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Dil To Baccha Hai Ji Music Review

Dil To Baccha Hai Ji
Madhur Bhandarkar's next film, Dil Toh Baccha Hai Ji is a comedy about love. It is about how three different men played by Ajay Devgn, Omi Vaidya and Emran Hamshi all go down the path towards a happy ever after. Pritam has composed the music for the film, and as it is his first soundtrack for 2011, has he started out the year on the right track?

First off is Abhi Kuch Dino Se, with Mohit Chauhan on the mike and Neelesh Misra penning the lyrics. It is a nice easy track that gets your foot tapping. The song speaks of how easily we fall in love and how some find it hard to detect they are in love, and you ease into a comfort zone with the melody, Mohit's voice and the lyrics. Simple, sweet and a tad upbeat, the track is sure to remain with you after proceeding on to the next song.

When it comes to casual melody, Sonu Niigam is an old favourite and how good does he sound on Tere Bin! Tere Bin is your perfect 'Hopelessly in Love' track written by Kumaar. There is a reprise version by Naresh Iyer. Where Sonu has a refined hold on the words and smoothly flows through the track he is momentarily stopped in between by the English lines Kumaar added which act more as fillers. Naresh Iyer has raw appeal that gives the lyrics a slightly mellowed feel. In fact you could say there was more of a sense of hopelessness when Naresh takes the mike. However, both are exceptional in there renditions. There is a remix version but Sonu gets lost in the upbeat yet lacklustre song.

Yeh Dill Hai Nakhrewala is perhaps the dampener on a thus far pleasant soundtrack. Neelesh seems to lose his foot hold on this one as it's lyrically plain and ordinary. Even with Shefali Alveras back on the playback singer bandwagon and doing an ok job, the song slips below par. The song is a good attempt at old school rock and may make one reach for a cowboy hat; it falls into easily forgettable category with mediocre lyrics.

With Jadugari, Kunal Gunjanwala does what he knows best. Make you swoon. While the song is pleasant and is another hopeless in love track with Sanjay Chhel's lyrics promising the world for your love, there is a sense of déja vu. The percussion at the beginning and the end would have been suffice, with Kunal's charming voice to hit a home run but with the clutter of the background vocals, the song loses its grip to sustain in the memory.

Now on to the only duet on the OST, Beshuba is an upbeat love song of lovers basking in their love for each other penned by Sayeed Qadri. Pritam's favourite Antara Mitra joins hands with Kunal and the both complement each other quite well. However, what is disappointing is that the lyrics seem once again, quite typical and lack freshness to it, leaving the listener a little bored with the composition only making it half way.

After a little impact the first time, Yeh Dil Hai Nakhrewala 2 is back with Antara Mitra rendering the track however; it doesn't have an old wine in neater bottle effect. With a groovy twist and strong edge on the original, Antara's vocals take over and works magic on the average lyrics, thankfully. Although one cannot deny a twinge of Soft Cell's 'Tainted Love' in the background, Antara belts it out well enough to make you forget this fall back.

So, what's the final verdict on Pritam's Dil To Baccha Hai Ji Music? Pritam has dealt a mixed bag this time around. You are sure to fall in love with 'Abhi Kuch Dino Se' and 'Tere Bin' (Both Sonu's original and Naresh's reprise), and groove a bit to Antara's 'Yeh Dil Hai Nakhrewala' but the rest won't make much of an impact.

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Yamla Pagla Deewana Music Review

Yamla Pagla Deewana
Due out in January, Yamla Pagla Deewana has been creating a lot of positive chatter all over the internet since the official trailer was released, opening with classic Sholay dialogues and revealing that Bollywood legend Dharmendra will be returning to the screen with sons Sunny and Bobby in a colourful comic con-man caper, promising "action hai, comedy hai, drama hai, romance hai..aur maa kasam!" It looks HILARIOUS.

With a trailer like that, you've won half your audience over already. It doesn't mean you can neglect the music though. Especially in a year when film music has been soaring from strength to strength - there's no excuse for neglecting the music in a film these days. People pay attention.

