Prasar Bharati

“India’s Public Service Broadcaster”



Saturday, December 31, 2016

40th Year Celebration and Club Day

 “The contribution of Dr. Vasanthkumar Perla to the media in general and Akashvani in particular is memorable. Being a poet and writer he published over 40 works both in Kannada and Tulu, and encouraged others also in this field. He is a great personality in the area of culture, art, literature and mass media in this part of the country” said Shri Pradeepkumar Kalkura, President of Sahithya Parishath of Dakshina Kannada District. He was addressing at the annual meet of Akashvani Staff Club. Akashvani Mangaluru Staff Club celebrated  40th anniversary of Mangaluru Akashvani.  And also the occasion witnessed  honouring Dr. Vasanthkumar Perla, AD (P) and Programme Head who is retiring on superannuation after putting 28 ½ years service in Akashvani.
“Akashvani’s contribution for the Nation’s development is immense.  Our art and culture nourished because of Akashvani” remarked Dr. K.G. Jagadeesh, Deputy Commissioner of Dakshina Kannada district.  He was the chief guest and remembered his  intimate relationship with Akashvani from his childhood.  Another chief guest Sri S. Narendra Nayak remembered Akashvani’s contribution for the development of literacy and maintaining quality in broadcast.
Shri G. Ramesh Chandran DD(E) presided over the function and spoke on the advancement in the field of broadcast technology in the recent past.
Prizes were distributed to the winners who participated in the various competitions conducted on the occasion.
Dr. Sadananda Perla, Programme Executive welcomed the gathering and Sri Suryanarayana Bhat P.S., Programme Executive gave vote of thanks. Smt. Concepta Fernandes, Programme Executive compered the event.
In the end staff of AIR Mangaluru and their family members presented various cultural programs which glittered the night.  

Contribution by: K. Ashok, PEX, AIR, Raichur Mob: 9449259218

Prasar Bharati releases CD on Baidehisha Bilasa – one of the greatest works by 17th century poet Upendra Bhanja

Prasar Bharati released a music CD on Baidehisha Bilasa – one of the greatest works by 17th century poet Upendra Bhanja.

Gajapati Maharaja of Puri Dibyasingha Deb released the CD at a special programme held at Jayadev Bhavan here. ” Baidehisha Bilasa is a timeless creation by “Kabi Samrat” (emperor of poets) Upendra Bhanja. By offering it in a musical form, the All India Radio has begun a new tradition of listening to ancient Odia literature,” the Gajapati said. He added that Upendra Bhanja was considered the greatest poet of Odia literature and was awarded the title “Kabi Samrat”. “Today’s generation must take the opportunity to familiarise themselves with the works of the Kabi Samrat, whose poems are relevant even in present times,” the Gajapati said.

Source and credit :- 

Forwarded By :- Shri. Jainender Nigam, PB NewsDesk

Inspiration - From rejections and failures to India’s popular celebrities

Counted among the country’s top celebrities, artists, musicians and authors, they were once “ordinary people” struggling to make a mark or get a breakthrough. But with determination, they turned their passion into paychecks, even though the journey may have been an arduous one!

Hear from some of these well-known names themselves about their transformative journeys. You are sure to learn some life lessons from them.

Source and Credit :

The wizard of strings

Remembering Ustad Hafiz Ali Khan, the sarod legend whose thirst for purity in music transported the audience to a spiritual experience.Arguably, the finest sarod player of the last century, worthy descendant of the family that moulded the sarod to its present form, Ustad Hafiz Ali Khan died 43 years ago in December. Awarded the Sangeet Natak Akademi fellowship, the Padma Bhushan, a doctorate by the Khairagarh University he was a legend. However, he guarded his music zealously and recorded very little for All India Radio or cut many commercial records so there are very few people alive today who would have heard him play.

There is a telling incident of how he managed to avoid being recorded by a recording company while at the Gwalior court. When the Maharaja told him he should record, he said the possible misuse of the recording later would bring disrepute even to His Highness, as he was Hafiz Ali Khan “of Gwalior”, and the Maharaja seeing the truth did not insist. A lone recording of his with the Sangeet Natak Akademi recorded in the late 1950s is missing from the Akademi archives. He taught sparingly too, so there are very few people today who play in his style. Today, he is largely forgotten. But those who have heard him cannot forget the impact of his music after hearing him in the 1950s. As Naina Devi, the doyen of thumri once said: “The first stroke of his ‘jawa’ created such an impact; the sound was unmistakeable.”

He played sparingly, succinctly, and every note had a meaning. He did not prolong or over embellish his music, and his style of playing was intensely powerful – the sparing use of his chikari in his alap, the adherence to the “chaar taan” in alap, the sudden expertly executed crisply played “lar lappet”, the flow of different jhalas, his wonderful traditional Senia gats and intricate layakari – all produced an amazing, unparalleled, unforgettable musical experience. He used to tune his chikaari to a nikhad instead of sa in some ragas which sounded very dramatic.

The Ustad belonged to the princely state of Gwalior; his father Ustad Nanhe Khan was the court musician there. The family were originally from Afghanistan, and his grandfather Ustad Ghulam Ali Khan had amended the rabab to its present form, the sarod. Ustad Hafiz Ali Khan learnt initially from his father, then his uncle Ustad Murad Ali Khan – the family were known as the Senia Shahjahanpur sarodiyas. His thirst for pure music took him to Vrindavan, where dhrupad in the old style was sung. He learnt Dhrupad from Pandit Chukkhelal and Pandit Ganeshilal, who were from the family of Swami Haridas.

