Many people search for free Airtel message center number to start sending unlimited messages without paying for them. Well, previously many websites made posts on these free message center numbers, but after the frequent use of the number, Airtel capped or filtered those numbers from further use. But still there are few working message center numbers and here I am going to reveal that with you. Note that Airtel might ban this number anytime, so be fast in using this and send free sms to anyone from your Airtel mobile number.
How to send unlimited free SMS using free SMS center no hack
Navigate to Messages option on your mobile and click on Settings
Click on Message Center Number and proceed to add a new message center number.
In Message Center Name field, write anything. For an example, “Hungry Hacker”.
In the Message Center Number field, write +919810051905
Choose Preferred Connection Type as Packet Data
Save the message center and activate it from the options.
Now we have configured the message settings to send and receive all message through an another message center number. But since we have selected Packet data as connection type, we have to do some additional settings on our phone.
Go to your phone menu and navigate to Settings >> Phone Settings >> Connection >> Packet Data
In the settings of packet Data, edit the following options
Packet Data Connection >> When available and Access Point >> Airtel Live
Save all settings and you are done.
Note: Here we are using a CDMA message center number to send free messages from Airtel mobile. Since CDMA networks don’t support 91 as the country code, you have to add 0 before every number. This is very important and if you make mistake here, this trick will not work.
Example : Suppose you want to send free messages to 9861098610, now while composing the SMS, type this number as 09861098610 in stead of 919861098610 or +919861098610.
And also, message center number settings option may vary from phone to phone. The above steps are mentioned for Nokia mobile phones. If you want to try sending free SMS from any other handset, use your mobile manual and set the new message center number accordingly
Here is the Pandi Movie Review. Hero Lawrence and Sreeman are the sons of the couple Nasser aHere is the Pandi Movie Review. Hero Lawrence and Sreeman are the sons of the couple Nasser and Saranya, are two extremes. While Sreeman is the perfect example of an ideal son, Lawrence figures in the dangerously short tempered son who is of less value to the family people. Hence for these reasons, his entire family except mother Saranya, hates him whole heartedly. Meantime, Lawrence meets Sneha and falls in love with her.
A crucial snarl-up in the family brings to light Sreeman’s ugly side and he elopes with his father’s hard-earned money which had been saved for his sister’s wedding. Lawrence takes over from this point and shoulders his family’s responsibility. In the process, he moves to Dubai for greener pastures.Sneha is the show-stealer and announces the arrival of a siren. So much for her good girl next door image. She coils hard for the three songs in her designer outfits – of course, scantier than her earlier movies. The songs Kutthu madhippa and the Maasi Maasam remix song which was done shoddily, making you wonder what the point was in brutally butchering the lovely original provide ample scope for Sneha’s dancing skills. Sneha’s sexy dance moves also makes poor Namitha’s item numbers look lusterless.
While Nasser, Saranya, and Sreeman score with their performances, Lawrence looks as if he definitely needs acting lessons. Or is it just that director Raasu Maduravan felt felt a hero need not bend backwards to make himself look credible? That apart, U.K. Senthilkumar’s camera feasts on Namitha big time and Suresh Urs’ neat editing flows with the movie without interrupting the course of it.Thus the movie is not upto the mark. Lawrence seems to learn a lot of acting stills. But all knew that he is the master of all dances. nd Saranya, are two extremes. While Sreeman is the perfect example of an ideal son, Lawrence figures in the dangerously short tempered son who is of less value to the family people. Hence for these reasons, his entire family except mother Saranya, hates him whole heartedly. Meantime, Lawrence meets Sneha and falls in love with her.
A crucial snarl-up in the family brings to light Sreeman’s ugly side and he elopes with his father’s hard-earned money which had been saved for his sister’s wedding. Lawrence takes over from this point and shoulders his family’s responsibility. In the process, he moves to Dubai for greener pastures.Sneha is the show-stealer and announces the arrival of a siren. So much for her good girl next door image. She coils hard for the three songs in her designer outfits – of course, scantier than her earlier movies. The songs Kutthu madhippa and the Maasi Maasam remix song which was done shoddily, making you wonder what the point was in brutally butchering the lovely original provide ample scope for Sneha’s dancing skills. Sneha’s sexy dance moves also makes poor Namitha’s item numbers look lusterless.