Which is why I was a bit surprised to discover that instead of picking one strong music director to oversee the music for the Yamla Pagla Deewana soundtrack, the task has been divided among a number of people. RDB, Nouman Javaid, Anu Malik, Sandesh Shandilya and Rahul B. Seth each get one or two tracks to work on.

With the Deol trio onscreen and bringing their charismatic chemistry, a lot of that energy is reflected in the soundtrack, which is undeniably heavily Punjabi in flavour throughout.

The best track on the album is the opener, which features on the trailer: Yamla Pagla Deewana. You've no doubt heard the saying "old is gold" - well, this song is a reworked version of a Laxmikant-Pyarelal superhit from Dharmendra's 1975 film Pratigya. Sonu Nigaam and Nindy Kaur handle the vocals beautifully. The song is energetic, retro, and just gorgeous. An unnecessary house remix of the song also appears on the album - with all the charm of the original removed and replaced with electronica and synthesized beats.

The second track, Charha de Rang, is obviously a track the producers believe (or hope) will be big, since it appears on the album no less than FOUR times. My preferred version is actually Track 9, Charha De Rang (Version 2) - but each of the four versions on the album is worth listening to, as they are not remixes. Vocals are provided by Ali Pervez Mehdi, Rahat Fateh Ali Khan, Shweta Pandit, Mahalaxmi Iyer and Rahul B.Seth and (depending on which version you listen to), the women tend to outshine the men. It's a decent love song, one that grows on you with repeated listening.

Track 3, the Anu Malik-penned Tinku Jaya, definitely aims at bringing a party vibe to the house. Javed Ali and Mamta Sharma handle the vocals with lots of energy against a beat heavy, rustic sounding backing - and to be honest, the first thing that comes to mind is that this is Yamla Pagla Deewana's Munni Badnaam Hui! This is total item number territory and if it's picturised well, it'll be ROCKING.

Sau Baar brings together Pakistani pop singer Omar Nadeem and the ever lovely Shreya Ghoshal for an uptempo, pop-infused, pretty little love ballad. This kind of song is either totally your cup of chai or you dismiss it as completely ordinary. I LOVE these romantic filmi songs! Shreya's voice is, as always, beautifully expressive and ethereal, and Omar Nadeem has a pleasant, emotive pop- rock tone.

Track 5, Chamki Jawaani, brings back Mamta Sharma with Daler Mehendi and Master Salim. The swaying, pounding number sounds like it's always on the verge of getting raunchy and really breaking into a full-on party item number; sadly it never really happens, with everyone sounding a little restrained throughout, despite the abundant dhol and whistling and cheering, which make you SO want the party to really start. Another wanna-be Munni Badnaam (unfortunately it doesn't really come close).

Son Titariya is more infectious and delivered with high energy and emotion by Krishna Beural - but by this point in the album, the Punjabi flavored "desi party" tracks are starting to sound a little bit interchangeable and generic. It's all a bit...boring.

Kadd Ke Botal is another heavily Punjabi track, all dhol and bhangra beats, with lyrics apparently penned by Dharmendra himself, which is a neat USP. Sukwindher Singh, Harshdeep and Rosalie Nicholson team up for this celebration track - but it lacks any of the sheer joy, charisma or effervescensce of the title track of the album, the only real standout.

Final track is the brief, haunting, recitation of Gurbani from the holy scriptures of Shri Guru Granth Sahib - an interesting note to end such a predominantly upbeat album on.

Overall the Yamla Pagla Deewana soundtrack is nothing earth shattering - it's packed with decent upbeat Punjabi-flavoured tracks but nothing innovative or especially original, save the wonderful opening title track that proves that you can't beat the classics - just like Dharmendra.

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Patiala House Music Review

After the getting a very cold reception from the audiences and the box office for Chandni Chowk to China, Nikhil Advani and Akshay Kumar are back with Patiala House. The snippets from the various types of press it is getting suggests it’s a family drama set in UK with cricket as a major part of the movie. Sadly, nothing tells us that it is any more or less innovative then other movies about familial issues and sports that we have witnessed in the past.

