
Typist, R&B Dept.,
Rajagopalapuram,
Opp: Venkataramana Theatre,
Dargamitta, NELLORE -3
Ph : 2303142
Sri Chandrasekhar Karanam
Lecturer, D.K.W. College,
NELLORE -3 Cell: 98661 16536
Sri Ghenchuramaiah Velineni
Retd. Deputy DEO.,
5th Street, Postal Colony,
A.K. Nagar, NELLORE -4
Ph : 2309883
Sri Chenchu Krishnaiah Ch.
Typist, R&B Dept.,
Rajagopalapuram,
Opp: Venkataramana Theatre,
Dargamitta, NELLORE -3
Ph: 2303142
Sri Chandrasekhar Karanam
Lecturer, D.K.W. College,
NELLORE -3 Cell: 98661 16536
Sri Chakrapani Chedimala
Retd. Principal,
Shivagiri Colony, Mulapet,
NELLORE-3 Ph: 2321499
Dr. Chalapathi Rao K.B.
Andhra Dental Clinic,
16-3-1342, 2nd Street,
Near Ramalayam, Haranadhapuram
NELLORE -3
Ph : 2328292 (R), 2328256 (C)
Dr. Purini Chandrasekharaiah
M.D. D.A.
14, Raghava Appartment,
Tekkemitta, Dargamitta, NELLORE -3 Ph:2328164
Sri Chandrasekhar (Chandra) Giddalur
26-2-204 3rd Street,
Jyoti Nagar, NELLORE -4
Ph : 2301627 Cell 98661 16536
Sri Chandrasekharaiah G.
31/720, Kodhandaramapuram,
Usmansahebpet, NELLORE -2
Dr. Chakravarthy P.S.
Yogitha Manasika Vaidya Nipunulu,
Pogathota, NELLORE -1 Ph: 5529065, 2317782
Sri Chenchu Naldu Jaladanki
RTC Conductor,
Near Mahalakshamma Temple,
Kodhandaramapuram, NELLORE -2
Sri Chandramouli Thotapalli
Rice Mill Operator,
Navabupeta, NELLORE -2
Sri Chandrasekhar G.B. (Nippo)
Or. 35 LIG II,
Behind Nippo, A.K.Nagar, NELLORE -4
Sri Chandra Nidiganti
4-135, R.K.Nagar,
Navabupet, NELLORE-2
Sri Chandrasekhar Giddaluru
Lorry Owner,
MIG. 315, A.P.Housing Board,
Kallurupalli, A.K.Nagar, NELLORE -4 Ph : 2393628
Sri Chenchaiah Naidu Pynapuram,
Door No. 141,
Jakeer Hussain Nagar,
NELLORE -2
Sri Chenchuramaiah Pynapuram,
D.No. 2-224, Thadikondavari Street,
Nawabupet, NELLORE -2
Sri Chandramouli (Thopugunta)N.
Bussiness
Vengalarao Nagar, A.K.Nagar,
NELLORE -4
Sri Chalapathi RaoYeturu
Senior Asst.,
Agl. Department,
A.C.Nagar, NELLORE –2
Sri Chandrasekharaiah Amuluru
Ex. V.A.O.,
26-1-974 B.V.Nagar, N.G.O.Colony,
NELLORE-4. Ph: 2318718
Sri Chiranjeevi Kolagatla
Chinni International Hotel,
NELLORE-1.
Sri Chandraiah Balumuru (Nippo),
28/1235/26, B.V.Nagar, 1st Line,
NELLORE -4
Sri Chandrasekhar Kalva (RTC),
Buja Buja Nellore,
NELLORE -4
Sri Chenchaiah P.
Manager, Sri Kaleswari Lorry Office,
Saleveedhi, NELLORE -2 Ph: 2304466