After this he went to learn from the descendant of the daughter’s line of Mian Tansen, Ustad Wazir Khan of Rampur, a learned and knowledgeable musician who impressed upon him with the importance of raga purity and maintaining the pure musical tradition of the Seniyas. Ustad Hafiz Ali Khan had already imbibed the Senia rababiya tradition of Tansen from his son’s line, through his grandfather’s Gurus Ustad Pyar Khan and Ustad Jafar Khan descendants of Mian Bilas Khan, Mian Tansen’s son.

As such, Ustad Hafiz Ali Khan’s concerts were redolent of perfect sarod baaj combined with authentic ragadaari, executed in Dhrupad style. He had pakhawaj accompaniment with his jor ang, his jhalas were unparalleled; learnt as they were from a beenkar tradition. His gats were the typical Senia elaborate compositions, with hidden twists in the laya. His sarod playing style was virile, crisp and concise, not cloying.

The aim in playing was not to entertain but transport the audience to a spiritual experience. Each stroke had a purity and inherent correctness about it; its application was solely its appropriateness within the raga, not merely its aural appeal. Ustad Inayet Khan had said his recital was full of sweetness “itni mithaas thi unme”. He carried the weight of both true raga knowledge and also the authentic sarod baaj and aware of this responsibility, he was very careful that it never fell into wrong hands and hence recorded sparingly, taught very judiciously to disciples who could possibly misuse his knowledge.

Ustad Hafiz Ali Khan believed music was a means of reaching God, it was not for entertainment. As such, its integrity had to be protected. According to his youngest son Ustad Amjad Ali Khan, “He taught me that music was not just to please the ear and to enjoy, but a form of prayer and glorification of one’s Maker. It was for this reason that he felt so strongly that pure music must never be defiled because to him it was like saying a prayer.

He said that one must try to create magnificent music because anything less than one’s best was not good enough to offer at the feet of one’s Lord. He very firmly believed that one’s music can get ‘taseer’(ability to touch one) only if one creates it as an offering to God – if it is for oneself or other people or merely to earn money – one might become a very competent performer but one would never achieve ‘taseer’ – that indescribable quality which has impact on the listener’s very soul.” Ustad Hafiz Ali Khan also played beautiful lyrical thumris something he had an instinctive feel for, that was honed by his interaction and learning from perhaps the greatest harmonium player and thumri specialist Bhaiya sahib Ganpat Rao of Gwalior.

He was so “riyaazi’, that once, after he had finished his concert, ending at a dizzying speed, (as he himself put it in an interview with Pandit D. T. Joshi, “dhuaadhaar bajaya”) a tabla player Darshan Singh provoked him to play again. Taking up the challenge he again resumed that punishing “drut laya”. However, Darshan Singh could not sustain the pace and within 30 minutes, collapsed with a heart attack on the stage. Ustad Sahib never forgot the terrible tragedy and berated himself for having been provoked, and said he could not eat anything for four days as he was so upset. The incident is described at length in the last interview the Ustad gave in 1972 to Lalita Khanna.

Undoubtedly, he was perfectionist in every respect. Ustad Amjad Ali Khan says “One small mistake of bol – a ‘da’ instead of a ‘ra” and he would scold me and insist on endless repetition of the phrase until I got it perfectly as he wanted it. He was a rigorous taskmaster – unsparing in his desire to make me master what he taught.” A large hearted musician he appreciated talent wherever he heard it, openly praising his contemporaries and juniors. Apparently once at a Delhi concert in the early 1950s of Ustad Vilayat Khan, the wire broke. A critic sneered that he must have broken it on purpose to give himself a rest! Ustad Hafiz Ali Khan turned round and said, “taar tabhi tootti hai jab uski zindagi khatm hoti hai” (a wire breaks only when its life is done).

Source and credit :-
Forwarded By :- Shri. Jainender Nigam, PB NewsDesk

How India Can Lead The World As A Broadcasting Hub

Digital India can be fully realised if we target future public spending on digital broadcasting infrastructure whereby we create an ecosystem of innovation and spur consumer electronics manufacturing in the country. It has been over five decades since Marshall McLuhan famously coined the phrase “the medium is the message”.

In these five decades the evolution of technology has seen the radical transformation of what we perceive to be the media. The interactivity that internet has brought to the world of media, and the mass participation in this process through platforms like Twitter, Facebook and YouTube, has added a new dimension to McLuhan’s postulation.

In this age of social media, the medium is not only the message but the medium is also the messenger. New platforms like WhatsApp have further blurred the lines by enabling many to many relationships between the medium and the messenger. In the process, the message’s integrity has become the casualty as each messenger in these viral networks adding on to the message by sometimes enriching it, but more often than not, ending up distorting it.

It is in this internet influenced new reality that broadcasting faces several existential questions on its future. The extreme personalisation that we are seeing in the digital consumption of both information and entertainment is leading several to question the continued relevance of a linear broadcast experience, be it on radio or on television. On-demand content platforms have spurred the phenomenon of “chord-cutting” in the West, with consumers moving away from cable and satellite subscriptions. We in India have a unique challenge and an opportunity to build the future of broadcasting.

We are the only billion people democracy on the planet that makes us a unique market for news and entertainment content unlike China. While the Chinese market may beat India on sheer scale, we offer the freedom and openness for far greater innovation in broadcasting with comparable scale alongside much greater diversity. To best appreciate why the future of broadcasting must be made in India it would be in order to understand the current state of the industry and how it is likely to evolve. While terrestrial cellular networks have become the most ubiquitous form of communication, in the case of broadcasting the opposite has happened over the past decade or so. Satellite and cable networks have displaced terrestrial as the most dominant form of broadcasting with the roof top antennae going out of fashion. Despite the high cost to the end consumer and its many limitations, DTH satellite dishes have emerged as a preferred option to consumers who can afford to pay a premium.