While Nasser, Saranya, and Sreeman score with their performances, Lawrence looks as if he definitely needs acting lessons. Or is it just that director Raasu Maduravan felt felt a hero need not bend backwards to make himself look credible? That apart, U.K. Senthilkumar’s camera feasts on Namitha big time and Suresh Urs’ neat editing flows with the movie without interrupting the course of it.Thus the movie is not upto the mark. Lawrence seems to learn a lot of acting stills. But all knew that he is the master of all dances.
Santosh Sivan learned a lot while working as cinematographer with popular director Maniratnam. Later he turned a director and his la Malayalam flick 'Anantabhadram' was dubbed into Telugu by Subrahmanyam B and Rupesh Y on the banner of Lakshmi Ganapathi Films as 'Sivapuram'. The film expertise in cinematography had helped Santosh Sivan in molding the film with good technical values. However, the film had a complete Malayalam nativity.
Sivapuram is a peculiar village. The people there believe that the Naga Devatas are safeguarding their village. However, one sorcerer performs tapassu and earns some evil powers. With the help of those powers, he secures a ring belonged to Naga Devata. The same village has a priest, who believes in God, tries to put an end to the evil designs of that sorcerer. But, according to the Sastras, a girl from the priest's family could help secure the 'Naga Manikyam'. Those who possess the Naga Manikyam could become a super power. The sorcerer attempts to kidnap the girl called Gayatri (Revati) in order to grab that gem, but the priest attacks him and kills him. The sorcerer before breathing his last gives the ring he procured to his grandson Digambar (Manoj K Jayan) and tells him to secure the Naga Manikyam and also take revenge against the priest family.
As per the tradition, the daughter of the priest's family should be made 'Devata' by offering herself to the Naga Devata. Just before the traditional ceremony, Gayatri elopes with her lover and after marrying he leaves for the US. She has a strong ambition to light 1000 lights in the Naga Devata temple, but dies even before fulfilling her wish. Her son Anand (Prithviraj) decides to fulfill her wish and perform the last rites at Sivapuram. Digambar continues the sorcery done by his grandfather and waits for time to grab the Naga Manikyam. However, another girl in the family Bala Tripura Sundari alias Bala's help is needed to grab the Naga Manikyam. However, Anand and Bala fall in love with each other. Digambar decides to eliminate the family of the priest and uses his evil power and enters into the body of Anand through Parakaya Pravesam. However, he could not succeed in his attempt as Padma, sister of an expert in martial arts Samba (Kalabhavan Mani), foils the bid by sacrificing her chastity to keep Digambar off Brahmacharya, and of course gets killed by him. Finally, Digambar dies in the hands of Samba and the film ends on a happy note.
Santosh Sivan tried to make the film with a different screenplay and shot it in the beautiful locales in a remote village of Kerala. This has proved a main draw back, as it lacks the Telugu nativity. Prithviraj tried his best while performing like a split personality. Kavya Madhavan looked glamorous. But it is Manoj K Jayan and Kalabhavan Mani who stole the show with their performance. Comedy by Cochin Haneefa is okay. Revati appears for a brief period at the beginning of the film to narrate the flashback. Dialogues by Sriramakrishna are okay and the background score by MG Radhakrishnan is just average. However, the cinematography, picturisation of scenes was technically brilliant. One had to wait and watch how the Telugu audiences would receive it. But for the technical values, the film has nothing much to talk about.
Cast : Prithviraj, Kavya Madhavan, Manoj K Jain, Kalabhavan Mani, Cochin Haneefa, Revati and others.
Credits: Dialogues – Sriramakrishna, Lyrics – Vanamali, Music – MG Radhakrishnan, Producers: Subrahmanyam B and Rupesh Y, Cinematography, story, screenplay and direction – Santosh Sivan.