Sri Chandrasekhar (RTC)
Chandramculi Nagar, A.K.Nagar,
NELLORE-4. Ph: 2308146
Sri Chandrasekharaiah P.
C/o Balasubrahamanyam,
1st. Street, Chandramouli Nagar,
NELLORE-4 Ph : 6520156
Sri Chandrasekharaiah -la'.va
25-11/814, 8th Cross Road.Opp.Nippo,
Savithri Nagar, A.K.Nagar P.O.,
NELLORE-4 Ph: 2308146
Sri Chalapathi Rao Dandigunta
24-1-591, Near Velanganni School,
Mulapet, NELLORE -3 Cell: 98668 04532
Sri Chandra Sekhar Giddaluru
M.I.G., H.P.H.B. Colony,
Kallurupalli, NELLOE -4
Sri Chandra Sekhar Giddaluru
Taxi Owner
S/o Sankaraiah (Late)
Jyothi Nagar, 3rd Street,
NELLORE -4.
Sri Damodaram Vatlaturu
Supdt., Zilla Parishad
25-3-652, 12th Street,
Lakeview Colony, Podalakur Road,
NELLORE-4 Ph: 2318253
Cell: 92906 51246
Sri Dharmaiah Thotapalli
24-2-1514 Old Military Colony,
A.K. Nagar, Dargamitta,
NELLORE-4 Ph : 2328018
Devasena Nidiganti
Electricity Department
Police Colony,
NELLORE -4 Ph : 2315618
Sri Dolendra Prasad Nellore
Editor, 'ZAMIN RYOT1 NELLORE -1 Ph : 2325682
Sri Dhanapal Naidu Bolleni
Retd. A.C.T.O.
Door No 25-2-1933 B.V.Nagar, NELLORE -4 Ph: 2308884 Cell: 99852 94849
Dhanunjaya Ojili
27-3-1031, Vasavi Nagar, Balaji Nagar, NELLORE -2.
Sri Dasaradharamaiah Kodavalur
30/135, 5th Main Road,
Balaji Nagar, NELLORE -2.
Sri Damaodaram A.M.
STS., Qrs. 3 Type, C-6, 2nd Floor,
B.S.N.L Staff Quarters,
Opp. Leela Mahal, NELLORE -1
Ph :2342340
Devasena Nidiganti
MRT Lab.,
C/o. Sri S. Chandra Rao,
Police Colony, NELLORE -4. .
Sri Dileep KumarThotapalll
24-2-1514, Old Military Colony,
Dargamitta P.O., NELLORE -4 Ph : 2328345
Sri Oinesh Vemulachedu
Nawabupet,
NELLORE -2 Cell: 99858 77807
Sri Eswaraiah Vemula
S.T.O. 4th Street,
Lakeview Colony, Podalakur Road,
Dargamitta, NELLORE -4 Ph : 2347573, 2325805
Sri Eswara Rao Immaneni Manjulavani
401, Sitara Enclave,
Behind C.V.Raman High School,
Saraswathi Nagar, Dargamitta,
NELLORE -3 Cell: 98852 37506
Sri Ganapathy Nidiganti
C/o Nagabhushanam, Retd. Tahasildar,
25-2-1083, Revenue Colony, 3rd Street,
A.K. Nagar, NELLORE -4
Ph : 2308982 Cell 93471 18057
Sri Gopala Rao Giddaluru
Retd. Tahasildar
2nd Street, Postal Colony,
A.K.Nagar,
NELLORE -4 Ph : 2335682
Dr. Gopalakrishna Mutiny
Dandigunta
'SRI KRISHNA'
24-161 Santhi Nagar, Dargamitta,
NELLORE -3 Ph : 2325879
Sri Govardhana Rao Nidiganti
ACTO, 20/453 Walker's Road,
Mulapet, NELLORE -3
Ph : 2335632, Cell: 98493 77607
Sri Govinda Rao Enala
OS., D.K.W.College, NELLORE -3 Ph : 2300534
Sri Gopala Naidu P.
Lorry Owner
Ramachandra Puram, NELLORE -2
Ph : 2324239
Sri Gopal Naidu Kalva
Lorry Owner
2/86, H.B.Colony,
Behind Nippo, A.K. Nagar,
NELLORE -4 Ph : 5522724
Sri Govinda Rao Enala
OS., D.K.W.College, NELLORE -3 Ph : 2300534
Smt. Girija Dandigunta
Kondadhibba,
Mulapet, NELLORE-3 Ph: 2319306
Sri Hari Narayana Atmakuru
Electricity Department Podalakur Road, NELLORE -3.
Sri Hazarathaiah Naidu Pelluru
25-3-399, 6th Street,
Lakeview Colony, Podalkur Road,
NELLORE -4 Ph : 2309671
Sri Hareendra Rao Rayasam
Andhra Bank,
Revenue Colony, A.K.Nagar,
NELLORE -4. Cell: 94406 40679
Sri Hari Babu Aruru (Nippo),
9th Street, Chandramouli Nagar,
NELLORE -4 Ph : 5518832, Cell 99494 03118
Sri Hazarathaiah Jaladanki
(Teacher)
25-1-2150, 6th Street,
Nethaji Nagar, Vengalarao Nagar,
NELLORE -4 Ph: 2313002
Hymavathamma Mopuru
W/o Late M.Penchalaiah
I.R.T.S., Sr. DCM - S.C.Railway
24-1-1636, Bezawada Obulareddy Na
Dargamitta, NELLORE –3, Ph:2300120
Sri Janardhana Rao K.
Manager, Saibaba Temple,
Near Gandhi Statue,
C/o D. Muthyalu,
Subedarpeta, NELLORE -1
Sri Janardhana Dandigunta
T.C., Railways
Walkers Road, NELLORE -3
Ph : 2303769, Cell: 94400 13277
Sri Jagannadha Rao M.
ADSTE/Railways
33, Rly Quarters, Nellore Rly. Static
NELLORE -2
Ph : 2349540, 98662 00504
Sri Janardhan Thopugunta
2/228, Thatikondavari St., Nawabupet, NELLORE -2
Sri Jayaramaiah Pynampuram
Riy. Quarters, NELLORE -2
Sri Janakiramaiah Cheekolu
3/124, Chakali Street,
Nawabupet, NELLORE -2
Sri Jayaramaiah Podalakuru
2nd Street, Sanjay Gandhi Nagar,
Podalakur Road, NELLORE -4
Sri Janardhana Rao Penuballi
Vinayaka Gudi, 5th Street,
Jyothi Nagar, NELLORE -4
Sri Janardhana Naidu Thotapalli 6th Street,
Postal Colony NELLORE - 4.

Janardhana Naidu Dandigunta
lotel Chinni International IELLORE -1
Janardhana Naidu Eduru
6-3-517, Ramamurthy Nagar, JELLORE -3.
Jankai Navuru
Teacher, V.R.C.
journalist Colony, A.K.Nagar,
JELLORE -4 Ph : 2330744
jayalakshamma Kodavaluru
Bth Street, Jyothi Nagar, NELLORE -4
Sri Janardhan T
2-224-B, Thatikondavari Street
Nawabupet, NELLORE -2
Janaki Karanam (Teacher)
25-2-77,
1st. Cross Road, Journalist Colony,
A.K. Nagar, NELLORE -4 Ph : 2330744

Sri Kesavarao Konduru
Retd. C.C. To Chairman,
Nellore Z.R Opp : Sri Sathya Saibaba Temple
Ramamurthy Nagar, NELLORE Ph : 2335653
Venkatakrishnaiah Pakala
Retd.Telugu Lecturer,
Savithri Nagar,
NELLORE -4 Cell: 94411 23431
Sri Krupakar Konduru
R.I., NMC
Ramamurthy Nagar, NELLORE -3
Cell: 94402 77330
Sri Kesava Rao Madireddy
Retd. A.C.T.O
Military Colony, Dargamitta,
NELLORE -4 Ph : 2327437
Sri Krishna Eduru
S/o Narasaiah
1st Street, B.V.Nagar, A.K.Nagar,
NELLORE-4 Ph: 2314435
Sri Krishna Jaladanki
Candels Bussiness,
Magunta Layout NELLORE -3 Ph:2301218
Dr. Krishna Murthy V.V.G.
M.B.B.S., Retd. D.M.H 4th Mile,
Ashok Nagar, Navalk Gardens
NELLORE -2 Cell: 98493 19473
Sri Krishna Kalava Tailor,
9th St., Chandramouli Nagar,
NELLORE -4
Sri Koteswara Rao Giddaluru
Siva Cool Drinks Near Bank of India,
Trunk Road, NELLORE -1
Sri Krishnaiah P.V.
Retd. Lecturer
11th Street, Savithri Nagar,
NELLORE -4 Cell: 94411 23431
Sri Kodanda Ramaiah V.
Lorry Owner,
Mukundapuram,
Near Police Qrs. Nawabupet,
NELLORE -2 Ph : 2338363
Sri Krishnaiah Amuluru
Pullam Satram, Narukuru Road,
Nawabupet, NELLORE -2
Sri Krishnaiah P.
Sriram Chits
Near Thyagaraja Temple,
Vedayapalem, NELLORE -4. Ph :2339501


