Telugu movie industry -- past to present
Sekhar Muddana
One of my friends Toleti Srinivas had sent me this article a year back
requesting me to post it on the scit. I forgot all about it until I
found it while cleaning my directory.
Please post your comments about the article on the net or send me a mail.
I will forward them to Toleti.
Sekhar
****** The following article is by Toleti Srinivas *************
Namaskaram fellow netters of S.C.I.T.
Recently there was a small thread about the chiFANA newsletter
and it provoked some thoughts in me. Especially some of the
netters comments about having a newsgroup for chiranjeevi and
some fun was made out of those souls trying to get some filmi
news to those interested.
I like movies and love to watch them.
I like oldies as well as the new ones. I truly believe
that each individual has some parameters by which they judge
a film to be good, bad etc.
My analysis of the telugu film industry since the early years
to the present day. Knowledgable netters are welcome to contribute.
According to the movie reviews from "Vijayachitra", "Yuva" from
1959-1972, my mother's father subscribed to these mags and I found
them in 1977-78.
Early silent movies in telugu are a continuation of the stage on to
the screen. This trend continued even with the early talkies.
Movies at that time were in the "praapakam" of Rajas' and Zamindars'
this is evident from the names of the producers and directors of
"maala pilla", "gunasundari katha" etc. Most of the movies were
no different from their stage version same script, dialogues,
"padyaalu", background environment changes from scene to scene
Overall it was like watching a play on the screen instead of live
actors.
The primary requirement for acting in those days was stage
experience or "naatakaanubhavam". Great actors from stage with
a very good face, kanchu khantam or kokila swaralu moved on to
films. No doubt the present day stars when compared to the
actors of that time pale in "havabhavaalu", dialogue delivery,
body language, presence in the scene. The only name i remember
of the actors/actresses who belonged to this era are ballari
raghava(i'am doubtful here) and shanta kumari others are welcome
to fill in with some more names.
In the begining movies had to compete with stage, harikathas,
burrakathas, tolubommalata and other forms of entertainment.
They had ingredients from them in all the movies to some extent.
As time passed, movie is in competition with itself only as
it has monopolized the entertainment segment.
Then came background singing and the demand for people who
could sing was dropped and it was like opening the flood gates
and came a crop of great actors - who could not sing very good
but had good stage experience. ANR, NTR, Relangi, Ramana Reddy,
CSR, and of course SVR the one and only one among actors and on the
other side Saavitri, Bhanumati, Girija, B.Saroja Devi, Suryakantam
to name a few.
It was around this time the movies started to alienate themselves
from the stage in presentation of the theme. It became more
mass oriented, more entertaining and as one of the netters pointed
than burrakathas and harikathas where the listner has to conjure
up the scenes, the fights, the romance and the humor. Movies were
doing it all for the viewers, this i believe is the reason for
the decline of the above mentioned art forms. Even stage has been
uprooted badly.
Still movies made were adaptation of popular stage plays, stories
from the puranas, janapada kathalu and the classic example was
"MAYA BAZAAR" a totally fictional story never narrated in any version
of Bharatam but was a creation of the movie writers of that age.
Social themes started getting nod more and more away from the
purana katha mode and movies like Missamma, badipanthulu, rangularatnam,
shaukaru, gundammakatha reflect these. Sudigundalu is by far the
best telugu movie on contemporary problems. Very good performance
by ANR and all others involved in that. Some very radical suggestions.
Some of these telugu movies won the "raashtrapathi awards" at the
national level for their social themes. This trend with more and
more social themes, less of purana and janapadalu continued and
by 1975, the later two almost died except for kurukshetram and
d.v.s.k.
Adurti Subba Rao could be cosidered as the starting point for the
new direction in the telugu film industry. His moives like tenemanasulu,
kannemanasulu brought new faces into the industry and moved
away from the established artists. Their success helped others to
go for new artists, directors et al. He was an expert in making a
grosser from a simple story line with some excellent scores, and
taut screenplay. T.Krishna was an editor with Subba Rao, Vishwanath
was an asst dir. to name a few of his proteges.
Movies after all became the sellers of dreams. Hero winning against
all odds, good prevailing over the evil and slowly the mainline
cinema moved away from the realities. They became more and more
hero orinted by early 70's and it still continues to this day.