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On this November 1 the star jalsha will be removed from DD direct platform.Since it had not paid the carriage fees properly.A really good channel is out of the DD direct platform .What will be the Next one in the DD direct platform.This is the great unlucky season for the west bengal
October 16, 2009
Sadhu Miranda 3.05pm on 17th oct
Cast: Prasanna, Kavya Madhavan, Abbas, Karunas
Direction: Siddique
Music: Deepak Dev
Production: Alka Film Corporation
With an impressive track record of all hits and no misses in his film career, Siddique certainly has what it takes to deliver a successful movie in what he’s best at– comedy. Though a tad off from his usual turf, Sadhu Miranda is the director’s attempt at mixing a cocktail of comedy and suspense. His intelligence in scriptwriting oozes out of every frame, as does his prowess in executing a well-crafted script.
Interestingly, revealing the story wouldn’t mean spoiling the fun- for Siddique makes sure (save for a few logic-defying scenes) that he sustains the suspense with his clever, unmatched storytelling.
Abbas and his brother rob a bank in broad daylight. The amount, Rs.20 crores, is part of a government fund deposit. In the process, the siblings accidentally slay the hero’s (Prasanna) sister who happens to be an innocent bystander at the crime scene. She’d been waiting at the bank for an educational loan. Now, after the bank robbery, to ease the risk of legalizing the mammoth sum, Abbas flies to the USA and employs illegal means to convert the money. He changes the money into dope and tries to pay for it in India using the help of his brother.
Meanwhile, predictably, Prasanna seeks vengeance for his sister’s death and abducts Abbas’ brother who guards the loot. He also dupes the brother and makes Abbas reap what he sows. This includes stealing Abbas’ crush, Kavya Madhavan, from him.
Siddique knows his onions and has you guessing till the end with this convoluted but suspenseful story that’s just a little short of being above average. At times, it even feels amateurish. (This is probably because a fusion of comedy and suspense is difficult to maintain). For how many times have we stifled a yawn at scenes
showing a beloved brother employing foolproof tactics to get the baddies who slaughtered his poor sister?
Prasanna steals the show with consummate ease, playing the vengeful youngster and naïve lad. He exudes charm and poise, announcing the arrival of another promising actor on the block. The role of a sophisticated bank robber fits Abbas like few roles have recently. Kavya tries to emote beyond just using her eyes expressively, but often fails in the process.
Rest of the cast include Manivannan, Manoj K Jayan, Kotta Srinivasa Rao, M.S. Bhaskar, Karunas, Charlie, and Vayyapuri. Prathap V Kumar’s cinematography, editing by T. R. Sekhar and Gowrishankar are noteworthy. Gokula Krishna’s dialogues are funny in parts, crisp and clever in others. However, the music by Deepak Dev isn’t particularly good. Also, the intervals at which the songs come on seem to intrude on the story.
Counting out a few illogical scenes that stand out (although they are not eyesores), Sadhu Miranda is a movie worth catching if you are in a nonchalant mood to kill a few hours watching a Tamil suspense-comedy.
Gone are the glorious days of Doordarshan (DD) when every time the wheel turned with a melodramatic tune, people switched on their black and white TV sets to tune into shows like Hum Log, Buniyaad, Bharat Ek Khoj and Mahabharat. Televisionpoint.com points out why and how DD lost its hold over all the other privatechannels that raced ahead to capture eyeballs.
Lost Identity On completing 50 years, DD - better known as the voice of the government - has lost its dominance, except in rural areas where the audience might not be able to afford the dish.
As they themselves define it, DD, a public service broadcaster, is among the largest terrestrial television networks in the world. The service was started in New Delhi on September 15, 1959, to transmit educational and development programmes on an experimental basis with half-an-hour of programming.
As Kelly Mistry, an old timer who has worked in DD for 20 years then moved on to Zee TV and now freelances, comments, "In the era of zero competition, there was no perception of choice. People viewing it were happy with what they got and so were the ones producing it."
"Even then there was no sense of quality, more about money exchanged under the table. They bought the best brands but did not value the people running the show, so those trained people went on to produce better products." Mistry says.
Names like Siddhartha Basu, Dheeraj Kumar, and Tony Singh still exist on the small screen that continue to make waves every time they produce some show. Many big names had moved to the small screen then, like Satyajit Ray, Mrinal Sen and Vijay Tendulkar.