The poorly regulated cable TV market in India, while offering a lower cost entry point to consumers, offers little guarantee of quality of service. The ongoing push towards cable digitisation has seen bigger players enter the market, but their reach is currently limited to the larger cities and to the more dense urban pockets. In the gap between the premium DTH market and the low quality cable market, lay an opportunity that is currently being tapped by the free to air (FTA) DTH platforms like Doordarshan’s FreeDish.

With transparent online auctions allowing for market based discovery of the value of these free to air channels, we are witnessing an audience revolution of sorts with rural audiences getting on the FTA DTH bandwagon and contributing to a ratings spike to the second tier of general entertainment channels. Meanwhile, a different kind of revolution has happened on radio. Prime Minister Narendra Modi’s Mann kiBaat has spurred a revival of radio as a mass medium with audiences across India tuning into radio to not merely listen to him but to also have him share their stories. This revival of radio is riding on the back of a shift away from amplitude modulation as more and more small towns get on to the FM bandwagon.

Taken together, the revival of radio, the digitisation of cable and the free to air DTH audience growth point to the latent demand for broadcasting in the Indian market at a time when broadcasting in advanced markets in the west is losing out significant space to digital on-demand media platforms.

The push towards Digital Terrestrial Television (DTT) thus comes at a critical juncture as Doordarshan, the public broadcaster in India looks to expand its DTT footprint from the current 16 cities to another 44 even as the regulator TRAI evaluates the case for opening up terrestrial television to private players.

We in India are at a crossroads as significant public expenditure is set to go towards expanding the digital terrestrial television infrastructure footprint and towards investing in more FM towers.

It is time we asked a critical question on whether all of this public spending should go towards technologies of yesterday treading a path where broadcasting eventually loses out to internet based on-demand digital platforms as is already happening in the west. We must also ask what new markets, ecosystems, platforms and new consumer products will this public spending towards digital terrestrial broadcasting spur if the audience experience continues to be more of the same linear television and radio experience.

From DTT to digital radio, it is important that we ask the question on how we can make the future of broadcasting in India to create a whole new ecosystem of products, platforms and devices with potential to sell to rest of the world.

Despite emerging as one of the largest markets for mobile telephony, much of the innovation in mobile telephony is happening outside India. Prime Minister Modi’s vision of “Make in India” in the case of mobile telephony has largely come to mean manufacturing in India while much of the intellectual property of the core technology and design innovation continues to be created outside of India. Rather than lead the world in mobile innovation we have resigned ourselves to being a fast follower.

There is no reason why we must tread a similar path as terrestrial broadcasting looks to make the switch to digital riding on the back of significant public spending. Why must we limit our ambitions in digital broadcasting by committing our public investment to yesterday’s standards with no clear road map for the future? Why must we restrict our imagination to more of the same linear audience experience with no localisation or personalisation?

There is no reason why the end consumer devices for broadcasting must continue to be frozen in the television and radio physical form factors as conceived in the last century. There is no reason why the future of broadcasting should not be fully mobile where the line blurs between mobile broadband, and mobile broadcasting and the end user experience converges to a common physical device. There is also no reason why the delivery of audio and visual broadcasting should not converge in such a future to a common cloud based infrastructure rather than through silos of dedicated infrastructure as is the case currently.

Lastly, there is no reason why audience measurement must continue to be panel based to suffer the current infirmities and potential for fraud when it is possible to monitor and measure census wide with internet like granularity. Broadcasting technology majors and consumer electronics giants in Korea, Japan and the United States are looking to create such a future for broadcasting with a new Internet Protocol based digital broadcasting architecture. But the sizeable economic opportunity for creating a new generation of platforms, devices and business models from this next generation broadcasting technology lies outside of these countries in a large consumer market like India given our demographic scale, our openness as a democracy and the latent consumer demand within our economy for both content innovation and product/platform innovation.

The promise of Modi’s “Make in India”, “Startup India” and “Digital India” can be fully realised if we target future public spending on digital broadcasting infrastructure whereby we create an ecosystem of innovation, and spur consumer electronics manufacturing in the country, based on next generation technologies, so India emerges as a global innovation hub for the future of broadcasting. Are we ready to take the leap of faith to create this future of broadcasting in India so we can emerge as a global leader rather than end up as a fast follower and a consumer of technologies and products created elsewhere?

Source and credit :-

Forwarded By :- Shri. Jainender Nigam, PB NewsDesk

​​1 जनवरी से शुरू होगा सुनो कहानी रेडियो कार्यक्रम

प्रारंभिक कक्षाओं में विद्यार्थियों में पढ़ने की क्षमता बढ़ाने के लिए स्कूल शिक्षा विभाग रेडियो का सहारा लेगा। विभाग 1 जनवरी से सुनो कहानी साप्ताहिक रेडियो कार्यक्रम शुरू करेगा। इसका प्रसारण हर रविवार सुबह 10.35 से आकाशवाणी, विविध भारती केंद्र भोपाल, इंदौर और जबलपुर से किया जाएगा। 15 मिनट के कार्यक्रम में बच्चों को पुरस्कार जीतने का भी मौका मिलेगा। कहानी के प्रसारण के अंत में उदघोषक द्वारा कहानी के आधार पर सवाल पूछे जाएंगे। पहली से 8वीं तक के विद्यार्थियों को जवाब अगले दिन सोमवार को स्कूल शिक्षक को देना होगा। प्रधान शिक्षक श्रेष्ठ जवाब का चयन करेंगे। चयनित छात्र का उत्तर ई-मेल के तहत विभाग के अफसरों को पहुंचाया जाएगा।

