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Insertion device

An insertion device (ID) is a component in modern synchrotron light sources, so called because they are "inserted" into accelerator tracks. They are periodic magnetic structures that stimulate highly brilliant, forward-directed synchrotron radiation emission by forcing a stored charged particle beam to perform wiggles, or undulations, as they pass through the device. This motion is caused by the Lorentz force, and it is from this oscillatory motion that we get the names for the two classes of device, which are known as wigglers and undulators. As well as creating a brighter light, some insertion devices enable tuning of the light so that different frequencies can be generated for different applications.

History
The theory behind undulators was developed by Vitaly Ginzburg in the USSR. However it was Motz and his team who in 1953 installed the first undulator in a linac at Stanford, using it to generate millimetre wave radiation through to visible light.

It was not until the 1970s that undulators were installed in electron storage rings to produce synchrotron radiation. The first institutions to take these devices were the Lebedev Physical Institute in Moscow, and the Tomsk Polytechnic University. These installations allowed a fuller characterisation of the behaviour of undulators.

Undulators only became practical devices for insertion in synchrotron light sources in 1981, when teams at the Lawrence Berkeley National Laboratory (LBNL), Stanford Synchrotron Radiation Laboratory (SSRL), and at Budker Institute of Nuclear Physics (BINP) in Russia developed permanent magnetic arrays, known as Halbach arrays, which allowed short repeating periods unachievable with either electromagnetic coils or superconducting coils.

Despite their similar function, wigglers were used in storage rings for over a decade before they were used to generate synchrotron radiation for beamlines. Wigglers have a damping effect on storage rings, which is the function to which they first put at the Cambridge Electron Accelerator in Massachusetts in 1966. The first wiggler used for generation of synchrotron radiation was a 7 pole wiggler installed in the SSRL in 1979.

Since these first insertions the number of undulators and wigglers in synchrotron radiation facilities throughout the world have proliferated and they are one of the driving technologies behind the next generation of light sources, free electron lasers.

Operation
Insertion devices are traditionally inserted into straight sections of storage rings (hence their name). As the stored particle beam, usually electrons, pass through the ID the alternating magnetic field experienced by the particles causes their trajectory to undergo a transverse oscillation. The acceleration associated with this movement stimulates the emission of synchrotron radiation.

There is very little mechanical difference between wigglers and undulators and the criterion normally used to distinguish between them is the K-Factor. The K-factor is a dimensionless constant defined as:

$$K=\frac{q B \lambda_u}{2 \pi \beta m c}$$

where q is the charge of the particle passing through the ID, B is the peak magnetic field of the ID, $$\lambda_u$$ is the period of the ID, $$\beta=v/c$$ relates to the speed, or energy of the particle, m is the mass of the accelerated particle, and c is the speed of light.

Wigglers are deemed to have K>>1 and undulators to have K<1.

The K-Factor determines the energy of radiation produced, and in situations where a range of energy is required the K-number can be modified by varying the strength of the magnetic field of the device. In permanent magnet devices this is usually done by increasing the gap between the magnet arrays. In electromagnetic devices the magnetic field is changed by varying the current in the magnet coils.

In a wiggler the period and the strength of the magnetic field is not tuned to the frequency of radiation produced by the electrons. Thus every electron in a bunch radiates independently, and the resulting radiation bandwidth is broad. A wiggler can be considered to be series of bending magnets concatenated together, and its radiation intensity scales as the number of magnetic poles in the wiggler.

In an undulator source the radiation produced by the oscillating electrons interferes constructively with the motion of other electrons, causing the radiation spectrum to have a relatively narrow bandwidth. The intensity of radiation scales as $$N^2$$, where $$N$$ is the number of poles in the magnet array.

title: Insertion device


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Talk:Theory of categories

Types and tokens
Disclaimer - I don't understand this at all - can you tell? :o). Seeking clarification, please. Type_(metaphysics) says "Types are a category of being." Then, should "type" not also be in the list of "Physical thoughts, Minds, Classes, Properties, Relations...."? It also says "an instance of a type is called a token of that thing" - is the term 'token' specific to types or does it also refer to instances of other categories? -- —Preceding unsigned comment added by 128.240.229.6 (talk • contribs) 15:39, 9 March 2004

 * Unified, there is no distinction. - [Media:http://mum.edu/multimedia/mmy_apr23_wmv.html] —Preceding unsigned comment added by 64.233.212.18 (talk • contribs) 16:33, 27 June 2004

Called for an expert
As a major topic in metaphysics, perhaps the biggest, it strikes me how poor this page is. It is clearly a mish-mash of different writers using inconsistent terminology (the poor quality is even reflected in the article's title: the article is called "category of being," even though the bolded word in the opening sentence is "categories of being." Before I added it, searching for "ontological scheme" did not even redirect here.

I think an expert should rewrite the whole thing, starting off by giving the goal (to create a minimal, exhaustive, and exclusive list of all the fundamental kinds (no universal negative categories, or disjunctive categories) of things that exist) - i.e. a category has to "earn" a place on the list by proving itself to be irreducible to other categories, or capable of being eliminated entirely. In the second part, s/he should then list the categories that have been argued to exist (be generous in this part, since reductive/eliminative arguments will come next). And in the third part, s/he should discuss arguments for/against certain categories e.g. Hume argued that space and time don't "deserve" a category on the list because they are only constructs of the human mind. —Preceding unsigned comment added by KSchutte (talk • contribs) 20:34, 31 January 2007

 * I generally agree with the unsigned comment above (by Nathanjones15). 1Z 21:06, 31 January 2007 (UTC)

 * Any real expert in this subject would not admit to it. An "expert" would tell you "all I know is that i know not." Basically states that we are all ignorant. sorry just my two cents( please note this is not to be taken as anything more then a trivial point being made)--[[User:Designdroide|Design[[user_talk:Designdroide|droide]]]] 00:16, 9 October 2007 (UTC)

Point of View
The link to point of view in the Categorical distinctions section is pointing to a disambiguation page that I'm currently working on. I have no idea where the proper location of this link should go. Could one of the article editors please take a look at Point of view and move the link accordingly? Or post here and let me know and I'll do it? - Thank you. - Zvar 17:09, 3 July 2007 (UTC)

Ousia
There is a take on ousia which regards every individual thing as infinite. I believe it is so in The Symposium, certainly in Blake, and elsewhere. If it is taken as such the 'bundle theory' and phylogenic and culturo-symbolic adaptations in man create a very interesting system. Wblakesx (talk) 19:02, 22 May 2014 (UTC)

biased uneducated opinion | Assisted by Citation bot r579,
Fink, Eugen, Ute Saine, and Thomas Saine. "The oasis of happiness: Toward an ontology of play." Yale French Studies (1968): 19-30. — Preceding unsigned comment added by Idrisdaneel (talk • contribs) 09:41, 7 February 2015 (UTC)

External links modified
Hello fellow Wikipedians,

I have just added archive links to 1 one external link on Category of being. Please take a moment to review my edit. If necessary, add after the link to keep me from modifying it. Alternatively, you can add to keep me off the page altogether. I made the following changes:
 * Added archive https://web.archive.org/20131102084057/http://www.gutenberg.org/files/2412/2412-h/2412-h.htm to http://www.gutenberg.org/files/2412/2412-h/2412-h.htm

When you have finished reviewing my changes, please set the checked parameter below to true to let others know.

Cheers. —cyberbot II  Talk to my owner :Online 18:25, 25 August 2015 (UTC)

Removing the "Multiple Issues" tag if I hear no objections
I'm glad to wait a few days, but I think the multiple issues tag should be removed from this article. Most sections have citations attached to practically every line and the sources cited are standard and non-problematic. ThomasMikael (talk) 14:02, 14 June 2022 (UTC)

 * Agreed. It would be helpful to re-add corresponding tags to the problematic sections or passages, if there are still any. Phlsph7 (talk) 04:08, 15 June 2022 (UTC)

Suggestion to retitle (or "WP:MOVE") this page
The proper name for the territory that this page would be better be titled "Theory of Categories." Discussion of the categories of being is generally referred to by this phrase in the literature of philosophy and metaphysics. The lineage or imprimatur on using "Theory of Categories" vs. "Category of being" runs from Duns Scotus (who technically referred to the discussion as "The Doctrine of Being" to the latter-day 20th century philosophers from Ernst Bloch, Franz Rosenzweig, Walter Benjamin and even Gershom Scholem to (much more famously or infamously) Heidegger and other continental philosophers of his persuasion. Outside of the elder sources leading up to the competing modern spheres of discussion I've just mentioned, the question is not much discussed (though it is an important issue within that particular sphere of discourse). It is true that Aristotle did not designate that his work on Categories was a theory or doctrine--but he didn't organize recurrent themes in his work under headings like that elsewhere either. Rather this has been a convention for perhaps twelve hundred to two thousand years as a way to refer, for example, to recurrent themes in the work of authors from antiquity. So far as I can recall, "categories of being" used as an effective subject heading (rather than a descriptive phrase) is a form of nomination for this territory that I've only encountered on this particular Wikipedia page and though it's not a terrible descriptor (re: the Theory of Categories is concerned with ontology or questions of being and existence) I think it is not the recognized term. I move to rename the page, redirect categories of being and mention somewhere in the introductory. If I don't hear any objections in the next day or two and I'm going to go ahead and pull the trigger on this.
 * The technical term "categories of being" is often used, for example here, here, or here. But the term "Theory of Categories" is also often used. Personally, I find "categories of being" better since it is one level less abstract. But in the end, the more important point would be which term is more commonly used in the academic literature. Phlsph7 (talk) 04:17, 15 June 2022 (UTC)
 * So, thank you, for your attention on this issue User:Phlsph7 : ) My preference for "Theory of Categories" is particularly cued by scholars who worked alongside of--at least coterminously with--but also had polemical (fruitful) arguments with Heidegger: Ernst Bloch, Gershom Scholem & Martin Buber (<<these two watch mostly from the sidelines but report the dispute as a dispute over Theory of Categories), and most especially Walter Benjamin. Hannah Arendt would be an adjudicator of this dispute who is quite as sympathetic to Martin Heidegger as she is to Walter Benjamin. I have no idea whether or not I could find support from the Heidegger school: Beauvoir, Foucault etc. Most likely the issue is addressed in Foucault but I'd rather not throw myself into a search for support from him at present : ) The issue came most directly to my attention through Wolfram Eilenberger's Time of the Magicians, but he only gestures at it and may not even use the term "Theory of Categories" in his gesture. As to my motivation here: I was disappointed to find that my Google Search for "Theory of Categories"--a central and non-trivial issue--dead ends right now in a mathematical theory which may be of interest...to mathematicians with whom I have no argument, and usually even less comprehension : ) Below the top search results (which lead, ultimately, here but not from the SERP) the issue dissolves even further into vagaries and an oblivion of forgetting on this argument which was important to many (who were among the few) of the greatest scholars from that period. Your sources are more standardized, but with gratitude for the conversation: this only raises my suspicion against them since they are, therefore, are secondary rather than primary.