Memory Mettle I still remember a friend who held on to her labour pains so that she could watch the particular episode of Mahabharat. Streets resembled curfew-like scenes when the historical serials of Ramayana, Mahabharat. and Chanakya were telecast. No doubt, the producers worked hard, the star cast was straight out of National School of Drama or excellent theatre artists.
The storylines were rich as those were the initial years. Hum Log, Buniyaad, Yeh Jo Hai Zindagi, Pratham Pratishruti, Ek Kahani were anyway good scripts, so it didn't take much to carve out interesting serials. All the shows or serials that we remember are Paleolithic or were shown 25 years ago, when DD was ruling the roost all alone. The Gulf War came and changed it all.
In 1990, CNN positioned a satellite close to India and telecast the Gulf War live. Suddenly, audiences realised they could see a channel other than DD. Private entrepreneurs used Hong Kong as a base to start private television channels and beamed programmes airlifted from India to satellites positioned close to India. Private satellite television had arrived in India.
Wheel Turn A regular television service as part of All India Radio commenced in Delhi in 1965; Mumbai in 1972; Kolkata and Chennai in 1975. DD was established formally 1976. In his book India on Television, Nalin Mehta mentions 21 gifted sets, which were installed in what were called 'tele-clubs', and an additional 50 gifted by the United Nations Educational, Scientific and Cultural Organisation.
Most of the programme formats were simple, and commentators followed the stiff upper lip rule. A major landmark thereafter was the introduction of colour television in 1982 coinciding with the 9th Asian Games held in New Delhi that ushered in a major revolution in broadcasting in the country.
After that, when they got a permanent viewership, they lost out in the rat race not because of their reach but quality, or as Vir Sanghvi once put it, "Privatise DD. Allow the private sector to run a channel with the programming values of Zee TV or Star Plus but with the reach of DD."
This was way back when Colors had not come on the scene and within a span of one year, taken away all the eyeballs and really shown the viewers what they wanted.
Media Conglomerate The government managed to set up a mammoth media empire, with umpteen DD channels which do not get watched and by setting up an autonomous body like Prasar Bharati. All public money gone to sheer waste in electing and running a board which has no powers over anybody. Unlike the European countries, for instance BBC which has some degree of control over all other channels, ours follows the American model where everything is liberalised.
As Mistry points out, "Parents have the remote control and child lock facility. In case they feel certain programmes cross borders of obscenity ban them in your own homes, why control the nation?" Even then a show like Sach Ka Saamna has been pushed to 11 pm so viewers can watch it at their own free will, instead of raising unnecessary questions in Parliament.
Lose Plot Tapan Panda, ex-director IIM, Indore and now president (marketing and corporate affairs) at Everonn Systems India Ltd, Chennai, puts it succinctly, "One needs to understand that sustained growth comes out of how broadly you define your business and how carefully you gauge your customer's needs. DD failed on both counts. It had a confusing positioning in the absence of competition as 'infotainment' channel.
While mega changes embracing Indian middle class psychographics demanded channels to be either 'entertainment' or 'information' oriented, DD continued the product mix which was irrelevant and out of context to the emerging social classes of urban India. The history of every decaying brand shows the self-deceiving cycle of geographic expansion and undetected decay. The idea of indispensability aided with product provincialism (remember ministers deciding which programme would go on air) only hastened the fall."
What Branding? We remember only the old serials when most of us were growing up. What happened in between? Panda has a unique take on this, "It happens with all brands, as brand building takes time and it is related to mindshare.
Programmes like Hum Log, Buniyaad are talked about because they still exist at the top of the mind. Problem is when the category (here DD) is obsolete, what is the point in the brand (the programme) recall? It only gives nostalgic feelings to the viewer to find relevance to that generation.
Recall value is high because the audience found them meaningful and continues to do so. A brand gets a higher recall when there is something unique about the brand and there is a high degree of favourability with the associations.
Currently, there is no brand recall because there is no audience exposure." As Mistry asks, "Why keep DD alive?" Good question but dinosaurs did slowly disappear from the face of the earth to make way for other evolved beings.