Source and credit :-     
Forwarded By :- Shri. Jainender Nigam, PB NewsDesk 

.............................गाइड दूरदर्शन पर

तराना | 31 दिसंबर एवं 1 जनवरी को दोपहर 1 बजे से 3 बजे तक नववर्ष को लेकर दूरदर्शन मध्यप्रदेश द्वारा आयोजित कविगोष्ठी में नगर के कवि सुनील गाइड कविता पाठ करेंगे। साथ ही हास्य कवि दिनेश दिग्गज उज्जैन के संचालन में दिनेश देहाती बालाघाट, प्रकाश गुप्ता जबलपुर, कवियित्री प्रेमशिला श्रीवास्तव उज्जैन, कमलेश दवे नागदा भी कविता पाठ करेंगे।

Source & Credit :-

Forwarded By :- Shri. Jainender Nigam, PB NewsDesk

Friday, December 30, 2016

Obituary - Former Farm Radio Officer of AIR Cuttack Sri Suryamani Pati passed away

The former Farm Radio Officer of All India Radio, cuttack Sri Suryamani Pati has passed away at the age of 78 on last Wednesday 28.12.2016 at 1.30 pm at his Cuttack residence , Odisha. He was popularly known as Pradhanbhai in every household of Odisha through krusisansar programme of farm and home wing, a daily broadcast.

He retired from A.I.R, cuttack in December ,2001 after serving at different A.I.R station like A.I.R cuttack, Jeypore, Keonjhar,Baripada, Bhabanipatna. A.I.R cuttack family paid homage to late Suryamani pati at his residence. Messages of condolences are pouring in from different parts of the state especially from the rural agricultural folk.

Source : Basant Mohanty

सर्वेश दुबे : उड़ान अभी बाक़ी है

आकाशवाणी गोरखपुर ने प्रसारण की दुनियां को ढेर सारे नगीने दिये हैं जिन्होंने राष्ट्रीय और अन्तर्राष्ट्रीय स्तर पर अपना और अपनी संस्था का नाम रौशन किया है।उनकी सेवाकालीन और उत्तर सेवाकालीन सेवाएं हमेशा सराही गई हैं।ऐसे ही समर्पित वरिष्ठ उदघोषक हैं श्री सर्वेश दुबे जो 31दिसम्बर को अपनी 42साल की दीर्घकालीन सेवा से निवृत्त होने जा रहे हैं।उनकी लोकप्रियता का आलम यह रहा है कि वे आकाशवाणी गोरखपुर के प्रतीक चिन्ह जैसे बन चुके थे।हर सरकारी ,गैर सरकारी आयोजनों में उन्हें शामिल करना आयोजकों के लिए गौरव माना जाता है।

27दिसम्बर 1956 को जन्में एक लोकप्रिय चिकित्सक और संयुक्त निदेशक स्वास्थ्य डा0आर0डी0दुबे के सुपुत्र सर्वेश बचपन से ही रेडियो से जुड़े रहे हैं।इलाहाबाद में शिक्षा के दौरान वहां के कुछ नामचीन उदघोषकों के सम्पर्क में आकर इन्होंने रेडियो में जाना और एक कुशल उदघोषक बनना अपना उद्देश्य बना लिया ।पिता की पोस्टिंग जब गोरखपुर हुई तो एक दिन उनका इंटरव्यू लेने एक कार्यक्रम अधिकारी स्व0के0के0शुक्ल इनके घर पहुंचे ।उन्होंने राह दिखाई और स्नातक करते करते ये ड्रामा कलाकार फिरआकस्मिक उदघोषक और आगे चलकर नियमित बन गये ।

उदघोषक के रुप में उन्होंने आकाशवाणी गोरखपुर और वाराणसी को अपनी मूल्यवान सेवाएं दी हैं।वे एक बेहतरीन मंच संचालक और नाटक कलाकार भी हैं और उसी के चलते उन्हें "बिधना तोहरे देस में","बलमा बड़ा नादान " सहित अनेक भोजपुरी फ़िल्मों में काम करने का अवसर भी मिला।बुलन्द आवाज़ के धनी सर्वेश को उच्चारण में आवश्यकतानुसार उतार चढ़ाव और शब्दों की स्पष्ट डिलेवरी में महारत हासिल है।एक बार तो एक संगीत कंसर्ट में मंच पर ही पं0जसराज ने इन्हें गले लगा लिया था ।एक बेहतर कलाकार और बेहतरीन दोस्त के रुप में वे गोरखपुर में जाने जाते हैं।वे गोरखपुर प्रेस क्लब के अध्यक्ष भी रहे हैं।सुशिक्षित और कुलीन पत्नी श्रीमती गीता दुबे उन्हें यथासंभव पारिवारिक जिम्मेदारियों से मुक्त रखती रही हैं जिससे वे अपनी बेस्ट परफार्मेंस दे सकें।

वे मां दुर्गा के भक्त हैं और आस्थावान हैं।इसीलिए भगवान ने उन्हें सब कुछ दिया है।एक पुत्र शिवांग गौतम और पुत्री शिवांगी मणि त्रिपाठी अपनी अपनी घर गृहस्थी में सुखी हैं।आकाशवाणी गोरखपुर में विभिन्न पदों पर नियुक्ति के दौरान मुझे भी सर्वेश दुबे के अंदर की प्रतिभा को तराशते रहने और प्रोत्साहित करते रहने का अवसर मिला है।उन्होंने एक आदर्श सूत्र वाक्य अपनी ज़िन्दगी में ढाल लिया था कि "ज़िन्दगी चाहे एक दिन की हो चाहे चार दिन की,उसे ऐसे जियो जैसे कि ज़िन्दगी तुम्हें नहीं मिली बल्कि ज़िन्दगी को तुम मिले हो ।"इसीलिए वे सभी के प्रिय बने हुए हैं।इन दिनों उनके रिटायरमेंट पर गोरखपुर में अनेक औपचारिक और अनौपचारिक फेयरवेल चल रहे हैं।आकाशवाणी गोरखपुर में कार्यालय अध्यक्ष केन्द्र अभियन्ता श्री ए0के0शर्मा के नेतृत्व में उनकी सेवाओं को सराहते हुए गत 23दिसम्बर को उन्हें सम्मानित किया गया ।संगीतज्ञ प्रोफेसर शरद मणि त्रिपाठी ने उनके बारे में ठीक ही कहा है कि "सर्वेश दुबे अर्थात भद्र लोक की वज़नी आवाज़ के एक और जादूगर।"