Sri Krishnaiah J.
D.No. 25-3-663, 12th Street,
Lakeview Colony, Podalkur Road, NELLORE -4
Sri Krishnaiah Penuballi
(Nippo Retd.) Coll Drink Shop,
Station Road, 4th Street,
Thyagaraya Nagar,
Vedayapalem, NELLORE -4 Ph : 2339501
Sri Koteswara Rao Giddaluru
Cool Drink Shop,
Madvapathivari St.,
Opp : Gandhi Statue 2nd St.,
NELLORE -1 Cell: 93472 93219
Sri Krishna Pillarisetty
B.M. (Micro Insurance)
LIC A5, DMV Sky Lands,
A.K.Nagar, NELLORE -4
Ph : 2303151, Cell: 94403 23564
Sri Ksheera SagarThupili
Revenu Department
6th Street, Jyothi Nagar,
NELLORE -4
Ph : 2314699, Cell: 99495 66465
Sri Kondaiah Jaladanki
102, Karthik Paradise,
Rethwick Enclave, Old Spinning Mills
A.K. Nagar, NELLORE -4
Ph : 2338485
Sri Lakshmi Narasaiah Pancheti
Retd. Head Master,
27/11/1451, Near Anjaneya Temple,
Balaji Nagar, NELLORE -2 Ph:2337317
Sri Lakshmaiah Vallaturu
4/503, Usmansahebpet, NELLORE -2.
Sri Lakshmipathi Rao Pillarisetty
Baiaji Homeo Clinic
Brindavanam, NELLORE -1. Ph:233191
Pelluru Lakshmi Kanthamma (Thulasamma)
W/o. Late P.V. Subbaiah Naidu,
M.I.G. II, H.No. 3
KPHB Colony, Kallurupalli
Sri Mallikharjuna RaoThoopili
D.No. 4/510, Usmansahebpet,
NELLORE -2 Cell: 92471 48297
Dr. Madanamohan Rao P.
Balaji Homeo Physician j
Brindavanam,
NELLORE-1 Ph: 2331919
Sri Mohan Rao Penuballi
27-11-47, Balaji Nagar, NELLORE.
Sri Mohan Kumar Mopuru
Dy. S.E., ONGC
Brahamana Street, Mulapet,
NELLORE -3 Cell 94402 79234
Sri Madhava Rao Kodavaluru
Mines Surveyor
27/14, Police Colony, A.K.Nagar,
NELLORE -4. Ph: 2304420, 230440I
Sri Mahesh Vallaturu
Krishna Sweets
Sri Madhu Vallaturu
Bakery Bussiness
Near Kanaka Mahal, NELLORE -1
Ph:2319828

Sri Mohan Eduru
Asst. Engineer, 28/687,
B.V.Nagar, NELLORE -4. Ph : 2338723
Sri Mashthanaiah Naidu Eduru
(NDB). Kalyana Mandapam Street,
Balaji Nagar, NELLORE -2.
Sri Masthanaiah Jaladanki
6th Street, New Nethaji Nagar,
Vengalarao Nagar, NELLORE -4
Sri Murali Giddaluru
Leo Electronics
Opp : Nippo, NELLORE -4
Sri Mallikharjunarao Uranduru
S/o Subba Rao, (Lorry Owner)
3-1-398, Lakshmipuram, NELLORE -2 Ph : 2323197,2345670
Sri Mallikharjuna Rao Vallaturu
4-130, R.K.Nagar, Nawabupet, NELLORE -2
Sri Munuswami Yeleswaram
9/246, Mukundapuram, NELLORE -2
Sri Masthanaiah Kalva
Or. No. 187,
Zakeer Hussain Nagar, NELLORE -2
Sri Madhavaiah Thotapalli
26-1/1547, Malakondaiah Bldg. Complex,
Vedayapalem, NELLORE -4.
Sri Madhusudana Rao Pallam
8th Street, Chandramouli Nagar, NELLORE -4
Sri Mohan Naidu Samudrala
Lecture/, Narayana College, NELLORE -3
Sri Mallikharjuna Rao
Vemulachedu
4/151, Nawabupeta, NELLORE -2
Sri Mohan Ramaiah Parlapalli
Retd. A.E.,
27/934/4, 7th Cross Road,
Lakshmi Nagar, Balaji Nagar, NELLORE -2 Ph : 2335573
Sri Mohan Rao Nidiganti
Bussiness,
Balaji Nagar, NELLORE -2
Sri Manmadha Rao G.
502, Poojithi Estates,
Near C.V.Raman High School, Dargamitta,
A.K.Nagar, NELLORE-4 Ph: 2331926 Cell: 93478 98854
Sri Meeraiah Pelluru
RTC Conductor, 25-1-1000,
6th Street, Nethaji Nagar, NELLORE -4
Sri Madhavaiah Somarajupalli
RTC STE., Z.RColony, 25-1-680,
Podalakur Road Main, NELLORE -4 Cell 94900 14395
Sri Madhavaiah Rayasam
Brindavanam, NELLORE -1
Sri Mallikharjuna Rao Uranduru
S/o Sri Subba Rao, (Lorry Owner)
Lakshmi Puram, NELLORE –2

Sri Madhusudan Rao Nellore 26/1/17,
Z.P. Colony, 1st. Cross, A.K. Nagar P.O.
NELLORE -4 Ph :2323998, Cell: 99893 10875
Sri Mukunda Ch.
Mukunda Photo Stores
16-299, M.V. Agraharam, Trunk Road,
NELLORE -1
Ph : 2307138 Cell: 9440272905
Sri Munisekhar Naidu P.
25-3-1607, 9th Street, Pragathi Nagar,
Podalakur Road, NELLORE -4
Cell: 94409 35143
Sri Mallikharjuna Nidiganti
S/o Sri N. Narayana, Retd. M.D.O.,
Sri Kamakshi Traders, Auto Nagar, NELLORE -4
Sri Mallikharjuna Naidu Nidiganti (TTD),
Padarupalli, A.K.Nagar, NELLORE -4 Cell 99492 73619
Sri Narayana Rao Amuluru (Nippo),
25-2-1277, Police Colony,
A.K.Nagar, NELLORE -4 Ph:2308760
Sri Narayana Vemulachedu
4-856-4, Ramachandrapuram, NELLORE -2
Sri Nagabhusanam Valluru
Retd. Tahasildar,
25-2-1083, 3rd Street, Revenue Colony,
A.K. Nagar, NELLORE -4
Cell: 94407 44389
Sri Nageswara Rao Jaladanki
Weights & Measurments Dept.,
'C' Block, 6th Street, Nethaji Nagar,
Vengalarao Nagar, NELLORE -4
Ph : 2312993, Cell: 98666 93259
Narasimhamurthy A. Mandal Surveyor,
26-2-488,, Jyothi Nagar,
NELLORE -4 Cell 99483 47935, 98666 56764
Narayana Nidiganti
Retd. Mandal Development Officer
26-2-843, Jyothi Nagar, 9th Street,
Vedayapalem, NELLORE -4. Ph : 2311272, Cell 98660 47018
Sri Nagaraju G.V.
Medical Representative
27-1-887-5 Narayana Nivas Bajalji Nagar,
NELLORE -2 Ph : 2332195 Cell: 94401 61295
Sri NagabhushanamT.
Plot No. 136,
Jakeer Hussain Naga NELLORE -2
Sri Narayana Rao P.V.
Retd. Asst., Model High School,
Mulapet, NELLORE -3
Sri Nagendra Prasad Marrikanti
7/105,GopuramSt.,
Ranganayakulapet, NELLORE -1 Ph :2304170
Sri Narayana Vemulachedu
Scooter Mechanic, Nawabupet, NELLORE -2
Sri Narayana Thotapalli
Polytechnic Lecturer, Dargamitta, NELLORE -3
Sri Narasaiah Eduru
Cool Drink Shop,
Door No. 26/1/439 Opp. TTD Kalyan
Mandapam, B.V.Nagar, NELLORE -
Sri Nagendra Navuru
Artist
24/838,Santhi Nagar, Dargamitta,
NELLORE –3
Sri Narayana Rao Vasil!
C/o. Padmaiah Vasili Retd. Teacher,
Navalak Gardens, NELLORE -2
Smt. P.R. Nalini M.A.,
203, Pavani Majestic,
A - Block, Behind Krishna Mandiram Road,
Near Children's Park, NELLORE -2 Ph : 2346549,
Cell: 98856 27307
Sri Prasad G.V.S.
Teacher, 25-3-514,
9th Street, Lakeview Colony,
Podalakur Road, NELLORE-4 Ph: 2321573
Sri Penchalaiah Mopuru
Raji Ads, Alankar Centre,
Mulapet, NELLORE -3.
Ph : 2327721, Cell 94410 10499
Sri Padmanabhaiah Koruturu
Advocate, Tekkemitta, NELLORE -3
Ph : 2349697, Cell 98661 46567
Sri ParthasarthyThotapalli .
Retd. Tahasildar,
Plot No. 103, Srivari Paradise.
Saraswathi Nagar,
Dargamitta, NELLORE -3 Ph: 2308866
Prakash Navuru
25-2-1044, Police Colony, NELLORE -4 Ph : 2339721, 2309790. Cell 9440691303