That being said, Nikhil Advani, who has not struck gold after the success of Kal Ho Na Ho, has given us great musical scores at the hands of Shankar-Eshaan-Loy. Salaam-E-Ishq and Chandni Chowk to China, regardless of being epic cinematic duds, boasted of great music. Here’s hoping Patiala House delivers musically if not visually.

As mentioned, Shankar-Eshaan-Loy are once again in the music directors’ chairs while Anvita Dutt of Bachna Ae Haseeno and I Hate Luv Storys fame has penned the lyrics. It features the vocal talents of Hans Raj Hans, Mahalaxmi Iyer (Sadka Kiya - I Hate Luv Storys), Shafqat Amanat Ali (Mitwa - Kabhi Alvida Na Kehna), Master Saleem (Maa Da Ladla - Dostana), Vishal Dadlani (I Hate Luv Stoys - Title Song), Richa Sharma (Sajda - My Name Is Khan), Suraj Jagan (Jailhouse Rock - We Are Family), Shankar Mahadevan (Uff Teri Ada - Karthik Calling Karthik) and Hard Kaur (Move Your Body - Johnny Gaddaar).

Patiala House hits screens 11th of February 2011.

The album commences with Laung Da Lashkara, a relatively upbeat Punjabi number by Hard Kaur, Jassi and Mahalaxmi Iyer. I say relatively because it fails in comparison to recent Punjabi dance numbers like Gal Midhi Midhi Bol from Aisha and Ainvayi Ainvayi from Band Baaja Baaraat. It is a shame because Mahalaxmi and Jassi render the song really well. Hard Kaur on the other hand does what she always does; rap a mash of Hindi/Punjabi/English lyrics, which sound like all the others she has done so far. In short, the album gets off to a very lukewarm start, which dampens your interests about the other songs in the album. The song’s remix is equally uneventful if not worse.

Next is Kyun Main Jaoon, a beautifully composed situational number, rendered equally beautifully by Shafqat Amanat Ali. The piano is used extensively and is the crowning glory of the number. Shafqat’s exquisite vocals don’t hold back the emotions of Anvita’s well-penned lyrics about the leading character’s identity crisis. The album also features an unplugged version of Kyun Main Jaoon, which is equally brilliant as the first. While the remix of the song takes away the earthiness of the number, it remains a well-composed remix that does not drown the essence of the song.

Rola Pe Gaya commences as a typical traditional shaadi-sangeet number, but turns into a pseudo-modern number once Hard Kaur enters the picture with her predictable rap piece. After Laung Da Lashkara, personally, this act of hers is getting really old. There is still a glimmer of hope because the music is not too bad. It gets your feet tapping for a few seconds but once Shankar and Mahalaxmi start singing all hope is lost. Anvita’s lyrics are odd and the melody is very unattractive. Despite featuring the talented Mahalaxmi and Shankar, the song resembles a train wreck. The remix neither hinders nor improves the number.

Vishal Dadlani’s Aadat Hai Voh is next. It is not your usual Vishal number so do not expect a Dhoom Again or Dhan Te Nan. Even though it gets off to an unimpressive start, the song transforms into angst-y rock ballad. Vishal’s low and high vocals do justice to Anvita lyrics and provide her words with the emphasis they need.

Patiala House’s first love song comes in the form of Baby When You Talk To Me rendered by Suraj Jaggan and Alyssa Mendonsa (Uff Teri Ada - Karthik Calling Karthik). The big-band-esque music definitely gets your feet tapping and Suraj’s vocals are very likable, but the result is something akin to Play School or Hi-5 songs. Lyrics aren’t very innovative. Case on point, baby when you talk to me…baby when you walk with me. The alternative remixed version does not make the number any more likable.

Tumba Tumba is a traditional qawali by Hans Raj Hans. Fans of qawalis will definitely love this number but others may give it a miss. It is essentially a situational track that will be most effective on screen.

Aval Allah, another situational track rendered well by Richa Sharma suffers from the same fate as Tumba Tumba. Fans of the genre will like the number but others may move to immediately disregard it.