 * I will concede, upon reflection, that my preference here *is* a preference for the polemical or in other words for active discussion rather than supine semi-invisibility. You say "Categories of Being" is less abstract: Fair. It also does not invite discussion or further refinement. It assumes authority rather than leaving the question open.

 * I will provide citations upon request--this will be laborious since they are in the midst of the most dense and difficult discussions which are for the most part, not indexed and I despise CTRL + F-ing through archive.org on questions like this since it is so often disappointing given the imperfect legibility of texts to OCR. This would be a project that I would be happy to undertake but the addition or mention of these citations will have nowhere to go (I don't mean them to disarrange but maybe they could have a little section) unless the page is called "Theory of Categories." So--expressing gratitude once more for your time and consideration, Phlsph7--what say you?ThomasMikael (talk) 22:17, 26 June 2022 (UTC)
 * Thanks for the detailed explanation. From what I can tell, there are two advantages of the current title: (1) it is less abstract and (2) there is less danger of mistaking it for category theory in mathematics, which is also sometimes termed "theory of categories". But I don't think that these arguments by themselves are decisive and you have already mentioned many scholars who would favor the title "theory of categories". Since I'm at best weakly opposed, it's probably not worth the time to get into a detailed discussion on this issue. I suggest that you wait for a few more days to see if someone else has anything to say on this issue and, if not, you may go ahead with the move. Phlsph7 (talk) 04:16, 27 June 2022 (UTC)
 * Will do. Thank you, Phlsph7 ThomasMikael (talk) 15:42, 27 June 2022 (UTC)
 * There has been more than enough time to respond, so feel free to go ahead with your proposal. Phlsph7 (talk) 19:03, 3 July 2022 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Talk:Theory of categories


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Dodona's Grove

Dendrologia: Dodona's Grove, or the Vocal Forest was a poem by James Howell published in 1640, which launched Howell's literary career. It was published in English in multiple editions and was translated into French and Latin.

Description
Dodona's Grove is an allegory of Europe, particularly England, depicting events between 1603 and 1640. Dodona, in the title, refers to the ancient Hellenic oracle of Zeus in Epirus.

Covered in the poem are the Spanish match, the Gunpowder Plot, the murder of Thomas Overbury, and the assassination of Buckingham. The political criticisms in Dodona's Grove may have contributed to Howell's imprisonment in 1643.

In the poem, plants represent prominent persons. The British oak tree in Dodona's Grove represents the Stuarts.

Impact
Historian Henry Hallam criticized the work harshly, calling it "clumsy", "unintelligible", "dull", and "an entire failure". Despite its shortcomings, it is speculated to have been an influence on James Harrington's The Commonwealth of Oceana. Bibliographer Albrecht von Haller was tricked into including Dodona's Grove in his Bibliotheca Botanica.

title: Dodona's Grove


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User talk:Legendofninja

Hi, is there any particular reason you felt compelled to add the Goat.sex picture to an earlier version of Image:Hello.jpg? I assume you're aware that such conduct risks being blocked for vandalism? Pakaran. 15:40, 9 Mar 2004 (UTC)

Does this user still need to be blocked? He may have just clicked "rev" on the image... Pakaran. 23:36, 9 Mar 2004 (UTC)

title: User talk:Legendofninja


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Maury Wills

Maurice Morning Wills (October 2, 1932 – September 19, 2022) was an American professional baseball player and manager. He played in Major League Baseball as a shortstop from 1959 to 1972, most prominently as an integral member of the Los Angeles Dodgers teams that won three World Series titles between 1959 and 1965. He also played for the Pittsburgh Pirates and the Montreal Expos. Wills is credited with reviving the stolen base as part of baseball strategy.

Wills was the National League Most Valuable Player (MVP) in 1962, stealing a record 104 bases to break the old modern era mark of 96, set by Ty Cobb in 1915. He was an All-Star for five seasons and seven All-Star Games, and was the first MLB All-Star Game Most Valuable Player in 1962. He also won Gold Gloves in 1961 and 1962. In a fourteen-year career, Wills batted .281 with 20 home runs, 458 runs batted in, 2,134 hits, 1,067 runs, 177 doubles, 71 triples, 586 stolen bases, and 552 bases on balls in 1,942 games. From 2009 until his death in 2022, Wills was a member of the Los Angeles Dodgers organization, serving as a representative of the Dodgers Legend Bureau.

Early life
Wills was born in Washington, D.C., to Guy and Mable Wills, the seventh of thirteen children. His parents were originally from Maryland; his father, born in 1900, worked as a machinist at the Washington Navy Yard and was a part-time Baptist minister. His mother, born in 1902, worked as an elevator operator.

He began playing semi-professional baseball at age 14. At Cardozo Senior High School, Wills starred in baseball, basketball, and football. He earned All-City honors in each sport in his sophomore, junior, and senior years. On the baseball team, he played third base and also pitched.

Minor leagues

Wills signed with the then-Brooklyn Dodgers in 1950, after graduating from high school. He spent eight years in the minor leagues for them. Before the 1959 season, the Detroit Tigers bought his contract for $35,000, but they returned Wills to the Dodgers after spring training because they did not think he was worth that salary.

Los Angeles Dodgers
Pee Wee Reese, the Dodgers' shortstop, retired after the 1958 season. The Dodgers began the 1959 season with Bob Lillis at shortstop, but he struggled and the team went to Don Zimmer. When Zimmer broke his toe in June, the Dodgers promoted Wills from the minor leagues. He played in 83 games for the Dodgers, batting .260 with 7 RBI. In the 1959 World Series, he played in each of the six games, hitting 5-for-20 with one stolen base and two runs in the Dodgers' victory. Before the 1960 season, the Dodgers traded Zimmer. In Wills's first full season in 1960, he hit .295 with 27 RBI and a league-leading 50 stolen bases in 148 games, becoming the first National League (NL) player to steal 50 bases since Max Carey stole 51 in 1923.

In 1962, Wills stole 104 bases to set a new MLB stolen base record, breaking the old modern era mark of 96, set by Ty Cobb in 1915. Wills also stole more bases than any team that year, the highest total being 99 by the Washington Senators. Wills was caught stealing just 13 times. He finished the season batting .299 with six home runs and 48 RBI, and led the NL with 10 triples and 179 singles. Late in the 1962 season, San Francisco Giants Manager Alvin Dark ordered grounds crews to water down the base paths, turning them into mud to hinder Wills's base-stealing attempts. In 1962, Wills played a full 162-game schedule, plus all three games of the best-of-three regular season playoff series with the Giants, giving him a total of 165 games played, an MLB record that still stands for most games played in a single season. His 104 steals remained a major league record until Lou Brock stole 118 in 1974. He won the NL Most Valuable Player Award over Willie Mays, with teammate Tommy Davis finishing third.

In the 1963 World Series, Wills batted 2-for-16 (.133) with one stolen base in the Dodgers' four-game sweep of the New York Yankees. In the 1965 World Series, he played in all seven games and went 11-for-30 (.367) with three runs and three stolen bases in a hard-fought Dodger victory, his third and last World Series title.

While playing for the Dodgers, Wills was a Gold Glove Award winner in 1961 and 1962, was named a NL All-Star five times (5 seasons), and was selected seven times for the All-Star Game (two games were played in 1961 and 1962).

In the 1966 season, Wills had 38 stolen bases and was caught stealing 24 times. He batted 1-for-13, an .077 average, with one stolen base, in the 1966 World Series, as the Dodgers were swept in four games.

Pittsburgh Pirates
After the 1966 season, the Dodgers went on a postseason exhibition tour of Japan. During the tour, Wills, who was nursing bad knees and felt he was unable to perform, left in the middle and went back home. His leaving was seen as abandonment and disloyalty by Dodgers owner Walter O'Malley who was already irked at losing pitcher Sandy Koufax who had recently retired. Hence, almost as a punishment, the team traded Wills to the Pittsburgh Pirates for Bob Bailey and Gene Michael.

In the 1967 season, he played in 149 games, recording 186 hits, 29 stolen bases (his lowest since having 35 in 1961), three home runs, 45 RBI, and a .302 batting average. In the following season, he played in 153 games, getting 174 hits, 31 RBI, and 52 stolen bases, although he was caught stealing 21 times, with a .278 batting average.