Sri Prasad A.S.
F.C.I.Colony, 1st Line,
Krishna Nagar, Nawabupeta,
NELLORE -2 Ph : 2308495
Dr. Prasad Rao Pancheti
Lecturer, Pavani Apartments Magunta Lay Out,
NELLORE -3 Ph : 2339082
Sri Prasad Pynampuram
Brindavanam, NELLORE -1
Ph : 2327337, Cell 9346920077
Sri Prabhakara Rao Valluru
Retd. V.A.O.
27-3-777, 7th Cross Road,
Saraswathi Nagar, Near BCKC Kalyana Mandapam,
A.C.Nagar Ext.,, NELLORE -2
Sri Parthasarathy Kalva (RTC)
25-1-478, 4th Street, S.B.I.Colony, NELLORE -4
Sri Prasad Naidu Somaraupalli
7/91, Gavandal Street,
Ranganayakulapet, NELLORE -1
Sri Prasad Kalicheti
28/739, Ramnagar,
Mypadugate; NELLORE -2
Dr. Prasada Rao P.
Retd. Manager, Vijaya Dairy
27/134, Revenue Colony, NELLORE -4
Prameelamma Mallam
W/o Late M.V. Ramaniah
26-3-105, B.V.Nagar, NELLORE -4 Ph: 2320719 . .
Sri Penchala Naidu Kalva
9th Street, Chandramouli Nagar, NELLORE -4
Sri Prabhakara Rao Jupalli
8/396, Ranganayakulapet, NELLORE-1
Sri Polaiah V.
Retd. Lecturer,
Polytechnic 28/966, B.V.Nagar, NELLORE -4
Prasad K.
R.T.C.Conductor,
Near Sai Baba Temple,
Kisan Nagar Main Road, NELLORE -2
Sri Penchala Naidu Aruru
Retd. Teacher,
Muthyalapalem, R.L.Puram,
NELLORE -3 Cell 9440605379
Sri Prasad Thupiii
High School; Near Municipal Office, Santhapeta, NELLORE -1
Sri Parthasarathy
Manager, Corporation Bank,
27-2-1740, 4th Street,
Ramji Nagar, Near Chidren's Park
NELLORE -2
Sri Pavan Kumar Marupuru
C/o. Radhaiah Thupiii (RKT)
5/464, Rebalavari St., Stonehousepet
NELLORE-2 Ph: 2309689 Cel: 99898 06601
Padmavathy Charugundia
R.T.O. Office, 25-2-31, SBI Colony
U.K.Nagar, NELLORE -4
Ph:2317975
Dr. Prasada Rao Pancheti
204, B Block, Pavani Towers,
Opp.-S.RK. School, Magunta Lay
C A.K. Nagar, NELLORE –4
Ph : 2339082, Cell: 99850 25396
Sri Prasad Rao Thupiii
Correspondent, Vidyodaya EM Sch<
Big Bazaar, NELLORE
Ph : 2343147, Cell: 98661 79298
Sri Penchalaiah Mopucu
20-1-199, Brahamin St., Mulapet,
NELLORE -3 Ph : 2327721,
Sri Penchala Narasimhulu
Mopuru 25/2/488, New Military Colony, Nellore
Sri Ramachandraiah Kadiveti
25/11/814, 8th Cross, Savithri Nag; Nippo Centre, NELLORE -4
Sri Ramesh Aruru
7th Cross, Savithri Nagar,
Opp. Saibaba Temple, Vedayapalerr A.K.Nagar, NELLORE -4
Sri Ramaiah Naidu Pelluru
Secretary,
Nellore Dt. Velama Sangam,
25-2-2102 B.V.Nagar, NELLORE -4
Ph : 2322272, Cell 9440134419
Sri Rajagopal D. (Bussiness)
Opp. Nippo, Savithri Nagar,
NELLORE -4 Cell: 9849086257 ;]
Raghavaiah V.V. Retd.
R.T.C.,Rajagari Street,
Mulapet, NELLORE-3 Ph : 2316703

Sri Raghuramaiah Jaldanki
Sri Hemanihkumar Jaldanki
35/11/445,11th Street, Savitri Nagar,
NELLORE -4 : 2324144,3241744