प्रसार भारती परिवार ऐसे समर्पित कलाकार की सेवाओं की प्रशंसा करते हुए उनके जीवन की अगली पारी के लिए अपनी शुभकामनाएं देता है।

ब्लाग के पाठक भी उन्हें अपनी भावनाओं से उनके मोबाइल नं0 07080606356और09415211301 पर अवगत भी करा सकते हैं।

ब्लाग रिपोर्ट - प्रफुल्ल कुमार त्रिपाठी, पूर्व कार्यक्रम अधिकारी,आकाशवाणी, लखनऊ

मोबाइल नं09839229128ईमेल

Akashvani Kurukshetra - Workshop on Digital Payment Systems

On 29.12.2016, Akashvani Kurukshetra organised a workshop on Digital Payment Systems. Expert from Punjab National Bank was invited for presentation and demonstrations.

Source TN Kaushal

Technology Updates :- World's smallest Radio Receiver

Researchers at Harvard built the world’s smallest radio receiver, built out of an assembly of atomic-scale defects in pink diamonds.
The radio uses tiny imperfections in diamonds called nitrogen-vacancy (NV) centers. To make NV centers, researchers replace one carbon atom in a diamond crystal with a nitrogen atom and remove a neighboring atom — creating a system that is essentially a nitrogen atom with a hole next to it. NV centers can be used to emit single photons or detect very weak magnetic fields. They have photoluminescent properties, making them promising systems for quantum computing, phontonics and sensing.

In this radio, electrons in diamond NV centers are powered, or pumped, by green light emitted from a laser. These electrons are sensitive to electromagnetic fields. When NV center receives radio waves it converts them and emits the audio signal as red light. A common photodiode converts that light into a current, which is then converted to sound through a simple speaker or headphone.

An electromagnet creates a strong magnetic field around the diamond, which can be used to change the radio station, tuning the receiving frequency of the NV centers.

The team used billions of NV centers in order to boost the signal, but the radio works with a single NV center, emitting one photon at a time, rather than a stream of light.

The radio is extremely resilient, thanks to the inherent strength of diamond. The team successfully played music at 350 degrees Celsius, or about 660 Fahrenheit. “Diamonds have these unique properties,” said Marko Loncar, professor of electrical engineering at Harvard. “This radio would be able to operate in space, in harsh environments and even the human body, as diamonds are biocompatible.”

Solid-state batteries

Researchers at the University of Maryland made a key advance in solid-state battery technology, inserting a layer of ultra-thin aluminum oxide between lithium electrodes and a solid non-flammable ceramic electrolyte known as garnet. One stumbling block for garnet-based solid-state batteries is high impedance, limiting the flow of energy and decreasing the battery’s ability to charge and discharge.

The team focused on solving the problem of high impedance between the electrolyte and electrode materials with the layer of ultrathin aluminum oxide, which decreased the impedance 300 fold. This virtually eliminates the barrier to electricity flow within the battery, allowing for efficient charging and discharging of the stored energy.

“Our garnet-based solid-state battery is a triple threat, solving the typical problems that trouble existing lithium-ion batteries: safety, performance, and cost,” said Liangbing Hu, associate professor of materials science and engineering at UMD.

The garnet-based solid-state electrolyte is non-flammable, eliminating the risk of fire, and allow the use of metallic lithium anodes, which contain the greatest possible theoretical energy density. Combined with high-capacity sulfur cathodes, the team expects it to offer a potentially unmatched energy density and outperform any lithium-ion battery currently on the market.

DD Arunprabha invites proposals in seven categories

Programme proposals in seven different categories have been invited by Doordarshan for its new DD Arunprabha channel being launched for North East states.

The proposals from reputed producers/production houses are under Fixed Budget Mode of Commissioned Programmes Category and the episodic price ranges between Rs 800,000 to Rs One Million.

DD-Arunprabha will be a 24x7 satellite channel originating from DDK, Itanagar. Programmes on DD-Arunprabha would show richness, variety and diversity of local culture. The channel would seamlessly integrate NER with the entire country. The channel’s USP will be to attract young people of NER with contemporary entertainment shows embedded with informative content.

The invitation is part of efforts of Prasar Bharati’s special efforts in North East Region (NER) to promote and nurture talent, provide a platform to deserving

producers/artistes from NER as well as from outside to encourage production of better programmes for DD viewers.

Proposals have to be received by 17 January 2017 and no proposals sent after that date would be accepted. Preference will be given to Programmes based on themes and subjects relevant to NER.

Doordarshan to expand DTT services in partnership with private broadcasters

Doordarshan plans to expand its new digital terrestrial transmission services to three new cities by March 2017 and 44 more in the next two years.

State-owned broadcaster Doordarshan is planning to expand its new digital terrestrial transmission (DTT) service across the country. The broadcaster, which currently operates the service in 16 cities, is planning to expand it to three new cities by March 2017 and 44 more in the next two years.

In the process, Doordarshan has also partnered with Indian Institute of Management-Ahmedabad (IIMA) to develop a suitable business model for the platform which it expects will be firmed up by February 2017.