Saas and the City Even before Ekta Kapoor came with her particular brand of serials when the entire family sat and watched inane K-shows like Kahaani Ghar Ghar Ki, Kyunki Saas Bhi Kabhi Bahu Thi and Kasautii Zindagi Kay in the '90s, DD had lost complete control. These were the days when only three channels ruled the roost, Star Plus, Sony and Zee and by the turn of the century there have been so many that all of us have lost count.
As Mistry recounts, "Soap operas or serials were relayed during the afternoons, when soap companies advertised and bored housewives watched, hence the name. Indian prime time is very different and has a different kind of audience."
News Run After the 26/11 fiasco when news channels were playing detective, things have been streamlined for the next such crisis. That was when DD as usual did not sensationalise news, though there are very few people who actually watch it.
Pankaj Pachauri, managing editor, special projects, NDTV India, feels otherwise, "This is a complex scene. DD is suffering from a crisis of credibility. India has about 13 crore TV households, only half of these have cable and satellite."
"So DD still has a monopoly in half the TV households where only terrestrial TV is available. But during elections and crises, news channels are preferred more because people do not trust DD news, though less than 10 per cent TV watching population watch news channels on cable and satellite, the others watch entertainment and other channels." Pachauri says.
"So news channels have a limited impact on larger issues like elections. For instance, NDA's 'India Shining" campaign failed in 2004 elections. DD maybe out of reckoning among the chattering classes, it still has huge reach and cannot be written off totally." Pachauri adds.
Since the DD DG did not respond on time we couldn't get the official word defending the government body.
Fact or Fiction Perceptions changed when Indira Gandhi became Information & Broadcasting Minister. She believed that television was a vitally important means of communication and pushed for its establishment on a regular footing. When she became PM in 1972, a television station came up in Bombay (now Mumbai), the second in the country, followed by stations in Jalandhar and Srinagar. Thereafter, in quick succession, stations opened in Calcutta (now Kolkata), Madras (now Chennai) and a few other cities.
For a long time, television remained an urban medium due to technical reasons. The television signal is a line-of-sight signal, that is, it travels in a straight line as light does. When the earth curves the signal does not and is thus lost beyond a particular point (around 75 kms from the transmitter, if one were to use the most powerful transmitter available).
Thus, those who had television sets in metropolitan cities and their suburbs could see programmes if they were within, say 60 km of the television transmitter, after which the signal got increasingly hazy until it disappeared.
Daily soaps started with serials like Shanti and Swabhimaan on DD, all focusing on the modern Indian housewife. Now where have we reached, we have more regressive serials like Balika Vadhu and Laado, which have gripped the viewers' imagination, especially women in the age-group of 6 to 60.
Rival Control Long back, when protesters were burning up the city over the screening of the film, Fire, Pramod Mahajan dismissed comparisons with autonomy in the BBC, saying, "BBC is totally different. It has nothing to do with Prasar Bharati of today. This is a unique system we have developed over 30 years. No other country has an Information and Broadcasting Minister."
Recently, Bhaskar Ghose, former I&B secretary, wrote, "More and more private channels came up, more and more glitzy programmes fascinated audiences, and DD fell away from public gaze even though it still had large numbers watching its programmes. But these were often dull or melodramatic and mediocre in terms of quality as it virtually stopped making any of its own programmes and became little more than a rentier - renting airtime to private producers."
Ghose adds, "Its revenues looked impressive - some Rs 800 crore or so - but its expenses spiraled out of control, making it dependent on state grants. Even though it was then part of an 'autonomous' corporation, Prasar Bharati, it remained, in real terms, an appendage of the government. It could neither occupy the kind of dominant position enjoyed by public service broadcasters in other countries, such as the BBC in the UK, NHK in Japan, SVT in Sweden, TF1 in France, ZDF and ARD in Germany or ABC in Australia, nor could it compete in the commercial world with private channels on their own flexible and often rather murky terms."
Mistry goes one step forward, saying, "Control has not proved successful in any model, be it banking or airlines. Finally, the viewer will decided which shows should be pulled off the tube. It's good that we are doing away with the license Raj."
Looking to the future, DD has to either change skin or dissolve into oblivion while other channels race ahead with their TRPs.
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This is Robin Beck here from Blog Action Day central, and I want to thank Rick and the Blogger team for helping support Blog Action Day 2009.
This is the great unlucky season for the west bengal 
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