Prasar Bharati

“India’s Public Service Broadcaster”



Monday, July 25, 2016

भारतीय प्रसारण दिवस के परिप्रेक्ष्य मे वार्ताओं के अखिल भारतीय कार्यक्रम मे सुनिएगा विशेष परिचर्चा - ‘प्रसारण : नए आकाश’

 आज 25 जुलाई 2016 रात 9.30 बजे (भारतीय प्रसारण दिवस के परिप्रेक्ष्य मे ) वार्ताओं के अखिल भारतीय कार्यक्रम मे सुनिएगा विशेष परिचर्चा -
‘प्रसारण : नए आकाश’ 
प्रतिभागी होंगे - 1. श्री एल डी मंडलोई , पूर्व महानिदेशक, आकाशवाणी और दुएदर्शन 2. श्री हरेन्द्र प्रताप सिंह , वरिष्ठ पत्रकार 3. श्री दीपक जोशी, प्रसारण तकनीकी विशेषज्ञ (उप महानिदेशक अभियांत्रिकी आकाशवाणी ) 4. डॉ अनुभूति यादव, पत्रकार (संचालक) IIMC दिल्ली । 
इस कार्यक्रम को आकाशवाणी, दिल्ली के इन्द्रप्रस्थ मीडियम वेव 366.3 मीटर और आकाशवाणी एफ एम रेनबो 102.6 मेगाहर्ट्ज(इस चैनल की इन्टरनेट पर लाईव स्ट्रीमिंग भी होती है) सहित देश के अधिकांश आकाशवाणी केन्द्र एक साथ प्रसारित करेंगे। यह कार्यक्रम दूरदर्शन की डी.टी.एच. सेवा फ्री-डिश में AIR हिन्दी चैनल पर भी उपलब्ध होगा।

स्रोत :- श्री. मनोहर सिंह रावतजी के फेसबुक अकाउंट से.

Tribute to Late Shri. Sudhir Phadke on his 97th Birth Anniversary.

Sudhir Phadke was an accomplished Marathi singer-composer. He was regarded as an icon of the Marathi film industry and Marathi Sugam Sangeet (light music) for five decades. Apart from Marathi, Phadke sang and composed songs in several Hindi films as well. Phadke's nickname was Babuji.Sudhir Phadke was born in Kolhapur on 25 July 1919. His birth name was Ram Phadke, but he later changed his name to 'Sudhir' when he composed a song for HMV. Phadke acquired his primary tutelage in vocal classical music from the late Vamanrao Padhye in Kolhapur. After beginning his career with HMV in 1941, he joined the Prabhat Film Company as music director in 1946. During his long career, he composed music for many Marathi and Hindi films. He was also an immaculate playback singer. Phadke married his fellow singer Lalita Deulkar. Their son Shridhar Phadke (born 1950) is also a composer and singer.

Geet Ramayana, based on poet G D Madgulkar's verses, is one of Phadke's most popular works. The programme ran on All India Radio for a year, 1954–55. Stage performances of the program continue to draw huge crowds even today. Phadke set to music all 56 songs, and they were sung by different singers for radio (Manik Varma, lalita Deulkar, Lata Mangeshkar, Phadke himself, Vasantrao Deshpande, Ram Phatak, Usha Atre). All 56 songs were also recorded in Phadke's own voice.

In last days of his life, Phadke was involved in producing a Hindi film on the life of the Indian freedom fighter Vinayak Damodar Savarkar. The movie Veer Savarkar was funded by public donations. Sudhir Phadke last sang and composed music for this movie. He was also actively involved with Goa Freedom Movement and in post freedom fight of India Phadke was connected with Rashtriya Swayamsevak Sangh for over 60 years. He was the main inspiration and founder member of India Heritage Foundation in the United States.

PB Parivar offers Tribute to this great singer-composer from the core of our heart on his 97th birth anniversary.