Montreal Expos
On October 14, 1968, the Montreal Expos selected Wills from the Pirates as the 21st pick in the expansion draft. Wills batted first in the lineup for the inaugural game of the Expos on April 8, 1969. He went 3-for-6 with one RBI and one stolen base in the 11–10 win. He played just 47 games for the team, getting 42 hits, 8 RBI and 15 stolen bases on a .222 batting average. An exchange with Ted Blackman of the Montreal Gazette on May 19 made headlines when Wills struck Blackman in the mouth due to not liking what Blackman had put in the paper, and loose play by Wills later that month led to boos in Montreal. Unhappy in Montreal, Wills briefly retired on June 3 but returned to the Expos 48 hours later.

Back to the Dodgers
On June 11, 1969, the Expos traded Wills to the Dodgers along with Manny Mota for Ron Fairly and Paul Popovich. In 104 games with Los Angeles, he batted .297 with four home runs and 39 RBI while stealing 25 bases. After the season, Wills finished 11th in NL MVP voting. In the following year, he played in 132 games while having 141 hits, 34 RBI 28 stolen bases, and a .270 batting average. For 1971, he played in 149 games while having 169 hits, three home runs, 44 RBI, 15 stolen bases, and a .281 batting average, resulting in a sixth-place finish in NL MVP voting. However, Wills failed to work out during the 1972 Major League Baseball strike, and once the season finally started, he struggled with his reflexes and timing. After a game against the Expos in which he struggled against Carl Morton, Wills went back to the bench, nodded at manager Walter Alston, and remarked, "He's certainly justified if he takes me out." Alston did indeed replace Wills in the lineup with Bill Russell on April 29, and Wills spent the rest of the season as a reserve player while Russell went on to hold the position for the next several years.

Wills played 71 games in 1972, recording 17 hits, 4 RBI and one stolen base and a .129 batting average. In his final MLB appearance on October 4, 1972, he served as a pinch runner for Ron Cey in the top of the ninth inning, scoring a run on a home run by Steve Yeager while also playing the bottom of the ninth inning at third base. On October 24, 1972, he was released by the Dodgers.

Base stealing
Alongside Chicago White Sox shortstop Luis Aparicio (who led the American League in stolen bases in nine straight years), Wills brought new prominence to the tactic of stolen bases. "Almost single-handedly Maury turned baseball from its love affair with plodding, one-dimensional sluggers and got the game to consider pure speed as serious offensive and defensive weapons," noted Tommy John. Perhaps it was due to greater media exposure in Los Angeles, or to the Dodgers' greater success, or to their extreme reliance on a low-scoring strategy that emphasized pitching, defense, and Wills's speed to compensate for their lack of productive hitters. Wills was a significant distraction to the pitcher even if he did not try to steal, because he was a constant threat to do so. The fans at Dodger Stadium would chant, "Go! Go! Go, Maury, Go!" any time he got on base. While not the fastest runner in the major leagues, Wills accelerated with remarkable speed. He also studied pitchers relentlessly, watching their pick-off moves even when not on base. And when driven back to the bag, his fierce competitiveness made him determined to steal. Once, when on first base against New York Mets pitcher Roger Craig, Wills drew twelve consecutive throws from Craig to the Mets first baseman. On Craig's next pitch to the plate, Wills stole second.

In the wake of his record-breaking season, Wills's stolen base totals dropped precipitously. Though he continued to frighten pitchers once on base, he stole only 40 bases in 1963 and 53 bases in 1964. In July 1965, Wills was ahead of his 1962 pace. However, Wills at age 32, began to slow in the second half. The punishment of sliding led him to bandage his legs before every game, and he ended the 1965 season with 94 stolen bases.

Managing and retirement
After retiring from playing professional baseball, Wills spent time as a baseball analyst at NBC from 1973 through 1977. He also managed in the Mexican Pacific League—a winter league—for four seasons, during which time he led the Naranjeros de Hermosillo to the 1970–71 season league championship. Wills let it be known he felt qualified to pilot a big-league club. In his book, How To Steal A Pennant, Wills claimed he could take any last-place club and make them champions within four years. The San Francisco Giants allegedly offered him a one-year deal, but Wills turned them down. In August 1980, the Seattle Mariners fired Darrell Johnson and named Wills their manager.

According to the Seattle Post-Intelligencer's Steve Rudman, Wills made a number of gaffes. He called for a relief pitcher although there was nobody warming up in the bullpen, held up another game for 10 minutes while looking for a pinch-hitter, and even left a spring-training game in the sixth inning to fly to California.

On April 25, 1981, Wills ordered the Mariners' grounds crew to make the batter's boxes one foot longer than regulation, after receiving complaints that Tom Paciorek was batting outside the box. The extra foot was in the direction of the mound. However, Oakland Athletics manager Billy Martin noticed something was amiss and asked plate umpire Bill Kunkel to investigate. Under questioning from Kunkel, the Mariners' head groundskeeper admitted Wills had ordered the change. Wills claimed he was trying to help his players stay in the box. However, Martin suspected that given the large number of breaking ball pitchers on the A's staff, Wills wanted to give his players an advantage. The American League suspended Wills for two games and fined him $500. American League umpiring supervisor Dick Butler likened Wills's actions to decreasing the distance between the bases from 90 ft to 88 ft.

After leading Seattle to a 20–38 mark to end the 1980 season, new owner George Argyros fired Wills on May 6, 1981, with the Mariners deep in last place at 6–18. His career record was 26–56, for a winning percentage of .317, one of the worst ever for a non-interim manager.

However, Julio Cruz, himself an accomplished base stealer, credited Wills with teaching him how to steal second base against a left-handed pitcher. Dave Roberts similarly credits Wills with coaching him to steal under pressure circumstances. "He said, 'DR, one of these days you're going to have to steal an important base when everyone in the ballpark knows you're gonna steal, but you've got to steal that base and you can't be afraid to steal that base.' So, just kind of trotting out on to the field that night, I was thinking about him. So he was on one side telling me 'this was your opportunity.' And the other side of my brain is saying, 'You're going to get thrown out, don't get thrown out.' Fortunately Maury's voice won out in my head."

Wills was a coach on the team from 1996 to 1997 and served as a radio color commentator for the Fargo-Moorhead RedHawks on KNFL until 2017. He resumed making appearances with the Dodgers in 2000, serving as a guest instructor in spring training until 2016.

Hall of Fame candidacy
As a BBWAA candidate, Wills was on the Baseball Hall of Fame ballot for fifteen years, from 1978 to 1992, but never received more than 40.6% of the vote, falling far short of the required 75% to be elected. His vote total fell to half after 1982 and his subsequent arrest in 1983 for cocaine possession likely played a part in why his numbers never recovered.

In 2014, Wills appeared for the first time as a candidate on the Golden Era Committee election ballot for Hall of Fame induction in 2015, which required twelve votes. However, he missed getting elected by three votes. All the other candidates on the ballot also missed being elected.

The Golden Era Committee was replaced in 2016 by the four committees, including Golden Days Committee which covered the period from 1950 to 1969. Wills was on the 2022 ballot but he did not receive enough votes for induction.

Entertainment career
Throughout most of his major league playing career, Wills supplemented his salary in the off-season by performing extensively as a vocalist and instrumentalist (on banjo, guitar, and ukulele), appearing occasionally on television and frequently in night clubs. "Entertaining Athletes: Negro Sports Stars Augment Salaries by Performing in Night Clubs". Ebony. September 1965. Retrieved October 10, 2018. See also:

 * "Maury Wills Makes Hit in Television Performance" . Jet. October 24, 1963.
 * Du Brow, Rick (UPI). "TV in Review" . The Desert Sun. October 7, 1965.
 * "Royal Tahitian Books Wills" . San Bernardino Sun-Telegram. November 15, 1965.
 * Koppett, Leonard. "Off Season, A Club Replaces a Bat: Mudcat and Maury of World Series Fame Cavort at Cabaret" . The New York Times. January 14, 1966.
 * AP. "Wills, Banjo in Tokyo for 11-Day Stand" . San Bernardino Sun-Telegram. February 25, 1966.
 * Duke, Forrest. "Las Vegas Scene: Maury Wills Opens in January" . San Bernardino Sun-Telegram. November 23, 1967.
 * Duke, Forrest. "Las Vegas Scene: Movie Being" Filmed at Hotel Riviera" . San Bernardino Sun-Telegram. December 5, 1968.
 * Duke, Forrest. "Las Vegas Scene: Friends Rally to Aid Showgirl" . San Bernardino Sun-Telegram. November 26, 1969. He also cut at least two records during this period—one under his own name, the other as featured vocalist with Lionel Hampton. For roughly two years, starting on October 24, 1968, Wills was the co-owner, operator, and featured performer of a nightclub, The Stolen Base (also known as Maury Wills' Stolen Base), located in Pittsburgh's Golden Triangle and offering a mix of "banjos, draft beer and baseball."

By no account, least of all his own, was Wills a consummate virtuoso; "good; not great, maybe, but good," wrote Newsday's Stan Isaacs, reviewing a 1966 Basin Street East engagement shared with World Series nemesis Mudcat Grant (although Isaacs did single out "a few mean choruses on banjo"). Nonetheless, the level of proficiency attained on Wills's principal instrument was attested to on two separate occasions by the American Federation of Musicians: first, in December 1962, when the president of Los Angeles Local 47, after hearing just a few minutes of banjo playing, promptly waived the balance of Wills's membership entrance exam, and then, just over five years later, when trumpeter Charlie Teagarden, specifically citing "Maury's banjo-playing ability" (and evidently unaware of Wills's already established membership), "presented him, on behalf of the musicians union, an honorary lifetime membership."

In 1969, Wills appeared in an episode of the television series Get Smart, entitled "Apes of Wrath" (season 5, episode 10).