The album ends with the various remixes discussed above.

In summary, Patiala House does not deliver musically like the previous three Advani and Shankar-Eshaan-Loy collaborations. Kyun Main Jaoon and Aadat Hai Voh are the best songs in the album, mainly due to Shafqat and Vishal’s amazing vocals and Anvita’s emotionally charged lyrics. The fast-paced numbers do not deliver, but if one had to choose, Laung Da Lashkara would be the lesser of the evils. In short, Patiala House struggles to impress.

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Tees Maar Khan

Tees Maar Khan
Personally, I've never understood Farah Khan's sensibilities as a filmmaker. In my opinion, Main Hoon Na and Om Shanti Om were films that simply were duds. However, during a recent conversation with two fellow reviewers who simply adore Farah's film, I realized that I haven't given the choreographer a fair chance perhaps. In my mind, she's always been a dancer par excellence and thus, I never thought she could cut it as a filmmaker. So I decided that I would give her 2010 offering, Tees Maar Khan, a real chance. And thus, I walked into the cinema with an open mind and heart, ready to take in and become a Farah Khan film fan. With Akshay Kumar, Katrina Kaif and Akshaye Khanna in lead roles, you were almost guaranteed a couple of not many Laugh Out Loud moments. However, is that sufficient enough to make Tees Maar Khan work at the box office and in the hearts of the critics?

Tezreb Khan urf Tees Maar Khan (Akshay Kumar) is a con artist (read: anti-Robin Hood) who is known to his mother as a film director. After managing to escape the clutches of the Indian police after he is captured in Paris, he embarks on a huge scam involving the renowned Siamese twins, the Jhori Brothers. However, TMK and his gang of three, realize this isn't going to be an easy task and thus, decide to turn the robbery into a film set. He involves the village people of a village, his girlfriend and wannabe item girl Anya Khan (Katrina Kaif) along with Oscar thirsty and desperate Aatish Kapoor (Akshaye Khanna). Depicting himself as a prominent Hollywood director, his film hits the floor but during the shoot, the villagers and TMK form a bond which reveals his more sensitive side. And while he does get caught in the bargain, he does manage to escape the clutches of the police, yet again.

Tees Maar Khan is hardly the most intelligent movie released or made in recent time. TMK is a complete brainless Akshay Kumar film which is atypical of Farah Khan. That said, TMK happens to now be my favorite Farah Khan film. The plot isn't smart but it definitely is funny. The jokes and dialogues, courtesy of Shirish Kunder, are smart and spoofy but yet entertaining. As a director, Farah Khan does what she does best; create over the top situations which are really unfathomable. Her execution of such a film needs to be noted simply because it is hard to make such a film with such a plot. But the problem lies with the unfathomable part of the film. But in her defense, she has never claimed to be a filmmaker who makes films which are meant to make you think. As long as an audience member, you walk in with zero expectations and realize that Tees Maar Khan is in fact a brainless film, you will walk out a lot happier. What works for the film are the one liners, the spoofs and characters that are incredibly funny.

Akshay Kumar steals the show in Tees Maar Khan. The actor manages to pull off yet another over the top character and works it. Kumar understand the comedy genre and with complete ease manages to become the ultimate soul of TMK. His chemistry with all the supporting actors is commendable and he works with all of them well. Katrina Kaif as the bimbette is hardly used but is a delight to watch especially in and as Sheila. Akshaye Khanna is simply mind-blowing! The actor plays a desperado Oscar craving actor and his "Day Ho" enactment is simply hilarious. Khan's chelas are awesome and really work well with Akshay Kumar. Arya Babbar impresses as the local villages police inspector who really masters the rustic dialect and attitude.

As for the dances, which is an impeccable part of Farah Khan films, they all are simply average. Sheila Ki Jawani starts with a bang but really loses steam as it continues while Bade Diwala seems more like a Holi number. Disappointing.

Tees Maar Khan is not Farah Khan's best but it definitely could have been worst. However, it is a fun holiday watch because it manages to be a complete paisa vasool film which it was anticipated to be.