Source :-

Farewell message from V K Sambyal " Rangeeley Thakur " S D Radio Kashmir Jammu

Dear Friends! My journey with Akashwani started way back in the year 1988 with my first posting in the capacity of Programme Executive at CBS, AIR Chandigarh. I have had a very eventful tenure with a massive organisation that is spread across the length and breadth of the great Nation India. Akashwani gave me the opportunity to serve at nine different kendras that in turn gave me the insight into the minutest character of that region and its people. I also served at the Headquarters at the Directorate. At Delhi I served at The Delhi Station, at DTPES, at DG AIR and CMU and also at the National Channel. The stay in the Capital made me understand the organization in a much better way; I shall be completing my innings with Akashwani in the capacity of Station Director Radio Kashmir Jammu where I spent about two years of my career. Jammu being my home town had a special attraction for me and I thank Akashwani for giving me the opportunity to serve people of my home state. At the domestic front I am blessed to have a Son and my wife who has stood with me in all my pursuits.

There is never an end to any Journey in fact after every end there is the start of a new Journey. At the end of this Journey of mine I only want to thank all my colleagues, my juniors and my worthy seniors who made my journey worth travelling. I had an immensely satisfying innings and I can say that I got back more than what I could deliver. Standing at the beginning of my new Journey, I wish well being of the organization and all its employees. I wish them all a great future ahead. Thank you all very much and Stay Blessed!

V K Sambyal "rangeeley thakur"


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Nostalgia of AIR - Eighty-nine years down the air waves

'Yeh Aakashwani ka Rashtriya Kendra Hai. Ab Aap Samachar Suniye'.

We have all heard this line thousands of times with some minor variation here or there, but have seldom cared to go into the history of what is arguably the world’s largest radio network. And with the transistor and the mobile radio becoming easily accessible and the introduction of FM Radio, radio has had a faster growth in India than anywhere else in the world. But for the avid listeners, they miss the resonant voice of the presenter Ameen Sayani who began on Radio Ceylon but then came to Vividh Bharati. Today, as the National Broadcaster and also the premier Public Service Broadcaster, All India Radio (AIR) has been serving to inform, educate and entertain the masses since its inception, living up to its motto – ‘Bahujan Hitaya : Bahujan Sukhaya’.Prasar Bharati Chief Executive Officer Jawhar Sircar said in a message to on the completion of 89 years of radio broadcasting: "AIR is proud of its legacy, but is not living on its past glory but reinventing itself through more and mre services on Radio FM and internet."

It is unquestionably the largest broadcasting organisations in the world in terms of the number of languages of broadcast, the spectrum of socio-economic and cultural diversity it serves, and its home service comprises 419 stations today located across the country, reaching nearly 92% of the country’s area and 99.19 % of the total population. Although the inception can be traced back to the enforcement of the Telegraph Act on 1 October 1885, it was in June 1923 that the Radio Club of Bombay first attempted a broadcast, with the Calcutta Radio Club following in November the same year and by the Madras Presidency Radio Club on 31 July 1924. But it was on 23 July 1927 that the Indian Broadcast Company (IBC), Bombay Station, was inaugurated by then Indian Viceroy Lord Irwin. The Calcutta station was inaugurated on 26 August 1927. However, the IBC went into liquidation on 1 March 1930 and the next day the Indian State Broadcasting Service under Department of Industries and Labour commenced on experimental basis. The post of "Controller of Broadcast" was instituted in March 1935 and Lionel Fielden appointed the first controller of Broadcasting in India on 30 August that year.The word Akashvani - taken from Sanskrit meaning "celestial announcement" - was used on 10 September 1935 when Akashvani Mysore, a private radio station, was set up.

The first news bulletin was broadcast on 19 January 1936 and the Indian State Broadcasting Service became All India Radio on 8 June that year. The Central News Organisation came into existence on 1 August 1937 and in November that year AIR came under Department of Communication. The External Service started with Pushtu broadcast on 1 October 1938. AIR came under the Department of Information on 24 October 1941 but was shifted to the Department of Information & Arts on 23 February 1946 and this Department was changed to Department of Information and Broadcasting on 10 September that year. There were six Radio Stations in India (Delhi, Bombay, Calcutta, Madras, Tiruchirapalli and Lucknow) and three Radio Stations in Pakistan (Peshawar, Lahore and Dacca) at the time of partition in 1947. The Central News Organisation (CNO) was split up into two Divisions, News Service Division and External Service Division (ESD) in September 1948.