In 1965, Wills recorded two songs for the album The Sound Of The Dodgers: "Dodger Stadium" (with teammate Willie Davis and comedian Stubby Kaye) and "Somebody's Keeping Score".

Personal life
After receiving the Hickok Belt in 1962, Wills was determined by the Commissioner of Internal Revenue to have deficiencies in reported income and awards deductions. The United States Tax Court supported the Commissioner and the tax case was brought up to the United States Court of Appeals for the Ninth Circuit, which affirmed the decision.

In his 1992 autobiography, On the Run: The Never Dull and Often Shocking Life of Maury Wills, Wills discussed his love affair with actress Doris Day. Day had previously denied this in her 1976 autobiography Doris Day: Her Own Story.

Wills abused alcohol and cocaine until 1989. He wrote in his autobiography, "In $3 1/2$ years, I spent more than $1 million of my own money on cocaine." In December 1983, Wills was arrested for cocaine possession after his former girlfriend, Judy Aldrich, had reported her car stolen. During a search of the car, police found a vial allegedly containing .06 grams of cocaine and a water pipe. The charge was dismissed three months later on the grounds of insufficient evidence. The Dodgers organization paid for a drug treatment program, but Wills walked out and continued to use drugs until he began a relationship with Angela George, who encouraged him to begin a vitamin therapy program. The two later married.

Wills is the father of former major leaguer Bump Wills, who played for the Texas Rangers and Chicago Cubs for six seasons. Due to a salacious anecdote in the elder Wills's autobiography, the two had a falling out, but as of 2004 occasionally spoke.

In 2009, Wills was honored by Washington, D.C., and Cardozo Senior High School with the renaming of the former Banneker Recreation Field as Maury Wills Field. The field was completely renovated and serves as Cardozo's home diamond. The Maury Wills Museum in Fargo, North Dakota, at Newman Outdoor Field, home of the Fargo-Moorhead RedHawks, opened in 2001 and closed in 2017 when he retired.

Wills died at his home in Sedona, Arizona, on September 19, 2022, at age 89 just two weeks shy of his 90th birthday.

Other awards

 * Hickok Belt Award (1962)
 * The Baseball Reliquary's Shrine of the Eternals (class of 2011)
 * "Legends of Dodger Baseball" (2022)

The stolen base "asterisk"
While Wills had broken Cobb's single season stolen base record in 1962, the National League had increased its number of games played per team that year from 154 to 162. Wills's 97th stolen base occurred after his team had played its 154th game; as a result, Commissioner Ford Frick ruled that Wills's 104-steal season and Cobb's 96-steal season of 1915 were separate records, just as he had the year before (the American League had also increased its number of games played per team to 162) after Roger Maris had broken Babe Ruth's single-season home run record. Both stolen base records were broken in 1974 by Lou Brock's 118 steals; Brock broke Cobb's stolen base record by stealing his 97th base before his St. Louis Cardinals completed their 154th game.

Articles

 * "Maury Wills Set to Play Banjo at Dinner". Los Angeles Times. March 16, 1962.
 * Reichler, Joe (AP) "Wills of Dodgers Man of Many Accomplishments; Trains Dog, Plays Banjo, Etc.". San Bernardino Sun-Telegram. June 1, 1962.
 * "Dodgers' Maury Wills Plunks Down for AFM". Variety. December 26, 1962.
 * "Miltie & Maury". Jet. January 10, 1963.
 * Thomas, Bob (AP). "Signing Autographs an Art Too, Says Base-Thief Maury Wills". San Bernardino Sun-Telegram. October 2, 1963.
 * "Dot Records proudly presents Hot New Single Releases!". Billboard. September 14, 1963.
 * "Maury Wills Makes Hit in Television Performance". Jet. October 24, 1963.
 * "Entertaining Athletes: Negro Sports Stars Augment Salaries by Performing in Night Clubs". Ebony. September 1965.
 * Du Brow, Rick (UPI). "TV in Review". The Desert Sun. October 7, 1965.
 * Rathet, Mike (AP). "With a Banjo on his Knee". Santa Cruz Sentinel. October 13, 1965.
 * Myers, Bob (AP). "Koufax Receives Escort from Cheering LA Fans". San Bernardino Sun-Telegram. October 16, 1965.
 * "Royal Tahitian Books Wills". San Bernardino Sun-Telegram. November 15, 1965.
 * UPI. "Wills Holding Out for $100,000; Wanted at Vero Breach, Feb. 27". The Desert Sun. February 18, 1966.
 * AP. "Wills, Banjo in Tokyo for 11-Day Stand". San Bernardino Sun-Telegram. February 25, 1966.
 * UPI. "Walkout May Have Ended Wills' Career with LA". The Madera Daily News-Tribune. November 17, 1966.
 * Biederman, Les. "The Scoreboard: Wills Leads Two Lives With Bucs". The Pittsburgh Press. April 18, 1967.
 * Eck, Frank. "Maury Wills Trade Saved Dodgers Morale". Santa Cruz Sentinel. April 19, 1967.
 * Leonard, Vince. "When a Veteran Is a Rookie: That's Maury on Camera". The Pittsburgh Press. April 20, 1967.
 * Leonard, Vince. "Name's the Same on Both Fronts: Wills, Baseballer and Broadcaster". The Pittsburgh Press. April 21, 1967.
 * Duke, Forrest. "Las Vegas Scene: Maury Wills Opens in January". San Bernardino Sun-Telegram. November 23, 1967.
 * Duke, Forrest. "Las Vegas Scene: $80 Million Hotel Complex Set". San Bernardino Sun-Telegram. February 11, 1968.
 * "Maury Wills Opening 'Stolen Base' Tavern". The Pittsburgh Press. September 22, 1968.
 * Abrams, Al. "Sidelight on Sports: Maury Wills Undecided". Pittsburgh Post-Gazette. October 24, 1968.
 * "Grand Opening: The Stolen Base". The Pittsburgh Press. October 24, 1968.
 * Litman, Lenny. "Maury Wills Hits Home Run in Bow as Pitt Nitery Op." Variety. October 30, 1968.
 * Duke, Forrest. "Las Vegas Scene: Movie Being" Filmed at Hotel Riviera". San Bernardino Sun-Telegram. December 5, 1968.
 * Feeney, Charley. "Roamin' Around: The Wills Way". Pittsburgh Post-Gazette. January 8, 1969.
 * Duke, Forrest. "Las Vegas Scene: Friends Rally to Aid Showgirl". San Bernardino Sun-Telegram. November 26, 1969.
 * Livingston, Pat. "Sports Beat: Strumming on the Old Banjo". The Pittsburgh Press. January 29, 1970.
 * Duke, Forrest. "Las Vegas Scene: Jurors Get Kiss After Verdict". San Bernardino Sun-Telegram. August 13, 1970.
 * Boal, Pete. "Sports Wash: Alston Seems Out of Touch; Mantle Heads All-Villain List; Wrong Place to Break in Wills". San Bernardino Sun-Telegram. March 15, 1973.

title: Maury Wills


text:
Dr. Rajkumar

Singanalluru Puttaswamaiah Muthuraj (24 April 1929 – 12 April 2006), better known by his stage name Dr. Rajkumar, was an Indian actor and singer who worked in Kannada cinema. Regarded as one of the greatest and versatile actors in the history of Indian cinema,   he is considered a cultural icon and holds a matinée idol status in the Kannada diaspora, among whom he is popularly called as Nata Saarvabhouma (Emperor of Actors), Bangarada Manushya (Man of Gold), Vara Nata (Gifted actor), Gaana Gandharva (Celestial singer), Rasikara Raja (King of connoisseurs), Kannada Kanteerava and Rajanna/Annavru (Elder brother, Raj). He was honoured with Padma Bhushan in 1983 and Dadasaheb Phalke Award in 1995. He is the only lead actor to win National Award for Playback singing. His 39 movies have been remade 63 times in 9 languages  by 34 actors making him the first actor whose movies were remade more than fifty times and the first actor whose movies were remade in nine languages. He was the first actor in India to enact a role which was based on James Bond in a full-fledged manner. The success of his movie Jedara Bale is credited to have widely inspired a Desi bond genre in other Indian film industries. On the occasion of the "Centenary of Indian Cinema" in April 2013, Forbes included his performance in Bangaarada Manushya on its list of "25 Greatest Acting Performances of Indian Cinema". Upon his death, The New York Times had described him as one of India's most popular movie stars.

Rajkumar entered the film industry after his long stint as a dramatist with Gubbi Veeranna's Gubbi Drama Company, which he joined at the age of eight before he got his first break as a lead in the 1954 film Bedara Kannappa. He went on to work in over 205 films essaying a variety of roles and excelling in portraying mythological and historical characters in films such as Bhakta Kanakadasa (1960), Ranadheera Kanteerava (1960), Satya Harishchandra (1965), Immadi Pulikeshi (1967), Sri Krishnadevaraya (1970), Bhakta Kumbara (1974), Mayura (1975), Babruvahana (1977) and Bhakta Prahlada (1983). 13 of his films have received National Film Award for Best Feature Film in Kannada (Rajat Kamal) within a span of 15 years from 1954 to 1968. 17 of his films have received Karnataka State Film Awards in five different categories.

Trained in classical music during his theatre days, Rajkumar also became an accomplished playback singer. He mostly sang for his films since 1974. The songs Yaare Koogadali, Huttidare Kannada, Hey Dinakara, Hrudaya Samudra, Manikyaveena and Naadamaya became widely popular. For his rendition of the latter song, he was awarded the National Film Award for Best Male Playback Singer.