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No One Killed Jessica

No One Killed Jessica
With a title taken from a Times of India headline, it is evident that No One Killed Jessica has the intention of being something other than standard Hindi film fare. The subject of the production, the murder of model and celebrity bar-tender Jessica Lall, serves as the mainframe of the story and seldom does the plot stray far from the real-life incident and the ensuing embryonic movement to score 'Justice for Jessica' after the trial collapses.

Director Rajkumar Gupta (his second film after Aamir) opens with a montage of India's capital, the track 'Dilli' an accompaniment to visual imagery presenting the many facets of the city, before focusing in on a 2am phone call to Sabrina Lall (Vidya Balan) hearing that her sister Jessica (debutante Myra) has been shot. The film then takes us through flashback from the hospital to a late-nineties club scene, creating a rising tension that culminates in Manish (Zeeshan Ayyub) firing a gun after being refused a drink.

In a role spinning a 180 to the quintessential Yash Raj heroine, Rani Mukherjee plays Meera Gaity the straight-talking, chain-smoking NDTV journalist, who originally refuses to cover the Jessica Lall story as it lacks the glamour of her last assignment, the Kargil Conflict.

Sound like a familiar figure? You cannot but help draw parallels with senior NDTV presenter Barkha Dutt. When we contacted Barkha (although she still has to view the film) she seemed to agree with the Meera comparison, and confirmed that the filmmakers had shot in her office. Although the scene where Meera is shown going from a yoga headstand to on-camera in under ninety seconds, Barkha took to be artistic license.

In contrast to Mukherjee, Balan as Sabrina Lall fills the screen with fragility and a quiet emptiness. We see the transformation of her character from a wounded sister uncomfortable in the glare of the media spotlight, to a figure who, inspired by flashbacks by the courage of Jessica, remains vocal and unwavering in her fight to bring about justice

While costume designer Sabyasachi has put Mukherjee in costumes that begin with late-nineties news anchor wear to become steadily more polished and TV friendly, a deglam Balan is presented in shapeless, masculine clothing and the same grey t shirt that she inhabits in scene after scene over a five-year period.

For vast portions of the film, Rani Mukherjee and Vidya Balan do not share screen space. In fact, the two really only come together in one or two pivotal scenes firmly into the second half and in a cinematic denouement in the final reels. One potential problem in filming the stories that are essentially interlinked but only intertwined at the end, is that the project at times comes across as almost two separate productions. From the performance styles to the art direction, from genre to dialogue delivery, the shift between the tracks of Mukherjee and Balan can be dis-jarring. When the two actors do come together, however, you realise that the wait is worth it. Their initial meeting at Sabrina's house aptly demonstrates why both of these Hindi film heroines are regarded as actors while their contemporaries might simply be called stars.

The film has been marketed by UTV as a political thriller. It can equally be regarded as a courtroom drama, with significant sections of narrative devoted to the trial of the accused and the unfolding drama as three hundred witnesses turning hostile. Unlike most Indian cinema, the genre of romance remains untouched. From Sabrina's proclamation that she has never had a boyfriend to Meera's casual rejection of a one-night-stand when she gets a late-night work related phone call, these instances seem emblematic in their telling that other cinematic subjects exist beyond romantic love. In spite of the sombre tone of the film, some moments of humour punctuate the story, the sting operation against Vikram Jai Singh (Neil Bhoopalam): epic, the (filmi) ma who peers around the kitchen curtain three times throughout the film to proclaim "Do whatever it takes but save my Monu": epic fail.

One criticism that I would have of NOKJ, is that, weaned as we are on the star system of Bollywood, the extended scenes where the lead actors are missing from the frame, as public reaction is gaged across India to the miscarriage of justice, might have been more effective with tighter editing.

It is the performances of Mukherjee and Balan that make the film so watchable. Mukherjee delivers the role of Meera Gaity in a performance that may well secure a black statuette when awards season rolls around.