Some other highlights of the early years:

20 July 1952: First National Programme of Music broadcast from AIR.
29 July 1953: National Programme of Talks (English) commenced from AIR.
1954: First Radio Sangeet Sammelan held.
15 August 1956: National Programme of Plays commenced.
3 October 1957: Vividh Bharati Services started.
1 November 1959: First TV Station in Delhi started as part of AIR.
1 November 1967: Commercials on Vividh Bharati introduced
21 July 1969: Yuv-Vani service started from Delhi.
1974: Akashvani Annual Awards instituted.
1 April 1976: Doordarshan separated from AIR.
23 July 1977: First ever FM Service was inaugurated from Madras.
26 January 1985: Commercials on Primary Channel introduced.
15 August 1985: Introduction of hourly news bulletins.
1985: All AIR Stations were provided with 5 channel satellite receiver terminals.
18 May 1988: Introduction of National Channel.
2 March 1990: The 100th Station of AIR commissioned at Warangal (AP).
15 August 1993: Introduction of selling of Time Slots on FM Channel to private parties at Delhi -Mumbai.
1 September 1993: Time Slots on FM Channel to private parties at Chennai.
1 April 1994: Sky Radio became operational.
September 1997: Prasar Bharati was made operational.

Source and credit :-
Forwarded By:- Shri. Alokesh Gupta, New Delhi.
Forwarded By:- Shri. Jainender Nigam, PB NewsDesk 

The need for DTH portability

Mobile number portability has brought in a sea-change in the telecom sector in the country and for the millions of mobile users. With the advantages so obviously gained from the implementation of mobile number portability, the Telecom Regulatory Authority of India (TRAI) has started formulating policy for portability in another sector that could be as advantageous to consumers - Direct to Home (DTH). DTH and Cable TV portability, which would enable customers to port between different service providers without having to change hardware, is important for consumers and the industry. Especially when set top boxes, an integral part of DTH service hardware, worth around `5025 crore are lying idle in the country according to industry reports, contributing only to the thriving e-waste jungle. While Trai’s process to formulate policy has already started, the real question is when it will it happen. And what it will mean to consumers and industry both. The players in the field point out that there are technical issues in implementing DTH portability and point out that they had already invested heavily on set top boxes. Consumers, meanwhile, are of the opinion that it should come at any cost. As of now, cable operators and DTH service providers offer their services bundled with a set-top box which comes at a cost of `1,500 to `2,000. However, if a consumer is not satisfied with his service provider, he or she is forced to buy a new set-top box from another operator, because there is no option of portability. Even the amount paid for the box is non-refundable.

DTH, cable TV portability allows consumers to change operators without changing set-top box. This will help consumers immensely and will promote competition while improving quality of services. Also it is likely to bring down the cost of set-top box. “It is in the best interest of the consumer. Even though the customer pays the cost of a set top box, it remains the property of the DTH company. The customer has to sign an agreement in this regard. Thus the subscriber becomes a slave of the service provider. It is high-time that the government intervene and implement portability,” pointed out Roop Sharma, President, Cable Operators Federation of India. He also added that there should be a policy change to make set top boxes available in the market, like mobile handsets. “The smart card which is used to view channels can be purchased from the operator (like a sim card). If a customer dislikes the service he or she should be able to switch to another service provider,” he said. As per the report submitted by DTH Operators to TRAI, around 8.5 crore set top boxes have been either sold or provided subscribers in the market. Out which only around 5.5 crore are in active mode. Around three crore such boxes are lying idle or unused, mainly because of non-interoperability.