He is the only Indian actor to be awarded the Kentucky Colonel, the highest honour bestowed by the Commonwealth of Kentucky in the United States. Well known for his highly disciplined and simple lifestyle in both personal and professional fronts, Rajkumar was also an avid Yoga, Pranayama, and Carnatic music performer. In 2000, he was kidnapped from his farmhouse at Gajanur by Veerappan and was released after 108 days. He died of cardiac arrest at his residence in Bangalore on 12 April 2006 at the age of 76. His eyes were donated as per his last wish.

In his film career, Rajkumar received eleven Karnataka State Film Awards, including nine Best Actor and two Best Singer awards, eight Filmfare Awards South and one National Film Award. He holds the record of receiving Filmfare Award for Best Actor – Kannada and Karnataka State Film Award for Best Actor the highest number of times. He received the NTR National Award in 2002. He was awarded an honorary doctorate from the University of Mysore, and is a recipient of the Padma Bhushan (1983) and the Dadasaheb Phalke Award (1995) for lifetime contribution to Indian cinema. He was also the first Indian actor to be bestowed with an honorary doctorate for acting. A mega icon and a socio-cultural symbol of Kannada, he has been credited with redefining Kannada cinema and also putting the Kannada cinema on the national map. He was the first actor to play the lead role in 100 as well as 200 Kannada movies. His 1986 movie Anuraga Aralithu was the first Indian movie to be remade in seven other languages. He has the distinction of having played the highest number of devotional, mythological and historical characters (combined).

Early life
Singanalluru Puttaswamaiah Muthuraj was born in a Kannada-speaking family on 24 April 1929 in Dodda Gajanur, a hamlet in the Talavady taluk. His father Puttaswamayya and mother Lakshmamma were impoverished theatre artists from Singanalluru. His mother tongue was Kannada. Puttaswamayya was good at playing mythological roles such as Kamsa, Ravana, and Hiranyakashipu. Muthuraj left school at eight and was later discovered by film producers, who cast him in small roles that he played till he was 25.

He was named Muthuraj, after Muthaththi Raya (a name for the Hindu deity Hanuman), which is a temple deity located in Muthathi, a settlement on the banks of river Kaveri in present-day Karnataka.

As actor
Muthuraj started his acting career with his father in a drama troupe led by Gubbi Veeranna and later joined the drama company of Subbaiah Naidu. In 1953, he was spotted by film director H. L. N. Simha, who was on the lookout for well-built, pleasant-faced man for the starring role in film, Bedara Kannappa. Simha eventually signed Muthuraj for the film and named him Rajkumar.

Prior to Bedara Kannappa, Rajkumar had appeared as a child artist in the 1942 film Bhakta Prahlada in a small role and also in the 1952 film, Sri Srinivasa Kalyana, as Sage Agasthya, one of the Saptarishis (seven sages). It was an insignificant role in which his scene was over even before he recognised himself.

He acted only in Kannada movies throughout his career apart from one Telugu movie, Kalahasti Mahatyam, which was a remake of his debut Kannada movie Bedara Kannappa.

He had lead roles in 205 movies. He owned a production company called Sri Vajreshwari Combines under the banner Dakshayani Combines. Bhagyada Bagilu was his 100th film, Devatha Manushya was his 200th film and Shabdavedhi was his last film.

His character depictions ranged from mythological, historical, devotional, James Bond styled spies to romantic, rural, action roles and portrayals of contemporary social causes in the span of over five decades. Rajkumar along with his contemporaries Udaya Kumar and Kalyan Kumar were referred as the Kumara Thrayaru of Kannada cinema. He acted in 36 films with Udaya Kumar and in 5 films with Kalyan Kumar.

His historical movies such as Ranadheera Kanteerava, Immadi Pulikeshi, Sri Krishnadevaraya and Mayura presented a populist version of Karnataka's history, focusing on the Karnataka kingdoms such as Mysore royalty, The Chalukyas, The Vijayanagara Empire and The Kadambas respectively - thereby making him the only Indian actor to have portrayed the role of four prominent kings of Indian history - Kanthirava Narasaraja I, Pulakeshin II, Krishnadevaraya and Mayurasharma. He also appeared as Bijjala II in Jagajyothi Basveshwara and as Raja Mallasarja in Kittur Chennamma.

The other prominent historical characters portrayed by him include Purandara Dasa in Navakoti Narayana, Kanaka Dasa in Bhakta Kanakadasa, Tukaram in Santha Thukaram, Kabir Das in Mahathma Kabir, Kālidāsa in Kaviratna Kalidasa, Gora Kumbhar in Bhakta Kumbara, Sri Raghavendra Swamy in Mantralaya Mahatme, Sarvajna in Sarvagna Murthy, Chetha in Bhakta Chetha, Kaivara Narayanappa in Kaiwara Mahathme, Pundarika in Hari Bhakta, Appanna in Sanaadi Appanna and Santhoba Pavar in Bhakta Vijaya.

He also has the rare distinction of having portrayed the mythological roles of both Devas and Asuras in an almost equal number on the Indian on-screen. While he has played Lord Ram in Sri Ramanjaneya Yuddha, Lord Vishnu in Sri Srinivasa Kalyana, Lord Krishna in Sri Krishna Rukmini Satyabhama, Lord Shiva in Gange Gowri, Narada in Mooroovare Vajragalu, he has also played the role of Ravana in Bhookailasa, Hiranyakashipu in Bhakta Prahlada, Shishupala in Dashavathara, Bhasmasura in Mohini Bhasmasura and Mahishasura in Mahishasura Mardini. His other prominent mythological characters include Kannappa in Bedara Kannappa, Chandrahasa in Chandrahasa, Harishchandra in Satya Harishchandra, Satyavan in Sathi Savithri, Vasishtha in Mahasathi Arundathi, Valmiki in Valmiki, Chyavana Maharshi in Sathi Sukanya and Dushyanta in Kaviratna Kalidasa. Further, he also holds the distinction of being the only actor to play the role of Arjuna and his two sons. While he appeared as Arjuna in Shree Krishna Gaarudi, he appeared in the role of Nagarjuna in Nagarjuna and as Babruvahana in Babruvahana.

His movies were also noted to include drama sequences where he performs various mythological, historical or literary characters such as Romeo and Babruvahana in Amma (1968), Gautama Buddha in Uyyale (1969), Echchamanayaka in Bhale Jodi (1970) and as Bhima in Havina Hede (1981). His movies also have dream and song sequences where he appears in various characters such as Kamadeva in  Dhruva Thare, as Krishna in Emme Thammanna, Daari Tappida Maga and Bhagyada Lakshmi Baramma.

He has acted in around 50 movies based on novels, plays and short stories, which is the highest for any actor in India. He made movies from Kannada novels and made movies against perceived social evils in movies like Jeevana Chaitra (on evils of alcohol) and Shabdavedhi (on drug abuse).

Between 1954 and 1969, Kannada film industry produced 207 movies within a span of 15 years and Rajkumar starred in 100 of those. While the early 60s saw him appearing in fantasy genre movies such as Rani Honnamma (1960), Aasha Sundari (1960), Devasundari (1962), Bala Nagamma (1966) and Devara Gedda Manava (1967), he was also noted for doing swashbuckler films such as Vidhivilasa (1962), Veera Kesari (1963), Katari Veera (1966), Madhu Malathi (1966), Rajashekara (1967), Rajadurgada Rahasya (1967), Simha Swapna (1968), Jaga Mecchida Maga (1972), Bahaddur Gandu (1976) and Huliya Haalina Mevu (1979) at regular intervals in the 1960s and the 1970s.

When Rajkumar appeared as CID 999 in Jedara Bale, he became the first Indian actor to enact a spy role modelled on James Bond in a full-fledged manner and was called the James Bond of India. The success of this movie led to three sequels: Goa Dalli CID 999, Operation Jackpot Nalli C.I.D 999 and Operation Diamond Racket. The CID 999 Franchise was the first Indian movie franchise to have four instalments and CID 999 was the first character based trilogy in India.

He acted with heroines of southern cinema such as Jayanti (38 films), Pandaribai (18 films), Leelavathi (28 films), Bharati (26 films), Kalpana (19 films), Aarathi (13 films), B. Saroja Devi (12 films), Rajasree (10 films), Harini (11 films), Krishna Kumari (8 films), Madhavi (7 films), Manjula (7 films), Jayamala (6 films), Lakshmi (5 films), Kanchana(5 films), Geetha (5 films), Saritha (5 films) and Jaya Prada (4 films). Actress Rekha made her debut in a lead role with his movie Operation Jackpot Nalli C.I.D 999. Sri Lankan based actress Sabeetha Perera also made her Indian movie debut with his film Goa Dalli CID 999. Chi. Udaya Shankar has written dialogues and songs for 85 of his movies. G. K. Venkatesh has scored music for over 50 of his movies. He also has the distinction of having worked with more than 75 directors.

His movie Operation Diamond Racket was shot in Nepal and became the first Kannada movie to be shot outside India. His movie Ondu Muttina Kathe was reported to be the first ever Indian film to have an underwater action sequence shot in an ocean outside India without the help of oxygen mask.

Rajkumar's 1971 movie Kasturi Nivasa was colorised and released in 2014. Even close to a decade after his death, the movie garnered a grand opening with the actor's life-size cutout being immersed in milk. The colorised release also performed well at the box office over taking other Kannada movies released at the time. His 39 movies have been remade 63 times in 9 languages by 34 actors.

As singer
Rajkumar trained in classical music when he was with Gubbi Veeranna's theatre troupe. The track "Om Namaha Shivaya" from the 1956 film Ohileshwara, which he also starred in, was his first song for a film. He subsequently sang "Thumbithu Manava", a duet with S. Janaki, for the movie Mahishasura Mardini (1959). However, he became a full-fledged singer only in 1974 when he sang in place of P. B. Sreenivas for Sampathige Savaal, who had till then sung for most songs picturised on Rajkumar, fell ill. Rajkumar sang the energetic "Yaare Koogadali" for the film which became widely popular during the time and is considered one of his best songs.