The DTT model is an Internet-free broadcast distribution service, through which consumers can receive television channels on the go or at home through television sets, smartphones and tablets—using a Doordarshan application and a dongle specifically designed for the service.

“We are working with IIMA to develop a business model which will be ready by February. We might share the capacity by auctioning channel slots to the private broadcasters. We are yet to finalize the model and from there, we can further develop a roadmap for DTT. This can be a game changer for the industry,” said Supriya Sahu, Director General at Doordarshan, adding that the broadcaster will spend about Rs 320 crore to achieve its targets by 2018.

Doordarshan’s DTT model currently showcases five of its channels—DD News, DD Bharati, DD National, DD Sports and a regional-language channel or DD Kisan, depending on the area. The model has the capacity to carry 10 channels.

Earlier this month, Doordarshan organized a discussion with private broadcasters to familiarize them with the DTT model and proposed a partnership in the future.

Broadcasters have welcomed the offer. “It is an interesting space. It’s a new concept which we are evaluating and accordingly, management will take a call. We are planning to have more interactions with Doordarshan officials,” said Naresh Chahal, vice-president at Sony Pictures Networks India Pvt. Ltd.

The advantage of DTT over video-on-demand services like Hotstar, Netflix and Amazon Prime Video is that DTT does not require an Internet connection. However, the DTT set-up needs huge investment and currently has little capacity, which according to Sahu, remains a challenge for Doordarshan..........

The Telecom Regulatory Authority of India (Trai) floated a consultation paper in June to open terrestrial broadcasting to private broadcasters and develop a roadmap to move to DTT. Terrestrial television broadcasting is the traditional way of delivering television channels by transmission of TV signals through radio waves and is currently the monopoly of Prasar Bharati. The regulator has conducted open house discussions on the matter and is yet to come up with its recommendations.

Inspiration:Heartfulness : Living by the Heart

Heartfulness : Living by the Heart

By tuning in to our heart, we learn to be centered in our highest self.

Strengthen that connection and cultivate an inner knowing that wisely directs and guides our lives. Grow to face the challenges of life with courage and acceptance. Live by the heart, and become what we’re meant to be.

Explore and experience.

Feel the lightness and joy of your true nature. Heartfulness meditation is simply taking the time every day to tune into that internal presence.

In a short while, you’ll learn to remain connected to that gentle support throughout the day.

There are no prerequisites other than basic mental health and an attitude of openness and wonder. does not serve or represent any commercial purpose.

You can join for 3 free online video masterclasses in meditation,conducted by the teacher
of Heartfulness, Kamlesh D. Patel on 2, 3, 4 January 2017

Thursday, December 29, 2016

Obituary:Sanjyot Amondikar,Assistant Director (News),Retd. Expired today.

Smt.Sanjyot Amondikar,Assistant Director (News)Rtd.,expired today on 29.12.2016 at Pune due to prolonged illness.She is survived by three daughters and a son.

She has served in AIR Pune from 1984 to 2007 as a News Editor and retied as Assistant Director (News) in 2007.

She was communicative and committed to her profession.She was  participating in programmes frequently.

Prasar Bharati Parivar and AIR Pune Parivar condoles the demise of Smt.Sanjyot Amondikar and prays to the almighty for the peace of the departed Soul.

Sharing a memorable photo of Sanjot ji with Lata Didi.... (Source : Baba Saheb Kharade..)

K. Murugan, DE, P&D unit,New Delhi won tow GOLD in Inter Ministry Athletics

Representing Min of I & B from DG:AIR in Inter Ministry Athletics in Delhi. Shri K. Murugan, Director (E), P&D unit, DGAIR, New Delhi won tow GOLD Medals in 800 M and 1500 M.

Doordarshan Bhubaneswar's Health Awareness Programme - Gan Re Doctors { Doctors In A Village }

Remote Patient Monitoring is a technology to enable monitoring of patients out side of conventional clinical settings, which may increase access to care & decrease health care treatment cost for commonly occurring diseases to the remote areas village people . RPM is seen as a way of remaining in physiological contract with the patient who might be managed at home via care system. Keeping above factors in mind Doordarshan Bhubaneswar's health awareness programme Arogya Bharatam initiated a specified movement  Gan Re Doctors  { Doctors in a village }.

Inspiration-Meet Narayana Murthy the father, through a humble letter he wrote to his daughter.

We bring to you Narayana Murthy the father, and not the person who gave the world Infosys. Here is a moving letter he wrote to his daughter Akshata. After reading it, you will realise the kind of father Mr Narayana Murthy is, how both his wife and he brought up their two children, through both, the rough and good times.

Becoming a father transformed me in ways that I could never have thought possible. I could never go back to being the person I used to be before. Your arrival in my life brought unimaginable joy and a larger responsibility. I was no more just a husband, a son, or a promising employee of a fast-growing company. I was a father, who had to measure up to the expectations his daughter would have of him at every stage of her life.

Your birth raised the benchmark of my life, in every aspect. My interactions at the workplace became more thoughtful and measured; the quality of my transactions with the outside world more considerate, dignified, and mature. I felt a need to deal with every human being more sensitively and courteously. After all, some day you would grow up and understand the world around you, and I didn’t want you ever to think that I had done anything even remotely wrong.

My mind often goes back to the initial days after your birth. Your mother and I were young then and struggling to find our feet in our careers. Two months after your birth in Hubli, we brought you to Mumbai, but discovered quickly enough, that it was a difficult task to nurture a child and manage careers side by side. So, we decided that you would spend the initial years of your life with your grandparents in Hubli. Naturally, it was a hard decision to make, one which took me quite a bit of time to come to terms with. Every weekend, I would take the plane to Belgaum and then hire a car to Hubli. It was very expensive, but I couldn’t do without seeing you.