Sri Ramanaiah Dandigunta (NDR)
Audithya Nagar,
Near M.G.Brothers NELLORE -3
Ph:2320088,2347788
Sri Raja G.
(Lorry Supply Office) Kothuru,
Podalakur Road, NELLORE -4
Cell :9347338988(R), 9347104118(0)
Sri RavikumarVasili
L.D.C., P.R.Department,
1 st Line, Pragathi Nagar, Podalakur Road
NELLORE -4 Ph : 2347739
Sri Rajendraiah Neliore
L.I.G. 256, A.P.H.B Colony,
Kallurupalli, NELLORE -4
Sri Raghavendra Rao Somarajupalli
Dargamitta, NELLORE -3
Ph : 2347248,6518999,9440151999
SriRadhaiahThupili
RKT Petrole Bunk Subedarpet Road, NELLORE-1 :2331334
SriRamBabuThupili
Journalist
NELLORE -4
Dr. Ramadoss
Brindavanam,
NELLORE-1 : Ph:2327233
Sri Rajagopal Naidu Parlapalli
Retd. Exe. Engineer,
16/3/95, Vijaya Sowdha,
Annapurna Nivas, Ramalingapuram,
NELLORE -3 Ph : 2328766
Sri RamakrishnaVallatur
Prop : Amara Service Petrol Bunk,
Gandhi Statue, NELLORE -1
Sri Raja Madhav Kothimbakkam
Back Side M.G.Brothers NELLORE -3
Sri Ram Babu Rayasam
Revenue Department (Rtd.,)
Sahithi Apartments,
Saraswathi Nagar,
NELLORE - 3. Cell: 94409 58458
Sri Ramanaiah Ponnavole
Clerk, Santhapet, NELLORE -1
Sri Ramachandra Rao R.
Lecturer,
24/120 Santhi Nagar, NELLORE -3
Sri Ramesh Naidu Rayasam
22/176, Dhadivari Street, NELLORE-1
Sri Ramesh Vemula
Gopal Sewing Mission
16-134,J.LComplex
Trunk Road, NELLORE jctoj I3H j
Sri Ravindra Naidu Somarajupalli
ZPHS, Navalakula Gardens Mypadu Gate, NELLORE -2
Sri Ramanaiah A.V.
Country Wood Depot.
Buja Buja Nellore, NELLORE -4
Cell: 98856 32088
Sri Rama Mohan Valluru
20/455-1, Walker's Road,
Mulapet, NELLORE-3
Cell: 98495 19755, 98481 70618 Ph:2334404,2339618
Sri Ramana Prasad C.N.
Rtd. M.E.O., Ayyappa Apts.
Ravindra Nagar, Dargamitta,
NELLORE -3 Cell: 94402 78433
Sri Raghuvalu Naidu R.
C/o Nagaraju G.V.
Balaji Nagar, NELLORE –1,
Cell: 93471 16974 .
Sri Ramanaiah M.V.
8/901, Gopuram Street,
Ranganayakulapet, NELLORE -1 Ph:6528864
Rathnamala Koka
3rd Floor, Pavani Appartment Vedayapalem,
NELLORE-4 Ph:2336000
SriRaviVasili
25-3-1221 1 st Line,
Pragathi Nagar Podalakur Road,
NELLORE -4 Ph:2347739
Sri Ramamurthy Vemulachedu
4-1-219, Police Line,
Nawabupet, NELLORE -2 Ph : 2339678 PP
Sri Ramesh Koka (Engineer)
Saraswathi Nagar,
Dargamitta, NELLORE -3
Sri Raja Amuluru
S/o. Late Bhuvaneswara Naidu
Krishna Mandiram Street, Kamati Street, NELLORE -1
Ramanaiah Amuluru
F/o. Shyam Kumar,
Near Narayana Engineering College
NELLORE-3.
Sri RamamohanThotapalli
C/o. Sri Sarvothama Rao,
18/101,Barcus,
Near Collector Office Main Gate,
NELLORE-1
Sri RajasekharValluru
Manager, M.G.Brothers,
Near Mulapet Judge Bungalow Pa
NELLORE -3 Cell: 98488 77349
Rama Eduru,
Teacher 5th Street,
Ramji Nagar, NearChildrens Park,
NELLORE -2
Sri Ramaiah Naidu Valluru
IAF Squn Leader (Retd.) 21-H-I.G.
K.PH.B. Colony, Kallurupalli, NELLORE -4
Sri RavindranadhThotapalli
24-1 -1609,32, Arpithavilla Appts.
M.G. Brothers Back Side,
Dargami NELLORE-3 Cell: 9490416161
Sri Ravi Swarna (S.T.D. Booth)
Shop: Vengalarao Nagar,
Branch : Near Post Office, A.k. Na NELLORE –4

Ravindra Rao Dandigunta
Electricity Department,
1st. Street, L.N.Puram,
podalakur Road, Dargamitta, NELLORE-3 Ph: 2312858
Sri Raghavaiah Nidiganti
Department of jail,
NELLORE -3 Cell: 98854 53025
Sri Ramakrishnaiah Valluru
20/409, Sivalayam Street,
Mulapet, NELLORE -3 Ph: 6533455
Rajeswari Veguru
Andhra Bank, Saraswathi Nagar,
Dargamitta, NELLORE -3 Ph:2330770, 2393596
Sri Ramaiah Valluru Capt.
Kallurupalli, A.K.Nagar, NELLORE -4
Sri Rathnam Marupuru,
Principal
Stonehousepet, NELLORE -2
Cell 94408 24508
Sri RadhakrishnaiahThupili(Z.R)
Nippo, A.K.Nagar,
NELLORE -4
Ph : 2322450, Cell: 98857 93124
Sri Ravindra Prasad Pelluru
Asst. Manager, B.I.,
Barcus, Main Branch,
NELLORE -1 Cell 98661 91053
Sri Ravindranath Thotapalli
Arpitha Apartments Backside M.G.Brothers,
Cell : 98483 59760
Sri Ramachandra Naidu Pelluru
Aqua Consultant,
Putta Street, Balaji Nagar,
NELLORE-2 Ph : 2309484
Sri Rathnam V.V.
Shivagiri Colony,
Back Side Dharmarajaswami Temple
Mulapet, NELORE -3 Ph :2302341 Cell: 98495 95455
Sri Ramagopal Mopuru
AEA- (Elec)
5th Street, Postal Colony, A.K.Nagar,
NELLORE -4 Cell: 94404 15170
223. Sri Ravindra Babu P.
Teacher, 2-224, Thadikondavari Street,
Nawabupet, NELLORE -2 Ph : 2300338, Cell: 94404 02829
Sri Ramasubbaiah Thotapalli
27/11/641, A.C.Nagar, NELLORE-2 Ph: 2300511
Rukminamma Dandigunta
W/o. Late Ramanaji
Ashramam,
Rly. Station Road, Vedayapalem, NELLORE -4
Sri Ramanaiah Dhamera
Chief Controller (Railways)
Vedayapalem, NELLORE -4 Ph: 2316525
Sri Radhakrishna Mopuru
S.B.I. Officer
2nd Street, Gayatri Nagar,
A.K.Nagar, NELLORE -4
Ph : 2322990, Cell: 98491 10704
Rajasekhar Kalva
Padarupalli, A.K. Nagar, NELLORE
Cell: 94400 91254

Sri SATHEESH VALLURU Graphic Designer
27-3-777, 7th Cross Road,
Saraswathi Nagar,
Near BCKC Kalyana Mandapam,
A.C.Nagar Ext.,, NELLORE -2