ANR, NTR, Krishna, Harnath were the leading actors (need not be
in the order mentioned) with people like ramakrishna, ranganath,
balaiah, krishnamraju, chandramohan in the wings. Hero became
the focal point of the whole story.
Some producers who were willing still came with some movies like
maa bhoomi, nimajjanam, chali cheemalu which were critically
acclaimed. Toorpu velle railu, padaharella vayasu were off-beat
movies which grossed at the box office.
Adavi Raamudu in 77-78 period (i may be wrong here) was the movie
that lifted NTR to the super hero status. The movie had very good
songs, a strong story line oriented around the hero with all the
movie gimmicks like elephants taking on the villians and much more.
This movie ran for 100 days in 32 theaters a record that was not
bettered till recently. This started a flood of commercial movies
more and more away from reality in the sense that the solutions
offered were more movie like not in real life.
Then came dasari, raghavendra rao, kodandarami reddy and others
who took the cinema more and more away from reality into the
dreams. Ironically dasari came into light by working with a
socially strong themes like tata-manavadu, swargam-narakam,
korikalle gurralayithe.
Those producers who could not afford the superstars like NTR,
ANR and others who demanded huge settings, exotic locations,
costumes, storyline that suited their image resorted to small
actors like chandramohan ( who to this day is there only ),
ramakrishna, ranganath both of them faded away into oblivion.
Narasimha raju also flourished along with sudhakar who started
as a side hero to a villian, and off for some time and now back
again.
Krishna was the only star who was kind of openly challenged NTR
in the film industry. When NTR left for politics in '82, Krishna
became the only superstar and all the mega buck movies starred
him as the hero. His movies became predictable and had a string
of flops around then. ANR was never a potent force for a super
star even though he was talented and had the finnesse than NTR.
Chali cheemalu, toorpu velle railu brought to us a new hero -
Narayana Rao who won the best actor award at the Cannes Film
Festival. A product of the DVK Raju film institute, he lacked
the looks of a superstar and was typecast to the roles of his
first 2 films. Rajendra Prasad - Aha Naa Pellanta fame,
bhanu chander - nirikshana fame, chiranjeevi also graduated
from the same institute together and to this day remain friends.
The first one to get a crack at the movies was Narayana Rao.
Chiranjeevi, Rajendra Prasad started as small villians, then
to side heroes and the rest is .... u know ...
From about 1979 to early 81 chiranjeevi was doing some small roles
and then he became son-in-law of Allu. With some help from Allu
and his talent he got good roles in abhilasha a hit movie,
khaidi which made him dear to the youth, who for the first time
saw a hero without pot-belly, young, who could fight a la krishna,
steps like ANR. This was the begining and there was no other
new face at that particular time. He also established himself
well with good performances in "manchu pallaki", "subhalekha",
"intlo ramaiah veedhilo krishnaiah".
Producers were willing to ride his back. He was not expensive,
gave them winnable combination good music with ilaya raja entering
the fray. This coupled with NTR's exit, Krishna's string of failures
provided an oppurtunity for any new comer to exploit and get established.
Chirnajeevi was at that time a good established young actor and
he capitalised on it. kamal hasan's on and off performances were
not worth taking a risk with a heavy budget. There were other new comers
like suman, who had some troubles off-screen, bhanuchander for a
while had some good movies. Rajsekhar too had some good movies. But
By the time Nagarjuna or Venkatesh entered the fame, chiranjeevi has
overtaken Krishna to the lead star position. From 1987 he did not
act in more than 5 movies a year and at least 3 each year were a hit
with good songs, direction and story line which appealed to the
masses. This is the same strategy NTR used from 1980-82. Giving the
public enough dosage to keep them happy but not delude them.
The latest crop of heroes Nagarjuna and Venkatesh have some dist
to go. I doubt if they could deliver any of the bhari dialogues
SVR, NTR, ANR used to deliver. Most of the time these two heroes
have small sentences for dialogue and it is to the credit of the
directors who are using these two for their new faces but lack
of other things. Venkatesh has improved from his early movies a
lot. Nagarjuna still has some problems.
What happened to balakrishna who was acting from age 14 or so. He
has a good dialogue delivery. But for obvious reasons he could
not compete with chiranjeevi during the mid to late 80s'. He
started with some very good performances in "babai abbai",
"mangamma gaari manavadu", "seeta rama kalyanam"(with rajani)
but he was type cast into his village hero roles which kind of
halted his rise. His movie "aditya 369" was a good one.