What never ceased to amaze me was how you created your own little happy world at Hubli, surrounded by your grandparents and a set of adoring aunts and relatives, oblivious of our absence from your life…

I am often asked about the qualities that I have imparted to my children. I tell them that it is your mother who shouldered this great responsibility and I am ever so grateful to her for bringing you up to be the fine individuals you are. She communicated values more by action than by talking about them. She taught Rohan and you the importance of simplicity and austerity. There was this one instance, in Bangalore, when you were selected for a school drama for which you were required to wear a special dress. It was in the mid-eighties, Infosys had just begun its operations, and we did not have any money to spend on non-basic goods. Your mother explained to you that we would not be able to buy the dress and that you would have to drop out of the performance. Much later, you told me that you had not been able to understand or appreciate that incident. We realize it must have been a bit drastic for a child to forgo an important event in school, but, we know you learnt something important from that- the importance of austerity.

Life has changed for us since then and there is enough money. But, you know, our lifestyle continues to be simple. I remember discussing with your mother the issue of sending you kids to school by car once we were a little comfortable with money, but your mother insisted that Rohan and you go to school with your classmates in the regular autorickshaw. You made great friends with the ‘rickshaw uncle’ and had fun with the other kids in the auto. The simplest things in life are often the happiest and they are for free.

You would often ask me why there was no television at our home when the rest of your friends discussed stuff they watched on TV. Your mother decided early on that there would be no TV in Our home so that there would be time for things like studying, reading, discussions, and meeting friends. She insisted that it was important to create an environment conducive to learning at home. Therefore, every night we dedicated the time between 8 pm and 10 pm to pursuits that brought the family together in a productive environment. While Rohan and you did your schoolwork, your mother and I read books on History, Literature, Physics, Mathematics, and Engineering, or did any office work.

It is quite a well-known fact that when a daughter gets married, a father has mixed feelings about it. He hates the fact that there is somebody else in his daughter’s life with whom she shares her affections–a Smart, confident, younger man who gets the attention that was earlier his alone. I, too, was a little sad and jealous when you told us you had found your life partner. But when I met Rishi and found him to be all that you had described him to be-brilliant, handsome, and, most importantly, honest-l understood why you let your heart be stolen. It was then that I reconciled to sharing your affections with him. A few months ago, you made me a proud grandparent. If holding you in my arms for the first time gave me indescribable joy, seeing Krishnaa, your lovely daughter, for the first time at your home in Santa Monica, was a different experience altogether. I wondered, whether from now on, I would have to behave like a wise, grand old man! But, then I realized the bonus to growing older and becoming a grandparent. I would have the joy of pampering a child silly! Besides, you know what they say about grandparents and grandchildren having a common enemy-the parent! I am convinced Krishnaa and I will eventually exchange notes and crib about you and be completely on the same page when it comes to criticizing you!

As you pursue your goals and live a contended life, remember that there is only one planet for us to live in and that planet is now becoming endangered. Remember that it is your responsibility to pass on this planet to Krishnaa in a better condition than you got it from us.

Take care, my child!

Lovingly, Appa

You’ve watched ‘Mahabharat’ on TV? Now listen to its radio version

All India Radio and FM Gold stations are airing 30-minute episodes of the popular series that are filled with sweet heart-warming nostalgia.

BR Chopra’s Mahabharata is the stuff of legend. Although many television series have attempted to adopt its template in the hope of replicating its tremendous success, none have been able to achieve the popularity of the mythological series that aired on Doordarshan between 1988 and 1990. The episodes of the massively successful show have been translated into 30-minute radio programmes, which are being broadcasted from all primary channels of All India Radio and FM Gold stations of Mumbai, Delhi, Kolkata and Chennai from Monday to Friday between 11.30am and noon. The 104-episode radio series began on December 19 and will end on June 30, 2017.

As a 1990s kid raised on a steady diet of Disney Hour and Hanna-Barbara cartoons, I never quite understood the appeal of Mahabharat. I have only ever heard about the show’s insane popularity, of how streets and shops were deserted on Sunday mornings while people remained glued to their television sets. I remember watching reruns as a child, waiting impatiently to listen to the morals that dotted the show, not much concerned with anything else.

I approached the radio show blissfully liberated from my rigidly schooled ideas of what a good-looking television show must constitute. I was thus able to fully appreciate why Mahabharat was such a success with an Indian audience not yet galvanised by the Star and Zee satellite networks. While popular culture was caught in a downward spiral in the inane 1980s, Chopra’s Mahabharat was the Goldilocks blend of myth, moral and melodrama, wrapped up in a story integral to the cultural fabric of India.

Compared to the television show, the radio version sits at a contradictory juncture in terms of audience gratification. For a generation that has become inured to fast-paced narratives, the truncated length is likely to make it infinitely more engaging. But for viewers who have collectively succumbed to the tyranny of the eye, it is likely to seem strangely incomplete at first.

Judging by today’s standards, there was nothing remotely special about the special effects at the time when Mahabharat was produced. As a result, it is unlikely to be able to compete with the kind of visuals that audiences have come to expect. Since the radio version is liberated from the burden of having to look credible and grand, it is evocative and dynamic. For instance, hearing King Shantanu whisper romantic endearments to Ganga is much more erotic than watching the actors fumble with each other stiffly.

Most of the dialogue is evocative enough, and can be easily translated into colourful mental images. But it is particularly entertaining to listen to Harish Bhimani’s narration as Samay (Time). The omniscient samay was always meant to be a disembodied and esoteric device, but the charm of radio makes the voice seem even more untethered, and therefore more powerful.
The power of hearing lines without visuals

The life cycle of popular cultural products has always been prone to extension – only the means have evolved in tandem with technology. The radio show of Mahabharat is reminiscent of the time when the life of popular films was extended with cassettes that regurgitated punchy dialogue. As I sat listening to the show, I fully understood why my father still recites the dialogue of iconic films such as Deewar. Hearing lines without visuals is an extremely powerful way of revisiting a piece of film or television – it allows the audience to personalise scenes.