Sri Ranagnadham Parimi
Retd. Rly. Officer,
26/2/672, 6th Street, Jyothi Nagar,
NELLORE -4 Ph : 2300883
Sri Ramamohan RaoThupili (Rambabu)
M.G. Brothers, Near Thyagarajaswami Temple,
Vedayapalem, A.K. Nagar, NELLORE -4
Sri Ranganadham Thotapalli
26-724, B.V. Nagar, A.K, Nagar, NELLORE -4
Sri Srinivasulu Naidu Purini
President,
Nellore Dt. Velama Sangam 202,
SVS Emeralod Back Side
M.G.Brothers NELLORE -3
Ph : 2320054 Cell: 98490 63908
Sri Srinivasulu, Teacher
4th Street, Lakeview Colony,
Podalakur Road, NELLORE -4 Ph : 2304787
Sri Sreehari Mallela TTDS Coordinator,
T.T.D.Kalyana Mandapam Dharma Prachara Parishad.
Dargamitta, NELLORE -3 Cell: 94412 06889
Sri Sudhakar Babu Juwelapalem
25-1 -489, 4th Street, Postal Colony,
A.K.Nagar, NELLORE -4 Ph: 6526012
Sri Seshaiah Naidu M.V. (RTC) 27-3-141/1
Near Sravanthi School, Saraswathi Nagar,
N.T.R.Nagar, Stonehousepet, NELLORE -2
Ph : 2309126 Cell: 9440740843
Sri Satheesh Vasill
Engineer,
Gadam Rosaiah Colony,
Podalakur Road, NELLORE -4 Cell: 98494 09298
Sri Sundaraiah Amuluru
Retd. Teacher,
Councellor Street, Teacher's Colony
B.V.Nagar, NELLORE -4
Ph : 2305242
Sri Srujan Babu Yeduru
Opp. B.C.K.C. Kalyana Mandapam
A.C.Nagar, NELLORE -2
Sri Surendra Rao Uranduru
Senior Asst.,
Revenue Divisonal Office,
Nellore. ! 27-2-1222,
Balaji Nagar, NELLORE -2
Ph : 2341972, Cell: 94406 40824
Sri Srinivasa Rao Malemarpuram
Teacher, NTR Nagar, NELLORE -2
Ph : 2309126, Cell: 94407 40843
Sri Surya Prakasha Rao Duwuru
Dist. Surveyor,
27/93, Revenue Colony, A.K.Nagar,
NELLORE -4 Ph : 2339706
Sri Siddaiah Mallam
Retd. C.E., (Bed)
26-3-104, B.V. Nagar, A.K. Nagar
NELLORE -4 Ph : 2308901
Sri Subbaiah Y.M.V.
Retd. Dy. Executive Engineer (PR) 3rd Street,
Podalakur Road, NELLORE-3 Ph: 2321401

SreedharThotapalli M R.O.,
2-223. Opp : Temple, Thadikonda St,
Nawabupeta, NELLORE -2
ph : 2339909, Cell: 98499 04072
Sri Sudhakara Rao Parlapalle
Retd.C.E.
Muthukur Road, NELLORE -3
ph: 2338613, 9848213566
Sri Sreedhar Kumar Penuballi
Cartoonist, VAARTHA
Door No. 3-1235, Nagendra Nagar,
Nawabupet, NELLORE -2
Ph:2321790
Dr. Sathyanadh K.
24/2/700, 4th Street,
Near Girls Polytechnic,
Dargamitta, NELLORE -4
Ph : 2323479 (R), 231703 (C)
Sri Suresh V.V.
s/o. Surendra Naidu Mypadu Gate,
NELLORE -2 Ph : 2329320
Sri Subbaiah Somarajupalli
Retd. A.C.T.O.
29-2-862, 5th Street, Savithri Nagar,
A.K. Nagar, NELLORE -4
Sri Surendra Rao Kodavaluru
4th street, Chandramouli Nagar,
NELLORE-4 Cell: 94411 83081
Sri Shivakurmar Giddaluru
AD/Trg/Employment
Magunta Lay Out, NELLORE -4
Ph : 2308001, Cell: 98499 05510
Sathyam lynala
Rtd. Teacher, C.A.M. High School,
D.No. 23-1-1237,Ravindra Nagar,
OPp : Dist. Court. NELLORE -3. CelI: 94403 19953
Sri Symasunder Amuluru
Opp. Appolo, NELLORE
Cell : 98492 53031, 94403 78279
Sri Sathya Murthy Pillarisetty
114, Dwaraka Appartments,
Tekkemitta, NELLORE -3 Ph : 2327480
Sri Seshagiri Rao V,
Petrol Bunk,
Madras Busstand, NELLORE -3
Ph: 2322141, 2346661
Sri Simhadri Giddaluru
2-223A, Thatikondavari Street,
Nawabupeta, NELLORE -2 Ph : 2308579

Sri Subbarao Uranduru
Lakshmi Puram,
Nawabupet, NELLORE -2
Ph : 5630055, Cell: 98491 67757
Sri Srinivasulu Naidu Pelluru
Naidu Hirers
Plot No. 66, S.B.I. Colony
A.K.Nagar, NELLORE -4
Ph : 6954938, Cell: 94409 89037
Sathyanarayan Rao Parimi
Retd. A.C.T.O, N.G.O. Colony,
B.V. Nagar, NELLORE -4
Ph:233648
Sri Srinvasulu Naidu Penuballi
Retd. Deputy Collector,
27/110, Police Colony, A.K.Nagar,
NELLORE -4. Ph : 2326577
Sri Surendra Naidu Veguru
Kissan Nagar, Navalak Gardens,
NELLORE -2 Ph : 2328320

Sri Shivakumar Podalakuru
E.S.I.Department,
Metlarevu, Santhapet, NELLORE -1
Ph : 5517163 Cell : 98852 63740
Sri Seenaiah Eduru
H.W.O., 26-3-1719,
6th Street, Chandramouli Nagar,
Vedayapalem, NELLORE -4
Ph : 3294528 Cell: 98490 65441
Sri Srinivasulu Penuballi
Retd. Dy. Statistical Officer,
10th Street, Balaji Nagar,
NELLORE -2 Ph : 2326845
Sri Subbaramaiah Parlapaili
Nethaji Nagar, A.K.Nagar,
NELLORE -4 Ph : 2306848
Sri Sridhar Dhandigunta (ZP)
Gowtham Nagar, Beside Ramachandra Mission,
Podalakur Road, NELLORE -4 Ph:2318153
Sri Suresh Vemulachedu
Ramachandrapuram, Nawabupet, NELLORE -2
227. Sri Sreehari Naidu Amuluru
Retd. Court Officer,
A.C. Nagar, NELLORE -2
Sri Subbaramaiah Chilakampati
4/821, Usmansahebpet, NELLORE. 229.
Sri Sunder Raja Veguru Kisan Nagar,
Mypadu Gate, NELLORE -2
Sri Srinivasa Murthy Navuru
Retd. O.S.
Z.P. Colony, NELLORE -4
Sri Sudhakar Rao Parlapaili j
Live Stock Inspector,
1 27/123, Police Colony NELLORE -4 Ph : 2333900
Sri Shivaiah Chinthapatla
Lecturer, B.Ed. College, Santhapet, NELLORE -1
Sarojanamma Valluru
D/o Late Krishnaiah
S.V.S Emerald, Behind M.G. Brother]
NELLORE
Dr. Sal Kumar
X-Ray Home,
Dhandayudha Puram, NELLORE -3
Sri Srinivasulu Vetnula Teacher
25-3-334, L.V. Colony,
4th Street, Podalakur Road Centre,
NELLORE Ph : 2304787, Cell 98484 30289
Sri Srinivasulu Vallaturu
Furniture Manufacturers
Mulapet, NELLORE -3
Sri Sudhakar Balumuru
Cook Master, Murali Krishna Hotel,
B.V. Nagar, NELLORE -4
Sri Suryanarayan K.V.
26-1/1/1/89, 8th Street,
Chandramouli Nagar. NELLORE -4
Sri Surendra Madireddy
Corporation Bank,
Brindavanam, NELLORE –1