Rajkumar has been credited for having sung across various genres and each rendition according to the mood of the scene in the film. In "Yaaru Tiliyaru Ninna" for Babruvahana (1977), a prosodic form of Kannada poetry that required the tone to be a combination of sarcasm and anger, he blended the twin skills of theatrics and music. For Nee Nanna Gellalare (1981), he sang two songs—"Jeeva Hoovagide" and "Anuraga Enaytu"—beginning both with the refrain "I love you", that is full of Carnatic gamakas. After the same tone in the refrain, they take on a life of their own with the form according to love and happiness in the former and love but a discord in the latter. He is known widely for his rendition of "Nadamaya" for Jeevana Chaitra (1992), a song based on the raga of Todi and with complex graces and strings other ragas as it progresses. He switches ragas with ease, and sings complex swara patterns like a professional classical artiste. For the rendition, he was awarded the National Film Award for Best Male Playback Singer. His frequent collaboration with the composer duo of Rajan–Nagendra gave musical hits such as Bangarada Hoovu (1967), Nyayave Devaru (1971), Swayamvara (1973), Sri Srinivasa Kalyana (1974), Nanobba Kalla (1979) and Chalisuva Modagalu (1982).

Rajkumar's duets are mostly recorded with S. Janaki and Vani Jairam. Other female singers who sang with him are P. Susheela, Bangalore Latha, H. P. Geetha, K. S. Chitra, Swarnalatha, Manjula Gururaj, B. R. Chaya, Kasturi Shankar, Rathnamala Prakash, Sulochana and others.

During his career, Rajkumar sang and performed for songs about Kannadigas, the Kannada language and culture, such as "Jenina Holeyo" from Chalisuva Modagalu, "Maanavanagi Huttidmele" from Jeevana Chaitra and "Huttidare Kannada" from the film Aakasmika. He sang a complete English song called "If You Come Today" ("Tick Tick Tick") in the movie Operation Diamond Racket in 1978. This song became an internet meme in India following Rajkumar's demise in 2006.

In later years, he lent his voice to a few actors and sang background solos. For the song Deepavali Deepavali  from Muddina Maava, he provided playback to S. P. Balasubrahmanyam. This was a rare occasion. "Hrudaya Samudra Kalaki" from Ashwamedha and "Hey Dinakara" from Om are the two other popular songs sung by Rajkumar for other actors. He also sang Kalidasa shlokas such as "Maanikya Veena" and ghazal-based songs such as "Sadaa Kannale", "Kanneera Dhaare" and "Yaava Kaviyu".

Rajkumar recorded many devotional songs beginning in the 1970s for Columbia Recording Company starting with "Mantralayakke Hogona" in 1972. His widely popular LP record "Guruvara Bantamma" was also recorded during the time. In 1979, Sangeetha Cassettes became India's first licensed pre-recorded cassettes. Rajkumar sang the devotional songs glorifying the saint Raghavendra and the Hindu deity Hanuman.

Apart from performing in about 75 musical nights, he has sung 300 movie songs and about 200 folk and devotional songs, the proceeds of which were given away to charity.

It was also noted that his versatility and diction contributed immensely to his popularity as a singer since he was able to sing songs of any style - be it qawwali, ghazal, bhajan or English songs - apart from handling a range of emotions - vivacious, romance, devotion or sarcasm.

Family
At the age of 24, Rajkumar married his 14-year-old cousin, Parvathamma, on 25 June 1953 in Nanjangud. This was in accordance with the betrothal that their fathers made following the latter's birth. Together, they had five children: sons Shiva, Raghavendra and Puneeth, and daughters Lakshmi and Poornima. Having lived a "hand to mouth existence" after marriage in a joint family that included 24 children in Madras, the family moved to Bangalore in 1972, after Rajkumar began getting multiple film offers.

Abduction
On 30 July 2000, Rajkumar, his son-in-law Govindaraju and two others were abducted by Veerappan from the actor's palatial house at Gajanur. Veerappan demanded the release of his gang members who were being held in jail under a defunct anti-terrorism law. The event prompted a massive manhunt and threw the Karnataka government into crisis. The Supreme Court of India opined that it was "unpardonable" on the part of the government of Tamil Nadu for not providing security to Rajkumar, although they had information a year earlier that he faced a threat of being kidnapped by Veerappan. A Special Task Force (STF) set up to capture Veerapan had earlier warned Rajkumar against visiting the farmhouse, and his son Raghavendra later acknowledged that his father had not taken the threat seriously.

After a total of 108 days in captivity, Rajkumar was released unharmed on 15 November 2000. His abduction and the manner in which his release was secured remains a mystery.

Death and memorial
On 12 April 2006, Rajkumar returned to his Sadashivanagar residence after his regular 20-minute walk and had a general medical check-up by 11:30 a.m. (IST). At 1:50 pm (IST), as he sat on a sofa, he asked a member of his family to slow the fan down and immediately collapsed. His personal physician Ramana Rao was called for, who rushed within three minutes, and performed external cardiac massage and mouth-to-mouth resuscitation. Rajkumar was then taken to MS Ramaiah Memorial Hospital and was administered intracardiac injections. Efforts to revive him failed and he was pronounced dead at 2:05 pm (IST). His death occurred 12 days before his 77th birthday. His eyes were donated to two visually impaired persons the same day.

Rajkumar's death triggered an outpouring of grief. There was major shutdown in the city of Bengaluru. An unofficial bandh (closure of all shops and other establishments) was observed. Several people attempted suicide after hearing the news; most of them were rescued. The funeral cortège the next day started from Sree Kanteerava Stadium to Kanteerava Studios a few minutes before 12:30 pm (IST), a distance of 14 km. Around two million people followed his remains. However, the entire procession was marked with violence with mourners attacking public property, and police, who resorted to lathi-charge and tear gas. Passing through Krishna Raja Circle, Palace Road, T. Chowdiah Road, Sadashivanagar, Yeswanthpur and Goraguntepalya localities, the cortège reached the Studios at 4:45 pm (IST). His body was buried with State honours at 5:45 p.m (IST) at the premises of the studios. The last rites were performed by his eldest son Shiva, guided by priests from the city's ISKCON and the Gayathri Temples.

The then President of India, A.P.J. Abdul Kalam had condoled his death. In the condolence message, he had praised his versatility and everlasting contributions to the Indian cinema.

On 19 April, the government of Karnataka announced that a memorial would be made in Rajkumar's honour at Kanteerava Studios in association with the Karnataka Film Chamber of Commerce at the cost ₹ 100 million. The blueprint of the memorial was cleared by a panel comprising members of Rajkumar's family, representatives of the Kannada film industry and the state government. After a delay over allocation of funds and land, it was finally opened in November 2014, after a sum of ₹ 70 million was used in developing it over an area of 2.5 acre. It included "an open-air auditorium, mini-water body, landscaping and a bust" of Rajkumar. 40 photographs of selected films of Rajkumar were kept on display at the inauguration. A permanent exhibition on the history of Rajkumar's films that included his photographs, trophies and souvenirs, alongside a stock of dialogue, scripts, songs and other memorabilia associated with him were put on display. An annual calendar for 2012 was released containing photographs of Rajkumar and stills from his films. His fan clubs conduct blood donation and eye donation camps on the occasion of his birth and death anniversaries every year.

After his death, two audio companies - Saregama India Limited and Mars Recording Private Limited - were pitted against each other over the copyright of his songs as per Section 52(j) of The Copyright Act, 1957.

Acting versatility
It was observed that after 15 years into his career, in the mid sixties, when new young filmmakers were searching for actors who were less theatrical, Rajkumar had to undergo a transformation in his acting style and succeeded in proving that he could handle roles which were subtle, mellow and soft without the need for theatrical histrionics. He went on to be known for portraying versatile roles with elan.

He was also praised for his ability to integrate actors' virtues with the power of a superstar without letting one erase the other by acting as a gulf between mainstream popular movies and artistic cinemas. It was also noted that it was his subtle acting prowess, spontaneous style and his flair to give the reel characters a real credibility which singled him out to the top and helped him to never be out of the running by withstanding the onslaught of time, age and the ever changing demands of celluloid world.

Jnanapith awardee U. R. Ananthamurthy had noted that movies of Rajkumar were less melodramatic than the movies of his counterparts at that time in other languages—MGR, Sivaji Ganesan and NTR.

Amitabh Bachchan had praised Rajkumar's simplicity and his ability to perform any role to perfection. Anil Kapoor called him the "emperor of all the actors" and a pride of Indian film industry.

Girish Kasaravalli had called him a great actor by any standards. Jayanth Kaikini had said that the variety and intensity which Rajkumar had managed as an actor was unmatched world over.

When Rajkumar completed 200 movies in lead roles in Kannada films, P. Lankesh edited a special issue of Lankesh Patrike in 1988 titled Innooru Chitragala Raja dedicating to him.

Social themes of movies
Rajkumar made movies against perceived social evils throughout his career. His debut movie Bedara Kannappa (1954) addressed social discrimination. The 1957 movie Rayara Sose speaks against the evil practice of dowry. The 1958 movie Shree Krishna Gaarudi, which narrates the bickering and squabbling among the Pandavas for portfolios, allegorises the politics in the then newly formed Mysore state.

The 1962 movie Bhoodana was based Vinoba Bhave's Bhoodan movement and speaks about the religious conversion of the marginalised. The 1964 movie Naandi was acclaimed for capturing the real-time plights of those with hearing impairments. The 1967 movie Bangarada Hoovu spoke about misconceptions about leprosy - especially the notion that leprosy is a consequence of one's past sins. The 1968 movie Hannele Chiguridaga deals with the empowerment of women in education and widow marriage. The 1968 movie Mannina Maga depicted the difficulty of sustaining community life in a city resulting in turn away from it in favour of a village. The 1969 movie Uyyale presents a delicate tale of the extra-marital love of a woman neglected by her husband reflecting the social and moral laws of married life. The 1969 movie Mayor Muthanna had a sub-plot of salvaging of the sub-standard grain and black marketing.