Dialogue is still the most striking feature of Chopra’s Mahabharat. Although the monologue and narration-heavy episodes may seem too verbose in retrospect, this loquaciousness works very well for the radio show, helpfully filling in important details. The unmixed background score also seems appropriately quaint and is great fun to revisit. But the conversations often seem strangely sped up, and lose the introspective and ruminative quality that was the cornerstone of the television series.

The radio version also wonderfully exposes how voice plays a huge role in characterisation – a facet of performance that is eclipsed by body language and costume and goes unnoticed. The radio version allows listeners to appreciate that King Bharat speaks with a soft and lilting voice befitting his personality, the tortured Shantanu has a thicker voice, and Bhishma’s voice is gruff and deep.

Although it has been almost universally revered, Chopra’s interpretation of the Mahabharata epic is by no means pristine. Divorced of their historical context and visuals, several pieces of dialogue now seem to ring of misogyny and casteism. It is an illustration of how the interpretations of the epic change with time, reflecting different social discourses in every decade.

In the most basic sense, Chopra’s Mahabharat is a period drama that hinged on historic nostalgia, a yearning and wonderment for a bygone era. But like all reruns, this radio show is inextricably wound up in a different sort of personal nostalgia. As I tuned into the show, I heard my father hum the title track along with Mahendra Kapoor with a strange wistfulness. After the programme ended, he spent an hour reminiscing about an old home, a big, boxy television set, and a time when vast open spaces in Mumbai were not a pipe dream.

The radio version of Chopra’s Mahabharata stands fairly well by itself. But its connection with numerous personal memories imbues it with tremendous nostalgia, making it sweetly appealing and heart-warming.

After primetime, DD National invites proposals for non-primetime slots

Close on the heels of shortlisting two production houses for providing primetime shows for DD National, pubcaster Doordarshan has invited proposals for programmes in different genres under sponsored category for non-primetime of DD National. Production houses Balaji Telefilms and Saai Baba Telefilms had emerged victorious in Doordarshan’s auction of programming slots on its flagship channel DD National. The two production houses, between themselves, had secured 19 of the 34 weekday slots and two of the three weekend slots on offer. As many as 16 slots including 15 weekdays and one weekend had gone unsold. The proposals for programmes under sponsored category for non-primetime have to be submitted with a processing fee along with the pilot episode in a professional optical disc, HD format and 16:9 aspect ratio, addressed to Director General, Doordarshan. The last date for submission of proposals is 20 January 2017. The proposal should contain: a) Detailed story line of the serial, break-up of the story in episodes and broad outline of treatment; b) Synopsis of each episode; and c) Detailed scenario script of at least four episodes. The applicant/producer will also have to furnish full bio data in respect of himself/herself while making the application. No change in the production team, once intimated, can be made without the prior consent of Doordarshan. The applicant will have to submit a photocopy of the latest Income Tax Return file, Sales Tax/Service Tax Registration number and partnership agreements in case of partnership firms and memorandum of article of association in case of limited companies. The producer will have to submit one pilot episode of the serial programme. The pilot is to be produced by the producer at his/her own risk and expense. In case of rejection of pilot or delay in preview, Doordarshan will not be responsible for the financial loss in any manner. However, in case of game shows and musical programmes where a costly set is required, the producer may submit the design of the set along with his/her proposal. The design of the set will also require the approval of Doordarshan before the producer starts the production of such programme. The producer must give an undertaking that s/he would have no objection if the programme is carried on DTH by Doordarshan free of charge with or without commercials. The proposals received will be processed in two stages (a) by the evaluation committee and (b) by the selection committee. The selection committee, while according its approval to the proposal, will clearly specify in case of a serialised TV programme the number of episodes for which it has been approved as well as the duration of each episode and the time band (primetime, mid-primetime, non-primetime, etc.). According to Doordarshan, the number of episodes should not normally exceed 52 episodes of weekly serials and 260 episodes of five days a week of daily soaps. Doordarshan will schedule/slot the shortlisted programmes as per the requirement of the time band, genre and quality of the programme. Each channel will allot time slot to serials keeping in view the requirement of the channel and commercial potential of the programme. The producer will pay Doordarshan telecast fee as may be prescribed from time to time in Doordarshan’s Commercial Rate Card. The payment of the telecast fee will be the joint and separate responsibility of the producer and his/her designated marketing agency. The producer will be entitled to utilise free commercial time (FCT) as may be specified from time to time. The producer can utilise the FCT before or after or in between the programme. In addition to FCT, the producer will be entitled to a credit line of 10 seconds each at the beginning and at the end of the programme. The credit line will include only the name of the sponsor/product, as the case may be. The sponsor will, however, be allowed to use in the credit line his/her logo, lettering style, music/sound effects, etc., as described in Doordarshan’s Commercial Rate Card.

Source and Credit :-
Forwarded by :- Shri. Jainendra Nigam PB News Desk

Number of community radio stations set to increase

The number of community radio stations is set to increase as a high-level committee formed by the Information and Broadcasting Ministry today examined over a hundred applications for starting new stations. Sources said many of these applicants may be given the go ahead to start community radio stations. The I&B Ministry has given permission to 450 community radio stations and of these over 200 are already functioning. The ministry recently announced that it would increase the quantum of assistance granted to new community radio stations.

Source and Credit :-
Forwarded by :- Shri. Jainendra Nigam PB News Desk

Wednesday, December 28, 2016


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