Sri Sundara Ramaiah Mopuru
28-1-398, Postal Colony,
A.K. Nagar, NELLORE -4 Ph : 2327399

Sujatha Jaladanki
Typist, Spaceage Systems
Near Madras Bus Stand, NELLORE -3.
Sri Sitaramamma Rayasam
Retd. Hindi Pandit
27/220, Siromani Nagar, A.K. Nagar,
NELLORE -4
Sri Sudha Srinivas Pancheti
25/339, Lakeview Colony, NELLORE -4
Sri Seshagiri Rao V.
Perol Bunk, Madras Bus Stand,
20/559, Mulapeta,
NELLORE -3 Ph:2326497, 2346661,
Cell: 9849818972
227. Sri Srinivasulu V.
7/23, Ranganayakulapet, NELLORE -1
Sri Sudhakar Naidu Penuballi
Lectrer, V.R.C.
20-46A, 10th Street, Balaji Nagar,
NELLORE -2
Sri Shiva Prasad Uranduru
Viswam B.Ed., Coaching
Barous, Dycus Road, NELLORE -1
Sri Srinvasulu Naidu Vemulachedu
52, Nawabupet, NELLORE -2
231. Sri Seshagiri Rao A.V.
Royal Cafe, Achari St., NELLORE -1
Sri Venkata Seshagiri Rao Nellore
Chitra Industries,
3rd Street, Revenue Colony,
NELLORE -4 Ph : 2306847
Sri Surendra Akkalaneni
Computer Clerk
D.E.O Office, NELLORE.
Sri SreedharThotapalli (Aqua)
3rd Street, Gayathri Nagar,
A.K. Nagar, NELLORE -4
SriSubbaiahT.
Plot No. 131,
Jakeer Hussain Nagar,
Mypadu Gate, NELLORE -2 Ph:2303917
Sri Sudhakar T.
Plot No. 130, Jakeer Hussain Nagar,
Mypadu Gate, NELLORE -2
Sri SubhaskarT.
New Suresh Fancy
Big Bazaar, NELLORE -1
Cell: 94402 79387
Sri Srinivasulu V.
Mechanic,
New Police Quarters,
Nawabupet, NELLORE -2
Sri Sarath Nidiganti
Usmansahebpet,
NELLORE -2 Cell: 98669 06036
Sri Surendra Veguru
Steel Factory Centre,
Balaji Nagar, NELLORE –2
Sri Suresh Pelluru
S/o Sri Subba Naidu,
Contractor (Elec), 25-1-1000,
6th Street, Nethaji Nagar, NELLORE -4
Sri Srinivasa Rao Chittineni
(Govt. R.P.)
28/1624, High School Road,
Venkateswara Puram
NELLORE -5. Cell: 94901 25272
Sri Sudhakar Jaladanki
S/o Ramanaiah
Opp. Padmavathi School,
Podalakur Road, NELLORE -4
Sri Sudhakar Atmakur
Mechanic
Near St. Paul's School,
Nethaji Nagar, NELLORE -4
Cell: 94406 24478
Dr. Srihari Mallela
Co-ordinator, T.T.D.,
Dargamitta, NELLORE -3
Ph : 2327409 Cell: 94412 06889
Sri Subrahamanyam Eduru
Teacher,
Balaji Nagar, NELLORE -2
Cell: 99840 52287
Sri Sarath Babu Kodavaluru
25-2-1113, Revenue Colony,
A.K.Nagar, NELLORE -4
Sri Subbarayudu J.
NELLORE -3. Ph : 2322329
Sri Suresh Babu Jenne
Sai Kiran Photo Studio, Trunk Road,
Nellore. Cell: 9440334663
Sri Srinivasulu Penuballi
27-1-1218, Putta Street,
Balaji Nagar, NELLORE -2
Ph : 2302674, Cell 93962 99143
Sri Srinivasulu Nellore
27-1-646,11th Cross Road,
Balaji Nagar, NELLORE -2
Ph: 2346993
Sri Sundara Raja Vasili
S/o. Late Vasili Ankaiah Naidu
24-1-2063, N.B.T. Colony,
3rd Cross Road, Dycus Road,
A.K. Nagar, NELLORE -4
Sri Srinivasulu Thupili
Vishnavi Auto Consultants
5-661, Samatha School Building
Dycus Road Centre, Podalakur Road, NELLORE -4
Cell: 92464 34336
Sri Sudhakaraiah Parlapalli :
Retd. Chief Engineer, (P.H) ] Opp. Appolo Hospital, Dargamitta,
NELLORE -3
Sri Srinivasulu Chowkacherla
Marketing Executive, Zamin Ryot
Sri Sai Paradise, Sneha Nagar,
Kondayapalem, A.K. Nagar, NELLORE -4
Ph: 2327354, Cell: 98489 66163
Sri Srinivasulu Thotapalli
R.T.C. Conductor,
Near Mahalakshmi Temple, i Mulapet, NELLORE -3
Sri Vasili Satheesh Babu,
348, Gadam Rosaiah Nagar, Kothur, NELLORE -4 Cell: 94402 58970
Sri Seshagiri Rao Atmakuru
180, M.I.G. A.P.J.B. Colony,
Kallurupalli, NELLORE -4 Ph: 2393 531
Sri Subrahamanyam Atmakuru
Plot. 161. H.I.G., K.P.H.B. Colony
Kallurupalli, NELLORE -4 Cell 94901 43196
Sri Pelluru Srinivasulu
26-2-898, 3rd Street, Byepass Road Teachers Colony,
Ayyappa Temple, NELLORE -4. Cell 98856 73082
Sri Ksheer SagarThupili
Deputy Tahasildar, D.R.D.A.,
Collectorate, 26-2-719, Jyothi Nagar, 6th St.,
NELLORE-4 Ph: 2314699
Sri Sriramulu P.
2nd Street, Jyothi Nagar,
A.K. Nagar, NELLORE -4
Sri Srinivasulu Naidu
Avayava Mukari (CSF)
26-1-724, B.V. Nagar, A.K. Nagar,
NELLORE -4
Sri Sathyanarayan Murthy V.V.
25/2228, Opp : Branch Post Office ,
Vengalarao Nagar, A.K. Nagar P.O.
NELLORE -4.
Sri Sivarama Krishna Giddaluru
S/o. Sri Koteswara Rao,
Side House to Branch P.O Vengalarao Nagar, NELLORE -4
Sri Sinivasulu Lakkamaneni
Teacher, 25-3-334 L.V.Colony,
4th St., Podalakur Road, NELLORE -4
Ph : 2323998, Cell: 99893 10875
Sri Subbaramaiah Parlapalle v
Radhakrishna Appts.
Opp : Hqrs. Hospital, Dargamitta,
NELLORE -4. Ph : 2306848
Srihari Naidu Kodavaluru
Retd. Hindi Pandit ;
Inamadugu, Kovur Mandal ,
NELLORE Cell: 99633 41346
Sri Shivaprasad Navuru
Manager, SuPhiksha,
Opp : Nippo, NELLORE –4
Surendra Uranduru
Senior Asst. R.D.O. Office,
Balaji Nagar, NELLORE –2