One should not forget the role of chandra mohan who was the main
stay for sannakaru, chinnakaaru nirmaatalu, darsakulu, rachayitalu.
he was their savior in many ways. He reached the status of a hero.
was willing to work against a new lady. Economical, and was not
type cast into a particular role. Jaya prada, Jaya Sudha, Suhasini,
and others starred opposite him. They had talent and got a chance
to show-case their talents and got the eye of the public. The most
notable of the heroines is Sri Devi in "padaharella vayasu".
The telugu people even though can appreciate off-beat movies evident
from the hits like "sankarabharanam" to "abhinandana", cannot see
their favorite hero in a different role. Case at point chiranjeevi
starred in the movie "swayam krushi" which was a moderate success
due to viswanath's name associated with it. But the movie
"rudra veena" which had more social theme with less fights was
not accepted by the public. It won the 1988 Nargis Dutt National
award for best picture towards National Integration. Even his
recent movie "aapad bhandavudu" which i liked and where he gave
one of his best performances was a flopper at the box office.
The same thing goes even with Kamal Hasan. His early movie
"maro charitra" with sarita took him to stardom, but he was
quite expensive with s.p giving him voice, and he trying to
establish in tamil and then in hindi, he kind of took himself
out of the race for the superstar in telugu. He lost that one
in tamil to Rajanikant but that is another long post :-)
Krishnam Raju was never a major player but was good in some movies
especially katakatala rudriah, bobbili brahmanna and of course
bhakta kannappa.
Sridhar with good performance in muthyala muggu, murali mohan in
ramadandu, jaggaiah, ram mohan are few other lead stars of mention
here.
There is no mention about the character artists like gummadi,
padmanaabham, rajababu, rao gopala rao, satyanaryana even though
some of them are villains.
Not much about the leading ladies of the film industry. I feel
it would be better for one of the lady netter's to give us
their perspective of the leading ladies. Magavaadinainu nenu
naa aalochana vidhanni oka vaipu nunchi nettukosthanu. So if
it is from the other side, valla drukpadham nunchi vuntundi.
selavu
toleti srinivas
--
Sreenivas Paruchuri
movie industry ...''. Here is one more which I have typed long ago but
never posted.
Enjoy it in RIT!
Regards,
Sreenivas
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1938-39 samvatsarAlalO telugu sinimA kotta rUpu diddukundi. sinimA
prayOjanam okka vinOdam sRshTinchaDam mAtramE kAdu - viplavam kUDA
sRshTinchagaladani aa renDu samvatsarAlu nAndi pADAyi. kEvalam purANa
gAdhalE sinimAlugA vastU prajAnIkAnni aanandaparustunna taruNamlO
gUDavalli rAmabrahmam "mAlapilla" lAnTi chitram tIsi, viplavam
sRshTinchADu. aa varasalO aa renDELLalOnU gRhalakshmi('38, rOhiNi,
H. reDDi, nAgayya, kannAmba), vandEmAtaram ('39, vAhini, B.N. reDDi,
nAgayya, kAnchanamAla), maLLI peLLi ( '39,Y. V. rAvu, kAnchanamAla),
raitubiDDa ( '39, sAradhi, G. rAmabrahmam, P. sUribAbu, TanguTUri
sUryakumAri), varavikrayam lAnTi ('39, kALLakUDi nArAyanarAvu,
bhAnumati) samasyAtmaka chitrAlu viDudalai telugu sinimAni pai sthAyilO
nilabeTTAyi. sAnghika samasyalu kaThAvastuvugA antaku mundochchina "bAla
yogini" ('37) chitrAniki sahahAra darSakulugA pani chEyyaDam,
vyangyadhOraNilO samAjAnnI rAjakIyAlani duyyabaTTE rItilO "prajAmitra"
patrikanu naDapaDam - "mAlapilla" nirmANAniki prEraNa kAvachchu.