“The interoperability of set up box is the need of the day and should have been done long back. It seems the condition relating to interoperability of the set top box has been a part of the license conditions from the beginning but no progress has been made on this issue because of the differences between the various operators themselves. While framing rules on interoperability it is necessary to finalise the commercial conditions as well such as who owns the set top box, who will be responsible for customer premises service for these boxes,” said Narender Gupta, Founder and CEO, Tathya Consulting, one of the customers who responded to the TRAI consultation paper on portability. According to Saharsh Damani, Secretary General, All India Digital Cable Federation, TRAI should form a committee of technical and commercial people to create guidelines and technical framework for the set top box interoperability. “The set top boxes currently lying in stock should be allowed to be seeded in future as well when the interoperability comes into play,” he said. However, players in the sector are not seeing DTH portability happening in the near future. “There are technical issues which prevents DTH portability to become a reality in the near fututre. An expert committee should be formed to resolve these technical problems,” said U V Satyanarayana, Assistant Vice President (Digital), Asianet Satellite Communications. Echoing same opinion, R C Venkateish, Former CEO Dish TV, an expert in the field, said that the possibility of DTH portability is very low in the country. “The present technology prevailing in the country do not allow such a portability,” he says.

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

The Harsh Truth About Stuff on Indian TV and Why It Won’t Change

If there’s one thing desi social media loves to moan about, it’s the death of good content on television. If you happen to be a netizen (which you are, or you wouldn’t be reading this piece right now) you, too, are part of the bandwagon of moaners.
You moan about how good the content of the Doordarshan era was. How shows once had a limited lifespan with concrete story lines, that did not beat around several bushes before getting to the point, and the variety of intelligent programming the not-so-idiot box used to offer. Then you harp on about how today’s TV is all about garish clothes, pumped up make-up, deafening background score, illogical plot lines, yada yada yada. And you hark back on nostalgia, hoping for it to come back, or for things to change. Well, here’s the truth. Indian TV content is not changing. Not in the near future at least. And definitely not the way you wish for it to. Sounds whatever? Well, let me take you back to the golden era of TV, to give you a narration. After all, we prefer linear tales. So, we began in the Doordarshan era, which brought TV sets to our drawing rooms, and shows that were the results of eclectic programming. Why not? After all, the viewership was mostly limited to middle class and upper middle class, who could afford a television set. As soon as the wheels of liberalisation, privatisation and globalisation started turning India, the dawn of cable TV brought in a wave of channels, from Zee to Star. In the beginning, cable shows continued their progressive streak along with the DD ones, and we got shows like Shanti, Tara or Banegi Apni Baat.

As the new millennium came knocking, Sooraj Barjatya, after his monster hit Hum Aapke Hain Koun (1994), delivered another joint family saga, titled Hum Saath Saath Hain (1999), with a star-studded cast. The reworking of the Indian epic The Ramayana in Barjatya style, planted a new seed in Star TV programming, which launched Amitabh Bachchan, the megastar as a game show host, followed by Ekta Kapoor’s Kyunki Saas Bhi Kabhi Bahu Thi and Kahaani Ghar Ghar Ki, which cooked up such a buffet that could serve every single member of a joint family. This volley of shows had a single minded focus, and their gamble paid off. Kapoor’s K shows became such massive hits that they pioneered the much derided saas-bahu trend, which basically signifies why every single TV producer followed suit to pocket TRPs. By now, TV as a hardware was no longer the expensive trophy. It became cheaper and cheaper and the lower-middle class as well as the poorer sections of society rushed to buy television sets to clock in their own hours of entertainment. No need to run to the neighbours’ house, begging to be allowed to watch their favourite TV soaps. And this section of society, which didn’t matter earlier, became an audience base of primary importance. The penetration of TV into smaller towns and villages became so deep that it created a new demographic that was way, way bigger than the audience base that DD and early cable TV catered to. And this base is still growing. TV is a medium that runs on TRPs, which in turn lures advertisements. Now when smaller towns started tuning in, soaps started spelling things out, nuance went into exile, but channels were euphoric because it brought TRPs home.