Sri Thirupal Naidu V
15th Street, Lakeview Colony,
Podalakur Road, NELLORE -4 Cell 94401 04082
Sri Thirupal Naidu P.
31/53, Balaji Nagar, NELLORE -2
Sri Thukaram Vemulachedu
Opp. II Town Police Station, Nawabupet, NELLORE -2
Sri Umamaheswara Rao
Kodavaluru (S.B.I), 26-1-1871,
Shiridi Sai Colony, B.V. Nagar, (Mallethota) NELLORE -4
Sri Venkateswarlu Naidu Pancheti
Elecl. Contractor,
10th Street, Lakeview Colony,
Podalakur Road, NELLORE -4
Sri Venugopal Naidu Ontimitta
Retd. Senior Asst. Z.P. 25-1-776,
1st Street, Z.P.Colony, NELLORE-4. Ph: 2314976
Sri Venkateswara Rao K.
Retd. Teacher, 1st Floor,
Leela Grandeer Appartment, G -3
Santhi Nagar, NELLORE -3
Sri Vykunta Rao Chikolu
Retd. H.M., 1st, Street,
Military Colony A.K. Nagar,
NELLORE-4 Ph: 2322524
Sri Venkaiah Naidu Amuluru
Retd. Head Master,
Near C.P.M. Office, 27-1-838,
Balaji Nagar, NELLORE -i
Sri Venkaiah Vemula
Building Constructor,
Lakshmi Nagar, Lucky Board Centre,
NELLORE -2
Vajramma Atmakuru
Gamalla Street, Nawabupet,
NELLORE -2
SriVijayaSaradhiV.
Gamalla Street, Nawabupet, NELLORE -2
Sri Venkateswarlu Thupili
Bussiness, L.I.G.Colony, Podalakur Road, NELLORE -4
Sri Venkatasubbaiah Y.
Retd. Engineer, Railways
Near Saibaba Temple
26-1-209, NGO Colony, NELORE -
Sri Venkateswarlu Siddavatam
Veternary Compounder,
Ramachandrapuram,
Nawabupeta, NELLORE -2
Vijayamma R.
4/130, R.K. Nagar,
Nawabupeta, NELLORE-2
Sri Vijaya Saradhi K.V.
C/o. Seshaiah Y.V. 2/398,
Gamall Street, Nawabupeta,
NELLORE –2
Sri Venugopalaiah Mopuru
4-1-1645, Audithya Nagar,
Near M.G.Brothers, NELLORE -3
Ph: 2321084, Cell: 94404 18481
Sri Venkataramanaiah Atmakuru V.A.O.
3uja Buja Nellore, NELLORE -4

Sri Venkataramanaiah Nellore
26/1087, 5th Street, Chandramouli Nagar, NELLORE -4.
Sri Venkatakrishnaiah Pakala
26/1/1292, Saisowdha, 9th Street,
Chandramouli Nagar, NELLORE - 4. Cell 94411 23431
Sri Venkatapathi Naidu Koka
24/517, Mulapaet, NELLORE -3 Ph: 2321721
Sri Viswanadham Urunduru
Teacher, Dycus Road, Near Park, NELLORE -1
Sri Venkaiah Easabathina
26-564, 2nd Street, Postal Colony, A.K.Nagar, NELLORE -4
Sri Venkateswara Rao Kodavaluru
Santhi Nagar,
NELLORE-3 Ph: 2301196
Sri Venugopal Pelluru
Lakshmi Nagar, NELLORE -2 Cell :9347111041
Sri Venkateswarlu Atmakuru
Health Supervisor, D.S.R. Hospital,
Dargamitta, NELLORE -3 Cell: 94405 04175
Sri Venkateswarlu Pancheti
9th Street, Lakeview Colony,
Podalakur Road,
NELLORE -4 Cel 94402 03119
Vijaya Vemula
R.T.C. Driver N.B.T. Colony,
4th Street, Dycus Road,
Podalakur Road, NELLORE -4 Cell: 99126 05772
Sri Visweswara Rao Urunduru
Teacher, Muthyalapalem, NELLORE -3
Venkatakrishnaiah Kalluru
Retd. H.M.
Teachers Colony, 3rd Street,
Byepass Road, Opp. Ayyappa Temple
NELLORE -4 Ph : 2314699

Vidyavathi Dhandigunta (NDCC) 304,
4th Street, S.L.S. Towers, Kondayapalem,
NELLORE -4 Cell :9391690031
SriVenkataseshaiah Naidu
Matemarpuram
27-3-141/1 Saraswathi Nagar,
NTR Nagar Bus Route
Beside Srvanthi School, NELLORE -2
Cell: 94909 49734]
Dr. Venkata Krishna M.
'B'Block, Plot No. 108,
Rohita Paradise, Opp. Bollineni Hosp.
Dargamitta, NELLORE -3
SriVenkatasubbaiah V.P.
25-1 -489, 4th Line,
Postal Colony, NELLORE -4. Cell 9441578944
Sri Yamini Chandra Nellore
'ZAMIN RYOT,
26-3-1431 ,Putta Street, 1st. Cross,
Chandramouli Nagar, NELLORE -4
Ph:6526197, Cell: 98489 66167

Sri Yanadi Naidu Vemulachedu
Retd. Teacher,
Opp: Police Quarters,
Nawabupet, NELLORE -2 Ph:2300963
Sri Yamini Pradeep M.
(RKT Patrole Bunk) Subedarpeta,
NELLORE -1 Ph: 2331334
SriYugander P.
C/o. Mohan Ramaiah Putta Street,
Balaji Nagar, NELLORE-2 Ph: 2329215