Balan, who often faces criticism for her attire and wardrobe choices (Heyy Baby) or a lack of dance skills (Kismat Konnection), excels in a performance-based role. Essaying the role of a real-life figure is never an easy task. Balan has gone on record to say that she did not meet with her namesake before filming, so it will be interesting to see how accurate her interpretation is. Without wanting to join the Balan fashion-bashers, from occasions that I have seen Sabrina Lall in the media, she seems to be a much more glamorous figure than is presented on celluloid.

NOKJ achieves its aim of being something other than standard Hindi film fare. After a string of over-hyped and over-budget offerings from Bombay cinema in the final quarter of 2010, No One Killed Jessica is a welcome antidote, and it will be interesting to see what awaits this powerful film at the box office.

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Turning 30

Turning 30
The Indian woman today is different. No more is she expected to be a slave to her domestic responsibilities, sacrifice her ambition and live a life for her family. And as for marrying by a respectable age? Well, that entire idea can easily be kicked out the door. However, what can one do with social pressures? The life of a 30-year-old single woman in a city of Mumbai is never looked on as being one of the biggest taboos in India. It is exactly this idea that debutant director Alankrita Shrivastava has touched upon with her film, Turning 30. Starring Gul Panag and Purab Kohli, the film follows the life of a young girl who is desperately trying to figure out her apparently complicated and unmarried life as she glides towards her 30th birthday. The director claimed that the film is a complete urban chick flick which is bound to create waves. Question is, does it?

29-year-old Naina (Gul Panag) has the perfect life. Dedicated boyfriend Rishab (Siddharth Makkar), great job and a fabulous life in the city of dreams: Mumbai. However, as she looks to her 30th birthday, her friends remind her of the negatives aging brings to life ala the biological clock et al. It is just then her life turns around. Dumped by her boyfriend for a younger girl, she realizes her life needs a swift change. At around the same time, she bumps into old friend Jai (Purab Kohli). He turns out to the just what the doctor ordered as she quickly indulges in a rebound relationship with him. But Jai isn't looking to be a boy toy; he wants a real relationship. Naina is forced to reexamine her life, choices and whether turning 30 is really at fault.

The main problem with this self-declared chick-flick is that it promises to be entertaining and fails. Really, in this day and age, turning 30 is hardly a big deal especially since 40 is considered the new 30. And that said, another major flaw with the film is that it is predominantly in English which ultimately limits the audiences it will attract. Add to that a pretty bland plot with desperate attempts to create humor, and what you get is a mid-life crisis in the form of a film. It just doesn't work. While the main character is clearly confused, the plot is equally as perplexed. It tends to go nowhere with no angle, no direction and definitely no fun. As for it being a chick-flick, the film falters in that area too. I have all of 2 years to go before I turn 30, and I can hardly relate to the situations that Naina deals with. None of them!

Gul Panag does the best she possibly could have in a film that does nothing for her acting talent. However, that said, her casting in the film is close to perfect as she fits the urban gal with utmost ease indicating that she understands the psyche of a "turning 30" Mumbai residing woman. She manages to bring the forced humor to a script that really is blah in the funny department. Purab Kohli, who happens to be a personal favorite of mine, is lost and wasted in Turning 30. I'm not quite sure what they were trying to do with the nonstop scarf changing but it didn't work. No style statement was made or understood. The rest of the cast do well to play the stereotypes they were bestowed with - the cheating husband, homosexual lover and a lesbian. Yeap, they are all there.

Look, the film has its moments and then for the most part you are left pondering over whether turning 30 is really all that bad. I highly doubt any on-the-brink-of turning 30 year-old will walk out identifying with the character of Naina. Today's Indian woman is hardly worried about her biological clock ticking, hello in-vitro and adoption; nor is she concerned about marrying for age. She would much rather lead a life of happiness. And that is one feeling you don't walk out with after Turning 30.

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Stealth Mode: Making Yourself Nearly Invisible on Facebook

Facebook, as you're well aware by this point, has a history of privacy scandals. CEO Mark Zuckerberg is constantly trying to push what privacy means in the 21st century — how transparent should we all be on the Internet? — but with each step, a significant number of users push back. Last week, Facebook announced on its Developers blog that it was making it possible for third-party applications to gain access to users' mobile phone numbers and addresses. By early Monday morning the Facebook team had dialed back the change until further notice.