This demand became the sole driver of the GECs. So you know, a cheap detergent powder got precedence over fancy bath fittings, affordability over luxury. Intelligent, progressive programming got overpowered by ideas that catered mostly to parivaar, sanskaar, and parampara. Female protagonists started as weaklings on their long walk to freedom with morals intact in almost every second show. With TRPs and revenue coming in, channels stretched finite story lines to infinity and beyond, and juiced every single pore of the characters. Thousand episodes have now become a child’s play. Higher TRPs mean bigger budgets for soaps, with more and more extravagant and multiple shaadis and sangams of various shows. This change in demographic and content impacted TV shows in more ways than one. Most importantly, TV shows are nowadays based on extensive research, hell-bent on giving the audience exactly what it wants. Before a show is green lit, audio pilots are made to test reactions, which can change the course of the show. Being realistic about the reach of literacy and liberal ideas in our country, you can imagine what most reactions would be. To give you an example, a show on Life OK titled Dil Se Di Dua... Saubhagyavati Bhava?, which depicted a husband resorting to domestic violence against his wife, mostly garnered reactions in favour of the husband. So what if he thrashes her? He still loves her.

Conclusion: The larger Indian mass still preferred a patriarchal narrative. So much so that when the makers tried to wean off the abusive husband and brought in a nicer, non-obsessive man, a protector for the said ‘saubhagyavati’ woman, the show’s ratings tanked. If the recent success of Naagin, and the buzz around the upcoming Brahmrakshas are anything to go by, creatures of the beyond have caught the viewers’ fancy, and will be served piping hot as long as they bring in the numbers.

To add to the woes of those in TV programming, a majority of the Indian youth has switched over to watching content online, unless a big cricket match is on. Major GECs now are concerned about losing the youth as an audience. So attempts are being made to launch edgy content. But if and when TRPs don’t show up, channels take the safe route. Channel V’s abandonment of fiction is clear proof of that. So, you see, my dear readers, you have become redundant. You belong to the English speaking tiny mass of viewers that is a drop in the ever growing immeasurable ocean of the great Indian family. While the nostalgia of DD days gets you chatting on social media, the TV content you’ll really be consuming will mostly arrive from foreign shores. In the race of demand and supply, you’ve become a bystander who can bark and scream but can’t halt the traffic. It seems this trend is going to continue, because TV as a hardware is going deeper into the interiors, and the viewership mass that you don’t belong to, is going to balloon even more. And the vicious cycle will continue. As someone wise once said, in the grander scheme of things, we do not matter. Our tweeting twats have yet to realise this.
(The writer is a journalist and a screenwriter who believes in the insanity of words, in print or otherwise. Follow him on Twitter: @RanjibMazumder)

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

Sunday, July 24, 2016

Documentary on NABM Bhubaneswar

On behalf of 8th Batch of NABM Bhubaneswar  I have  made  a documentary based on two months Induction Training named " 60 days at NABM Bhubaneswar". This documentary was premiered on 21.7.2016 with the presence of Shri I I George ADG(E). I have the privilege of saying this is the first documentary produced on NABM Bhubaneswar by the Trainee. Documentary was Highly appreciated by the ADG, faculty members of NABM, and trainees . It is available on YouTube link.

Contributed by :- Shri. V.Siva Anantha Krishnan, Transmission Executive, All India Radio, Tirunelveli Tamilnadu,

Part of unused TV spectrum to be utilised for mobile services

In March this year, the government said it has allocated a total of 127 Mhz spectrum to eight entities for testing TV white-space technology.Communications ministry on Friday said that a portion of spectrum from a chunk of over 200 MHz airwaves will be utilised for mobile telephony services, after co-ordination with ministry of information and broadcasting. “There exists unused TV spectrum in the 470-698 MHz frequency band currently used by Doordarshan for terrestrial television broadcast in the country,” telecom minister Manoj Sinha said in a written reply in the Rajya Sabha. He said that it has been decided that part of the spectrum in the band will be put to use for International Mobile Telephony (IMT) services, when ecosystem for it is developed. On whether the government has entered into agreement with private organisations or has plans to do so for utilisation of this spectrum, the minister said, “No”. In March this year, the government said it has allocated a total of 127 Mhz spectrum to eight entities for testing TV white-space technology which can ensure hassle-free reception of mobile signals inside buildings and basements.