"mAlapilla" chitrAnni nishEdhinchAlani konni vargAlu prayatnAlu chEsinA
avi sAgalEdu. nirATankangA naDichi, aa chitram aardhikamgA kUDA vijayam
sAdhinchindi. aa vijayAnni puraskarinchukonE rAmabrahmam "raitubiDDA"
aarambhinchAru. jamindArI vidhAnAlanu edirinchi, raitu samasyalanu
prajalamundu peTTina chitramidi. ii samasyalanu vastuvugA tIsukuni
rAmabrhamamgArE katha allAru. tApI dharmArAvu, tripuranEni gOpIchand
mATalu vrASaru. gOpIchand darSakatwaSAkhalO kUDA panichESAru.
kosarAju rAghavayya chaudari "prajAmitra" patrikalO rAjakIya vyangya
kavitalu rAsEvAru. aa maitritO kosarAju chEta pATalu vrAyinchAru. andulO
aayana oka mukhya pAtra kUDA vEsAru. "sai sai chinnapareDDi", "nidra
mElkonarA tammuDA" (I have this record, sUribAbu's Voice) modalagu
pATalu kosarAju gAru, marikonni samudrAla, tApI gArlu vrASAru. raitu
udyamamlO pramukhamgA pAlgonna N. venkaTa rAmAnAyuDu vrAsina pATalu kUDA
chitramlO pADaTam jarigindi.
"mAlapilla"lO basavarAju appArAvugAri pATalu vADAru. mATalu:
chalam (!!!), tApI gArlu. sanivESAnni baTTi okkO rachayita okkO pATanu
vrAyagalaDu anna bhAvanni pravESa peTTindi gUDavalligArE kAvachchu.
hAsya sannivESAlanu pratyEkamgA viSwanAtha (!!!) vArichE vrAyinchAru.
chitrAniki nRtya darSakuDu vEdAntam rAghavayya. naTa vargam: baLLAri
rAghavAchArya, giDugu, P. sUribAbu, nellUru nagarAjArAvu, TanguTUri
sUryakumAri, S. varalakshmi etc. '39 lO chitram viDudala gAvaTaniki mundu
chAlA avAntarAlu kaliginchapaDDAyi. pErkonadagga vishayamEmanTE "sAradhi"
samstha yajamAni yArlagaDDa SivarAma prasAd (challapalli jamindAru).
jamindArI vidhAnam mIda, pettanAla mIdA oka jamindArE chitram
nirminchaDam goppa vishayam.
1939 akTobarlO prakASam pantulugAru madrAsu asemlIlO pravESabeTTabOyE
"prakASam billu"ku prachAramgA ii chitram tODpaDindi. alAgE jaragabOyE
jillAbOrDu ennikallO jamIndArulaku vyatirEka prachAramlO kUDA
upayOgapaDindi.
viDudalaku sidhdhamgA vunna chitrAnni nishEdhinchaTaniki venkaTagiri,
bobbili jamIndArulu nOTIsulu ichchAru. viDudala rOjunE (27. Aug. '39)
vAri lAyarlu nellUru vachchi, chitrAnni chUsi nOTsu vrAsukoni veLLAru.
alAgE nirmAtalaku rijishTarD nOtIsulu pampaTam, vAri esTETulalO
pradarSistE - Civil, Criminal charyalu tIsukonTAmani bedarinchaTam
jarigindi. chivaraku nellUru jillA Magistrate dwArA venkaTagiri
paTTaNam lOnE kAdu, tAlUkA lOnE kAdu pUrti gUDUru Division lOnE
chitrAnni nishEdhincha galigAru.
sensArubOrDu samPurNamgA nishEdhinchalEdu kAbaTTi vAripai kUDA ottiDi
tIsukoni rAvaDam jarigindi. kAni akkaDa jamIndArula aaTalu konasAgalEdu.
Magistrate charya nyAya badhdham kAnappaTiki madrAsu prabhutwam kUDA
chUsi chUDanaTlu pravartinchaTam gamanArham. ilA jamIndArla akramAlaku
vantapADaTam prajalaku aagrahAnni kaliginchindi.
viDudalaku taruvAta nishEdhinchAlanna prayatnAllu marinta tIvramayyAyi.
konni chOTla Film Prints dagdham chEyAlanna prayatnAlu kUDA jarigAyi.
chitramlOni konni pAtralu tama vyaktitwam mIda debbatIsE padhdhatilO
vunnAyani bobbili, venkaTagiri rAjAlu chitra nirmAtala mIda dAvA
teccAru. mottAniki kontakAlam konni jillAlalO nishEdhincabaDindi
(nirmincina callapalli rAjAgAri kRshnA jillAlO kUDA).
sinimAlu prajalamIda ottiDi tIsukurAgalavanna nammakam mAlapilla,
raitubiDDa chitrAlatOnE aarambhamaindi. enta sancalanam rEpagaliginA
anEka avAntarAlavalla "mAlapilla" lAgA aardhikavijayam
sAdhincalEkapOyindi.
nishEdhAlu, kOrTulu, bedirinpulu, aardhikanashTamvanTivannI rAvaTamtO
enta sAnghika caitanyamgala manishayinA rAmabrahamgAru marala alAnTi
prayatnam cheyyalEka pOyAru.