The 1971 movie Kasturi Nivasa charts the rise of modern manufacturing techniques and the ill effects of orthodox approach towards upgradation of technology. The 1971 movie Sakshatkara speaks about superstitions and manipulation of beliefs. The central theme of 1972 movie Bangaarada Manushya - returning to one's ancestral village - inspired youth to take up agriculture. The film also touched on very important topics like rural development, modern agricultural practices and co-operative movement. The 1973 movie Bidugade speaks about capital punishment based on circumstantial evidence be done away with. The 1973 movie Gandhada Gudi was reported to be the first Indian movie made on the concept of protection of forest and wildlife conservation with a focus on the need to preserve the flora and fauna at a time when the CITES treaty was signed with an aim to reduce the economic incentive to poach endangered species. The 1974 movie Sampathige Savaal speaks subtely about the abolishment of Zamindar system by portraying the rich versus poor in a rural backdrop.

The 1985 movie Jwaalamukhi speaks about marks card forgery. The 1985 movie Dhruva Thare speaks about the oppression by the higher class and the need for the minimum wages. The 1986 movie Anuraga Aralithu speaks about the implementation of labour reforms in factory. The 1987 movie Shruthi Seridaaga made a strong statement against believing horoscope blindly. The 1987 movie Ondu Muttina Kathe was a narration on how the value of objects differ across the social strata, especially among the literate and the illiterate.

The 1992 movie Jeevana Chaitra instigated many villages to ban arrack shops. The 1993 movie Aakasmika was about woman trafficking and prostitution racquet.

His last movie Shabdavedhi (2000) was about drug abuse and its ill effects on the youth.

Mass appeal and popularity
Veteran journalist and writer Patil Puttappa had described Rajkumar as a natural strength of Kannada whose mass appeal was much more than any leader in Indian politics. He was also praised for confining himself to the Kannada cinema through a conscious decision. His movies were praised for showing consistent interest in building a Kannada society and not a Kannada nation as such. They were also noted for holding up the value of civility and refrain from peddling hatred. His presence was reported to have filled the void between the state and the nation which neither the littérateurs nor the politicians could accomplish.

Some observers are of the opinion that his star appeal helped bring together the diverse regions of Karnataka. The state was carved out in 1956, bringing together different regions like Hyderabad Karnataka, which were areas ruled by the erstwhile Nizam of Hyderabad; Mumbai Karnataka, which has a strong Marathi influence; Old Mysore region ruled by the Mysore royal family and the hilly regions and coastal belt. Each region has a distinct identity within the state and Rajkumar was accepted as a Kannada icon across all regions. He spoke Kannada in a distinct way which had a universal appeal across the state. This was an important aspect since his career played out when the state's identity was still evolving. Rajkumar's movies were largely credited for creating a unified Kannada cultural space after the formation of the state. It was reported that before linguistic reorganisation of the states, the default state border for the Kannada speaking population was the last point where Rajkumar films were distributed.

He was considered as a strong symbol of Kannada identity. Bollywood actor Prithviraj Kapoor had requested Rajkumar to act with him in a Hindi movie but Rajkumar had refused the offer in spite of Hindi movies having wider market than Kannada. Later, Prithviraj Kapoor went on to share the screen with him in the Kannada movie Sakshatkara directed by Puttanna Kanagal. He had also refused to appear in a cameo for Amitabh Bachchan's 1983 Hindi movie Coolie as he did not want to appear in a non-Kannada movie. Further, he thought that it would not be good for an actor to look down on another actor as the scene involved Amitabh touching the feet of Rajkumar's character - a sequence which appeared before the introduction song of Amitabh's character. In spite of having appeared only in Kannada movies, he was reasonably popular amongst the non- Kannadigas too. His films have inspired many non-Kannadigas to learn the language. In spite of strong Kannada conservatism in his movies, they were noted to have transcended the barriers of language to connect with the ethos of the nation.

Kuvempu considered him to be the most suitable ambassador to propagate his idea of Universal Human (Vishwamanava). His 1972 movie Bangaarada Manushya was credited for inspiring the urban youth to take up farming by popularising modern farming technology.

Bollywood actor Anil Kapoor had called him "The emperor of all actors". Rana Daggubati had revealed that he had referred Rajkumar's performance in the 1983 movie Bhakta Prahlada for his preparation for the role of Hiranyakashipu.

During the interview for promotions of 2.0, Rajinikanth had said that 10 MGRs were equal to 1 Rajkumar. He has also remarked that the only autograph he has ever taken in his life is of Rajkumar. Rajinikanth had also said that Rajkumar was a combination of MGR and Sivaji Ganesan. Vishnuvardhan said he was biggest worshipper of Rajkumar.

B. Saroja Devi called upon the present generation artistes to adopt and emulate the values and ideals cherished by the actor for the growth of the Kannada film industry.

The Pampa Award for writers was instituted by the Government of Karnataka on his behest. The cash prize of ₹1,00,000 which he received with the Dadasaheb Phalke Award was given as donation to Kannada Sahitya Parishat. He gave away the proceeds of 57 musical night programmes as donations to build stadiums in 21 districts of Karnataka.

After Rajkumar's eyes were donated as per his last wish, the eye donation in Karnataka was reported to have increased by 400%. The director of the 2021 Kannada movie Akshi which won the National Film Award for Best Feature Film in Kannada at the 67th National Film Awards had revealed that the act of eye donation by Rajkumar was the inspiration for the plot of his movie.

The initial move to shift the operations of the Kannada cinema gradually from Madras to Bangalore has been credited to Rajkumar's home productions.

As of April 2016, 71 books and 9 souvenirs have been published on Rajkumar. In 2015, after 15 years of research, Doddahulluru Rukkoji released a two-volume, 2,148 page book chronicling Rajkumar's life and achievements. As of May 2023, close to 100 statues of Rajkumar were found in Bangalore alone.

On the occasion of Rajkumar's 90th birthday, an audio-visual musical extravaganza fund raiser programme titled Raj Vaibhava was conducted in Greater Boston for the benefit of a retirement home in Mumbai. In 2012, an entertainment programme called Dr.Raj Vaibhava based on his movies and songs was conducted in Kuwait in his honour.

In 2018, in the run up to the relaunch of Jawa motorbikes, the marketing team of Mahindra & Mahindra used the climax bike stunt sequence of his 1976 movie Naa Ninna Mareyalare as a part of their promotion strategy.

The tableau of Krishnadevaraya at the 2021 Delhi Republic Day parade was reported to be modelled on Rajkumar. The team of the Kannada movie Daredevil Musthafa released an animation song as a tribute to Rajkumar based on the popular theatre song Ninnanthor Yaaru Ilvallo composed by B. V. Karanth in the honour of Mysore King Kanthirava Narasaraja I whose role was portrayed by Rajkumar in the 1960 movie Ranadheera Kanteerava. Flower show conducted at Lal Bagh as a tribute to him on the occasion of 75th Independence Day in August 2022 was attended by 8.34 lakh people generating a revenue of ₹3.33 crore.

Politics
Political analyst MK Bhaskar Rao had revealed that the Janata Party's J. H. Patel and George Fernandes had approached Rajkumar to contest against Indira Gandhi in the 1978 Chikkamagaluru Lok Sabha byelection but he refused saying he wanted to remain apolitical.

The Hindu had reported that Rajkumar could have swept any poll effortlessly but had decided that the affection and love of the people should not be used to attain power. It was also reported that Rajkumar declined to enter politics despite immense pressure as he did not want to be used only as a weapon to defeat anyone and not for any positive contribution. He shunned publicity and politics all his life. He was also credited for protecting and promoting the Kannada language without opting for a political career.

Lifestyle
Rajkumar was known for being a highly disciplined man in both his personal and professional lives. He practised Carnatic music for an hour each day in the morning and in the evening. He was referred to as Gaanagandharva (translation: a heavenly singer). His punctuality is another noted aspect. Waking up every morning at 4 am, he performed Yoga and Pranayama, which is said to be the reason behind his physical and mental fitness. His Yoga performances can be seen in the first clips of his film Kaamana Billu. His waist size was 32 at the time of his death. This fitness is attributed to his practice of Yoga. Actor John Kokken had revealed that Rajkumar was the inspiration behind him performing Yoga every day.

He shunned smoking and drinking both on screen and off. To avoid setting a precedent among his fans, he made sure that the roles he accepted did not require him to smoke or drink or utter swear words, and extended this decision to real life. His dress code always consisted of a simple white dhoti and shirt. He spent most of his vacations in his hometown, Gajanur, near the forest area where he was later abducted.

In 1961, he led a movement to collect funds for drought relief. He would always refer to his movie-producers as Anna Daataru (food providers) and adored fans as Abhimaani Devarugalu (Fan Gods).

He was a devotee of Raghavendra Swami. When Dr. Rajkumar was chosen for the role of saint Raghavendra Swamiji for Mantralaya Mahatme by T.V. Singh Thakur in 1966, there was an objection from the Madhwa community. They were against a non-vegetarian playing the role of Mantralaya seer. However, Dr. Rajkumar gave up non-vegetarian food and lived like a saint during the entire shoot of the film.

Girish Kasaravalli had praised his simplicity, humility, innocence and straight-forwardness. Singeetam Srinivasa Rao called him as one of the two funniest people he has come across in his life. S. P. Balasubrahmanyam had praised his courteous and down to earth nature.