The then telecom minister Ravi Shankar Prasad had informed the Rajya Sabha that 60 Mhz spectrum had been allocated to ERNET—an autonomous body under the telecom ministry, 20 Mhz to power equipment maker BHEL, 10 Mhz or less each to IIT Bombay, IIT Delhi, IIT Hyderabad, IIIT Bangalore, Tata Advanced Systems and 10 Mhz to collector and magistrate at Amrawati. TV white-space technology utilises part of spectrum that remains unused while transmitting broadcast signals. Mobile consumers often complain of not receiving signals when they are inside buildings or basements. However, TV white-space is considered efficient to reach deep inside buildings.

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

AIR revenue has shown gradual growth; DD has not: Govt

In a digital age when most entertainment is downloadable and proliferation of television has made information easily accessible to general public, it’s heartening to note that pubcaster radio is holding its own against public-funded television. Minister for Information and Broadcasting (MIB) M Venkaiah Naidu informed Lok Sabha (Lower House of Parliament) that All India Radio, managed by pubcaster Prasar Bharati, has shown a gradual increase in revenues. The MIB minister added that on the other hand Doordarshan’s revenue generation has been below par.
According to Naidu, operational cost of Doordarshan and All India Radio, however, is going north as a result of increased manpower hiring and resultant hike in remunerations and benefits given to government officials. Though Prasar Bharati is an autonomous body, the government has been providing non-plan support for meeting 100 per cent expenses towards salary and salary-related expenses and under planned expenditure for technical capital requirements. Prasar Bharati has received a total of Rs 9486.52 crore between 2013-2014 and June 2016 as plan or non-plan grant from MIB. During these years, the amount peaked in 2015-16 when the total grant was Rs 2795.89 crore.
Year-wise Details of total expenditure and Revenue of DD and AIR during last five years are given as under:
(Rs. in crore)
All India Radio
Year         Total expenditure         Revenue earned (Exclusive of Service Tax)
2011-12              1213.58                       325.01
2012-13              1322.06                       319.50
2013-14              1460.33                       367.50
2014-15              1615.70                       435.10
2015-16              1710.08                       447.76
(Rs. in crore)
Year         Total expenditure             Revenue earned (Exclusive of Service Tax)
2011-12             1381.38                         735.32
2012-13             1501.64                        1025.78
2013-14             1602.94                        1043.13
2014-15             1815.22                          911.01
2015-16             1863.60                          755.79
Meanwhile, Naidu added that AIR has no mechanism to undertake audience measurement at regular intervals through field surveys. In the year 2014, DD National’s all-India audience ratings were 0.17%. In the year 2015, the ratings percentage dropped to 0.10% owing to the fact that the ratings agency did not cover 100 per cent of DD National on an all- India basis, MIB minister explained to Parliament. Government also admitted that increasing reach of other TV channels, mainly privately-owned, into rural areas has eaten into the share of DD viewership. In the current year, till the 27th week of 2016, ratings percentage of DD National was 0.11% as per data generated by Broadcast Audience Research Council (BARC), which is an industry initiative.
EXPENDITURE ON TRANSMITTERS: Over Rs 1,033 crore has been spent by DD on maintenance of low-power and very low powered transmitters. The total expenditure incurred by Doordarshan during the last three years was 2013-14 Rs. 318.16 crore; 2014-15 Rs. 349.66 crore and 2015-16 Rs. 365.65 crore. Minister of State for Information and Broadcasting Rajyavardhan Rathore told the Lok Sabha that Prasar Bharati has 368 very low power TV transmitters (VLPTs) in the country. The junior MIB minister said that while no in-house survey has been conducted to assess LPT (low power transmitters) viewership by DD, BARC too doesn’t provide such data. Prasar Bharati has decided to close four LPTs as they lie in the coverage zone of nearby high power transmitters (HPTs) in Madhepura (Bihar); Simri Bakhtiarpur (Bihar); Khagaria (Bihar); and Kalna (West Bengal). Rathore also added that upgradation/modernization of Doordarshan Kendras is a continuous process.

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

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