P.S. I have partly taken the text from an old "vijayacitra" article
and added my words.
P.P.S. gUDavalli's last film was "palnATiyudham" (1947). "mugguru
marAThIlu" (1946) is another popular film from gUDavalli.
-----------------------------------------------------------------------
--
Sreenivas Paruchuri
E-Mail:grpr...@ktpsp1.uni-paderborn.de
rasikuDu pOvaDu palnA -
DesagangA rambha yaina e'kulu vaDakun
vasudhEsuDaina dunnunu
kusumAstrunDaina jonna kooDE mesavun -- SrInAThuDu
Sreenivas Paruchuri
> Subject: Telugu movie industry -- past to present
> Date: 16 May 94 16:48:18 GMT
> Message-ID: <vmuddan.769106898@hubcap
Here are my comments on the article by Toleti Srinivas.
> the screen. This trend continued even with the early talkies.
> Movies at that time were in the "praapakam" of Rajas' and Zamindars'
> this is evident from the names of the producers and directors of
> "maala pilla", "gunasundari katha" etc.
This point was mentioned in an earlier article on the film ``raitubiDDa''
which was produced by challapalli rAjA. But ``guNasundari kaTha'' was
produced by ``vAhini'' (1949) and not by any rAjA!
> Most of the movies were
> no different from their stage version same script, dialogues,
> "padyaalu", background environment changes from scene to scene
> Overall it was like watching a play on the screen instead of live
During the era of silent-films the music and songs were presented
LIVE by artists behind the screen. Well known comedian of yester years
Siva rAvu (bAla rAju, guNasundari katha) used to do `back-stage singing'
in 1930s/40s. SrI VAK had organised a seminar on early Indian
film in Madras (mid 80s) where it was demonstrated.
All the early films; pAdukA paTTABishEkam, cintAmaNi, sAvitri, lavakuSa,
satI sakkubAyi, satya hariScandra, etc. were nothing but stage versions.
> The primary requirement for acting in those days was stage
> experience or "naatakaanubhavam". Great actors from stage with
> a very good face, kanchu khantam or kokila swaralu moved on to
All the early actors; addanki, sUribAbu, CSR, (iilapATa) raGurAmayya,
kapilavAyi rAmanATha SAstri, gaggayya, kannAmba etc. were well known
stage actors before entering the film scene. I think kAncanamAla was the
first glamorous actress, but with poor voice. Her songs in `vandEmAtaram',
`mAlapilla', `bAla nAgamma', `pantulamma' are n't the best! (Its my
personal opinion!)
> body language, presence in the scene. The only name i remember
> of the actors/actresses who belonged to this era are ballari
> raghava(i'am doubtful here) and shanta kumari others are welcome
baLLAri rAghava had acted in only one film and was n't so excited :-)
and went back to the stage. SantakumAri was a big star with god voice
and continued acting even after her marriage. As late in 1960
she sang (no PLAY-BACK!) songs in `SrI venkaTESwara mahatmyam).
But SrI (cittUri) nAgayya is certainly the most prominent (perhaps the
best!) actor of his days, blessed with a golden voice. His entrance
in to films is an interesting and long story. -> -> some other time!!
> and came a crop of great actors - who could not sing very good
> but had good stage experience. ANR, NTR, Relangi, Ramana Reddy,
> CSR, and of course SVR the one and only one among actors and on the
> other side Saavitri, Bhanumati, Girija, B.Saroja Devi, Suryakantam
ANR did sing a couple of songs in his early days; palnATi yudham ('47)
- `ohO chAruSIlA! .... with S. varalakshmi, and bAlarAju ('48) - cheliyA
kanarAvA! .... (but GanTasAla sung in the film). NTR did n't sing any!
rElangi's songs are well known!! (in missamma, vipranArAyaNa for eg.)
I can't recollect any of ramaNA reddi's songs. Pl. help!
CSR was a well established stage actor and did n't need any play-back
in early days.