Reminiscing his old days, Kannada director J.G.Krishna had revealed that Rajkumar was responsible for light boys being served food by the film production team after he discovered that they were not being served food on the sets and took initiative to make it mandatory for all Kannada film producers to bear the food cost of the light boys treating them on par with the employees of the production house.

In 2001, he started Shaktidhaama - a rehabilitation home for 800 destitute women who were rescued from prostitution. He endorsed Karnataka Milk Federation's Nandini brand of milk for free.

A touching testimonial to his commitment to lead by example was that he had pledged his eyes in 1994 at the time of inauguration of  Dr. Rajkumar Eye Bank and he rightly did so after his death in 2006. His act of eye donation was likened to the role in his debut movie Bedara Kannappa where he plucks his eyes in the climax to replace the bleeding eyes of the Shivalinga.

Kannada language movement
Although Rajkumar rejected numerous offers to don the political mantle, he was able to influence the State's political fortunes without ever being officially involved in politics. Despite his apolitical outlook, he was able to protect and espouse the cause of Kannada and Karnataka. He continually advocated the cause of seeking primacy for Kannada, was asked to lead a movement to make Kannada a compulsory language for primary education based on the "Gokak report", popularly known as Gokak Varadhi. He became actively involved in the movement and soon became the force behind the Gokak movement. He led rallies from Belagavi to Bengaluru and gave speeches about the importance of Kannada Gokak agitation. Millions of people gathered for the opportunity to have a glimpse of Rajkumar and listen to his speeches. The power of this movement caused the government to relent and make Kannada a compulsory language of education in Karnataka.

Awards and honours
Rajkumar was awarded numerous State, National and International awards. He was a recipient of the Padma Bhushan, a doctorate from Mysore University and the Karnataka Ratna, the highest civilian honour of the State of Karnataka, recognising him as a Jewel of Karnataka State.

In 1985, he was honoured with the Kentucky Colonel award. In 1995, he received the Dadasaheb Phalke Award for his outstanding contributions to the Kannada film industry.

In 2011, during the 83rd birth anniversary of Rajkumar, the Chief Minister of Karnataka announced that the state government recommended that he be awarded a Bharat Ratna, the highest civilian award of the country, for his outstanding contributions to the film industry. He was reported to be the first actor whose first movie won the National Award for Best Picture ( Certificate of Merit). He was also the first actor to complete 100 movies in the lead role in Kannada.

International recognition

 * Kentucky Colonel, an honorary order from the governor of Kentucky, United States in 1985 - the only Indian actor to receive the award.
 * The British daily newspaper The Guardian praised him for his subtle acting and described him as a humble, modest being who was a symbol of Kannada consciousness.
 * The New York-based American newspaper The New York Times described him as "an epitome of good character not just in movies but also in real life".
 * The California-based daily newspaper East Bay Times praised him for never having smoked cigarettes on screen and never playing a drunkard after his early days.
 * ABC News - the news division of Walt Disney Television - acknowledged him as one of the greatest actors of his time and called him The Gentle Giant of Karnataka.
 * The Rome-headquartered global news agency Inter Press Service(IPS) observed that Rajkumar epitomised the breaking away of the Kannada cinema from the older Tamil cinema which then had an overarching influence in the southern India.
 * The American daily The Washington Post called him "one of the region's best-loved figures who had millions of fiercely devoted fans".
 * The Washington, D.C.-based American media organisation NPR called him "a role model, community leader and an aesthete".
 * The Irish daily newspaper The Irish Times called him a veteran matinee idol and a cultural icon beloved by all.
 * The Dubai based English daily newspaper Gulf News called him "a polite man, a philanthropist, who led a simple life".
 * The British broadcaster BBC called him an Indian film legend who was one of the best-loved figures in southern India.
 * The U.S. based multimedia agency Voice of America (VOA) called him one of southern India's most famous actors known for never smoking cigarettes or playing a drunkard on-screen.
 * WarnerMedia owned CNN recognised him as one of southern India's most famous film stars.
 * The British news publisher The Independent called him one of India's best-loved actors and the biggest star the Kannada film industry has ever produced.
 * The San Jose based The Mercury News lauded his unparalleled contribution to Kannada and Kannada film fraternity.
 * A biographical book on Rajkumar compiled by Puneeth Rajkumar titled Dr. Rajkumar:The Person Behind The Personality was officially handed over to British Library, London.

National level recognition

 * 1983 – Padma Bhushan
 * 1992 – Best Male Playback Singer for the song Naadamaya Ee Lokavella from the movie Jeevana Chaitra  - Only Indian actor to receive it for singing.
 * 1995 – Dadasaheb Phalke Award - First person to receive it for his work in Kannada movies.
 * 2002 – NTR National Award - First Kannada actor to receive it.
 * On 1 November 2009, postal stamp bearing the actor's likeness was issued by the Central Government of India - First Kannada actor to receive that honour.
 * In April 2013, Forbes India had included Rajkumar's performance in Bangarada Manushya in its list of 25 Greatest Acting Performances of Indian Cinema on the eve of the centenary celebrations of Indian cinema.
 *  Dr. Rajkumar Samagra Charithre - a two-volume book by film critic D.Rukkoji on the life and achievements of Rajkumar won the Swarna Kamal Award at the 63rd National Film Awards under the National Film Award for Best Book on Cinema category.
 * In 2016, the Maharashtra State Government had prescribed the biography of the actor for its class VIII students detailing his achievements and contributions to the Kannada culture under the title Natasarvabhouma.
 * On 24 April 2017, Google India dedicated a Google Doodle in his honour. - Second Indian actor to receive that honour.

Recognition by the state

 * Honoured with the title: Nata Saarvabhouma in 1967 from the Government of Karnataka.
 * Rajyotsava Prashasti in 1973.
 * An honorary doctorate from the Mysore University in 1976.
 * Karnataka Ratna in 1992 - First recipient of the award along with Kuvempu.
 * The State Government established Dr. Rajkumar Award in 1993–94 to be given for lifetime achievement towards contributions to Kannada cinema - making him the first Indian actor in whose name a State Government established an award while he was still alive.
 * A 6 km road was named Dr. Rajkumar Road on 27 January 1994. The road stretches from the government soap factory and World Trade Center (Orion mall) in Yeshwanthpur to Prasanna theatre, Magadi road in Bangalore.
 * The Nadoja Award, an honorary doctorate from Hampi University in 1999.
 * He was felicitated by the Karnataka State Government on completion of 50 years in the Kannada film industry for his rich contributions to the celluloid world.
 * In 2010, the Karnataka State Government had announced to build a film city in memory of Rajkumar and Vishnuvardhan based on the model of Ramoji Film City.
 * The 11.5 km road connecting Nayandahalli Junction and Tumkur Road titled as Dr.Rajkumar Punyabhoomi Raste where it passes through (Kanteerava studio) Raj's Monument.
 * In 2017, the Karnataka State Government had prescribed his biography and contributions to Kannada cinema for its Class V students and a mention of his contributions to Kannada culture for its Class VI students.
 * A garden depicting sequences from his movies through sculptures had been established at Gotagodi, Haveri.
 * In August 2022, on the occasion of 75th Independence Day, flower show themed on the life journey of Rajkumar and his son Puneeth Rajkumar was conducted at Lal Bagh as a tribute to them which included the bust of the actor along with 205 portraits of his films.

Filmfare Awards South
Rajkumar holds the record of winning eight South Filmfare Awards in the Best Actor category in Kannada cinema.

Below is the list of films for which he received the Best Actor awards:

 * 1) Gandhada Gudi in 1973
 * 2) Mayura in 1975
 * 3) Shankar Guru in 1978
 * 4) Keralida Simha in 1981
 * 5) Shravana Banthu – 1984
 * 6) Ade Kannu – 1985
 * 7) Bhagyada Lakshmi Baramma – 1986
 * 8) Aakasmika in 1993

Total of 8 Filmfare awards in the Best Actor category.

Karnataka State Film Awards

 * Rajkumar has won 11 Karnataka State Film Awards (9 for best actor, 2 for best singer)

 * Best Actor:
 * 1967–68 – Bangaarada Hoovu
 * 1970–71 – Kula Gourava
 * 1974–75 – Bhakta Kumbara
 * 1976–77 – Babruvaahana
 * 1981–82 – Hosa Belaku
 * 1982–83 – Haalu Jenu
 * 1988–89 – Devatha Manushya
 * 1992–93 – Jeevana Chaitra
 * 1993–94 – Odahuttidavaru

 * Best Singer:
 * 1993–94 – Aakasmika – "Huttidare Kannada"
 * 1994–95 – Thayi Illada Thavaru – "Arishina Kumkuma"

Other awards and honours

 * In 2013, a bronze statue of Rajkumar was placed in the replica of Hampi stone chariot at Kurubarahalli Circle in Nandini Layout.
 * Vishwa Maanava named by Kannada poet Kuvempu
 * ETV Kannadiga of the Year Award in 2003
 * In 2020, on the occasion of Karnataka Rajyotsava, gold and silver coins engraved with his face on one side and the Karnataka State symbol Gandaberunda engraved on the other side were released in his memory.

Sarthaka Suvarna
In July 2005, the government of Karnataka captioned by N. Dharam Singh, the Chief Minister of Karnataka conducted a felicitation ceremony for honouring Rajkumar for his (50 years of) service to Karnataka at Bangalore Palace named Sarthaka Suvarna (Significant Gold). This ceremony was attended by the entire Kannada film industry marking respect and tribute to the legend, and could be called an official celebration of Golden Jubilee of Rajkumar's works and services to the Kannada film industry. A Biography on Rajkumar, written by A.N.Prahlada Rao, was released on the occasion.

title: Dr. Rajkumar