Some of the privacy issues have been just too much for users, resulting in cancelled accounts. But more and more organizations are joining the Facebook Connect network and incorporating the site's development tools into their own. It's getting to the point where you're at a disadvantage if you don't have a Facebook account; you can use it to log in with the same username and password on more than two million sites — it's not just for checking in on your cousin's newest baby pictures. So, here's the trick: You can go nearly invisible on Facebook — nobody will be able to view your photographs, see your activity or where you've checked in except for existing friends — but still have an account to use around the web.

If you're ready to move into Facebook stealth mode, follow these simple steps:

• Visit Facebook.com, log in to your profile and click 'Account' in the top-right corner. From there, choose 'Privacy Settings.'

• From the 'Privacy Settings' page, click on 'View Settings' to see who can search for you, send messages to your account, see your education and work settings and more. Change all of these drop-down menus to 'Friends Only.'

• Return to the 'Privacy Settings' page and choose 'Customize Settings' near the bottom of the page. This new page will load a number of different privacy options, but you'll want to click through each one and change the setting to 'Only Me' so that nobody else can see your Facebook activity.

• Stay on the 'Customize Settings' page and scroll down to 'Things Others Share.' Here, you'll want to edit and disable settings so that your friends are unable to write on your wall, comment on posts and check you in to places.

• Return to the 'Privacy Settings' page and, under 'Apps and Websites' in the bottom-left corner, select 'Edit Your Settings.' This page shows all of the third-party websites and applications that you have given access to some of your Facebook information. If you see anything on this list that you want to remove, just click to remove it from the list.

• Stay on the 'Apps and Websites' page, scroll down to 'Instant Personalization' and select 'Edit Settings.' Uncheck the box at the bottom of this page to block other websites from accessing your Facebook interests. Select 'Confirm' when a pop-up asks you if you're sure you want to disable this option.

• Return to the 'Apps and Websites' page, scroll down to 'Public Search' and select 'Edit Settings.' To keep search engines from finding your Facebook profile, uncheck the box on this new screen.

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IT raids the houses of Priyanka Chopra and Katrina Kaif

Bollywood’s most successful actresses earning even more with their mega endorsement deals failed to satisfy the IT department regarding their transparency in tax payments. Taxmen on Monday raided the homes of Priyanka Chopra and Katrina Kaif. The moment news spread in respect of IT raids at the Versova and Bandra homes of Priyanka and Katrina respectively, large number of media reached there.


They also searched the premises of Chopra’s father; Matrix, a celeb management company that handles Kaif’s endorsements; photographer Atul Kasbekar, who earlier owned Matrix; and Chand Mishra, and Chopra’s personal assistant. BP Gaur. 12 premises were searched and 12 bank lockers were sealed. Reports also have it that the search at Chopra’s house yielded documents that indicated concealed income.

It may be recalled that Income tax officials raided the houses of actor Surya, Vadivelu, director Ravi Kumar and director AR Murgadoss couple of months ago in Chennai.

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What was Shahid doing in Priyanka’s home early in the morning?

Priyanka Chopra was in news yesterday. IT officials who went to raid the actress’s Yari Road home were greeted by Shahid Kapoor who was wearing nothing but shorts. Expecting the sexy Chopra at the door, they were in for a shock on seeing Shahid greeting them instead. Shahid was equally shocked to see the I-T folks…


It was a highly secretive raid and no one came to know of it in advance.
Says a source, “Both, Shahid and Priyanka were quite shocked by the raid. Shahid could not leave immediately. So, he remained there for sometime.”

A source close to Shahid and Priyanka confirmed and said, “Yes, Shahid was present at Priyanka’s place when the IT raid happened. The IT officials came in around 7.30 am.”

Officials said many documents were seized from Chopra’s residence, which was created by merging five flats. 12 lockers were sealed and verification of documents continued till late in the evening. PC’s father, Capt Dr Ashok Chopra home was also raided.

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