Do you know that SVR was fascinated at films in his younger years and played
the lead-role in `varUdhini' ('46) which was an utter-FLOP! Dejected he
returned to viziayanagaram and later joined TISCO (?) in Jamshedpur.
He returned after 4 yrs in '49 and signed a contract (along with NTR)
with `vijaya' studios for their first 4 films (YES, all the first four,
shAvukAru, pAtAla bhairavi, peLLI chEsi chUDu, and chandrahAram were planned
at once).
sAvitri, and the later generation 'd n't sing! bhAnumati does n't need
any introduction, though she was notorious for troubling producers/
directors (No, I DO N'T WANT to start another flame war like in July,
'93) and was rejected/changed several times. Other few prominent
actresses of yester years were TanguTUri sUrya kumAri(lives in London),
RshyEndramaNi (lives in Madras), S. varalakshmi etc.
> suDigunDAlu- best telugu movie on contemporary problems. Very good
> by ANR and all others involved in that. Some very radical suggestions.
tripuranEni gOpIchand (author of _asamardhuni jIvitayAtra_, _chIkaTi gadulu_)
had produced/directed also (?) a couple of excellant movies.
Has anyone seen buchchibAbu's _chivaraku migilEdi_ ('60)? Recently
SrI bApA rAvu gAru was refering to that book!
> Some of these telugu movies won the "raashtrapathi awards" at the
I think it was `namminabanTu' with ANR. I enjoyed watching it
repeatedly in school days, for my neighbours also had `pandepu eDlu'
and participated in `eDla pandAlu'. 'd some one post on `eDla pandAlu'?
> K. Viswanath -was an asst dir. to name a few of his proteges.
Is it? I read that he worked as early in '50 for mallISwari.
> Adavi Raamudu in 77-78 period (i may be wrong here) was the movie
songs, a strong story line oriented around the hero with all the
^^^^^^
:-) It was released in '77. I had seen it on the releasing day :-) in
guDiwADa. My cousin had bought the tickets in the `black' market.
Then we stood suddenly infront of the gate-keeper with no tickets
in hand! Fortunately (surprisingly!!) the seller was waiting out side
for us. My cousin had forgot :-) to collect the tickets.
Corrections are welcome!
Regards,
Sreenivas
--
Sreenivas Paruchuri
E-Mail: grpr...@ktpsp2.uni-paderborn.de
yevvanicE janincu jagamevvani lOpala nunDu lInamai
yevvani yandu Dindu paramESvaru DevvaDu mUlakAraNam
bevva DanAdi madyalayu DevvaDu sarvamu tAnayina
vADevvaDu vAni nAtmaBavu ISvarunE SaraNambu vEDedan
--Potana, GajEndramoksham
Jon Sreekanth
with `vijaya' studios for their first 4 films (YES, all the first four,
shAvukAru, pAtAla bhairavi, peLLI chEsi chUDu, and chandrahAram were planned
at once).
Can someone create, or was there already a list of movies and year
of release ? I'm partial to older Telugu movies, but I've never known
the chronological sequence. For example, the info above is fascinating,
that paatala bhairavi is late 40's. It sure looks that way because the
special effects are not, shall we say, as sophisticated as they
might have been.
sAvitri, and the later generation 'd n't sing! bhAnumati does n't need
any introduction, though she was notorious for troubling producers/
directors (No, I DO N'T WANT to start another flame war like in July,
'93) and was rejected/changed several times. Other few prominent
I'll start it for you then :-) Bhanumati did some film in the late
70's / early 80's which I thought was pretty bad. Was she trying
to get into politics, inspired by NTR ?
> Adavi Raamudu in 77-78 period (i may be wrong here) was the movie
songs, a strong story line oriented around the hero with all the
Strong story line, my ass. It was the beginning of the decline of
NTR, IMHO (the catering to the front benches phase). But I have
fond personal memories of Jayaprada in the "aaresuko poyi
paresu kunnanu" song. Didn't hurt that I was just hitting puberty then.
/ Jon Sreekanth
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Juhana Kouhia
How to get this newsletter?
Some months ago I mailed to the person who announced it and was
supposedly the editor of it. He didn't send me newsletters after my request,
but he gave me impression he should know me better --- I have no idea
what he meant by that; he never answered my question on that.
Would somebody else please send me the newsletters? Since my mailbox
is small, please drop them to ftp.funet.fi:pub/culture/incoming/.
I'm maintaining the Indian archives at that site...
Juhana Kouhia