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Wanna Get It?...Facebook's New Timeline Feature, Step By Step Guide.

Most users will have to wait a few weeks before they get to see Facebook’s most drastic changes to the service since the company was founded, but you can use a developers' workaround to gain access to the Timeline feature right now.
Developers already have access to early beta versions of the new features. Luckily for users eager to try out the revamped Facebook, becoming a developer is a simple process that shouldn’t take you more than 5 or 10 minutes.
Facebook announced the updates Thursday at the company’s f8 developers' conference.

Step-by-Step Instructions

Here’s how you do it.
First, log into Facebook and enable developer mode. The easiest way to do this is to just type “developer” into Facebook’s search box and click the first result. It should look like this.
You’ll have to retype your password and allow the developer app basic access to your account before you see a screen that looks something like this.
This is the basic developer page. We’re going to convince Facebook we’re real developers and create an app that uses its new “Open Graph” tech. Don’t worry, it’s not nearly as hard as it sounds.
Now, create a new app by clicking the button in the top left corner. Nobody but you will see the app, so the information you enter doesn’t actually matter. Just create an app name and namespace (the latter needs to be all lowercase), agree to the terms and conditions, and create the app. Now you should arrive at the app’s main setting screen, as shown below:
Click on the link labeled “Open Graph” on the left (not shown here) to open up the Open Graph Getting Started page. To get started with Open Graph, you’ve got to fill in an action your app can do and an object for your app to interact with. This can be any verb and noun. (For instance, my fake app fulfills my lifelong dream of fighting a robot.)
After you’ve created your action and object, click the Get Started button. This will drop down the first of three pages of settings but, since no one will see them, they shouldn’t matter. Quickly click through them to create your app. When you’re done, you should see a page like this:

You're In!

Congratulations, you’re now a Facebook developer on the cutting edge. Just wait a few minutes for your new developer status to filter through the system. Then return to the Facebook homepage where you should find an invite for Timeline at the top of the screen.
Be warned that the new Timeline is a little bit buggy, and not everything Zuckerberg promised inThursday’s keynote has been implemented yet, but if you want to get a handle on Facebook’s new features early, or try out the new Spotify app, or just gain bragging rights with your friends, this should be your golden ticket.
Some things to note: Even though you now have access to the Timeline, it still won't be your default homepage. To get back to your timeline view you'll need to surf to http://www.facebook.com/YOURNAMEHERE?sk=timeline, switching out the YOURNAMEHERE part with your facebook username, or just bookmark the timeline page when you get to it.


Most Awaited Movie Of The Year Directorial Debut For Pankaj Kapoor, MAUSAM is a colossal disappointment!

MAUSAM starts with mere adolescent attraction between a Punjabi boy Harry [Shahid Kapoor] and a Kashmiri girl Aayat [Sonam Kapoor] in a small village of Punjab. It develops into young love between them in season two. Their love realizes its own depth in the hours of separation through season three. In the fourth and final season, their love culminates into togetherness. But not before sacrificing a lot personally and learning the truth behind universal love.

MAUSAM has an old-world charm, no two opinions about it. The magic of the good old days is delectable and it's a great feeling to go back in time. Right from the setting to the costumes to the overall ambience, the film succeeds in pulling you back in time. But like I pointed out at the outset, the writing leaves a sour taste in your mouth. It lacks meat.

Let me elaborate. The transition from Season 1 [in Punjab] to Season 2 [in Scotland] seems most unreal. The transition from a small village in Punjab to a palatial mansion and shop in Scotland remains a mystery. It truly baffles you. Also, when Sonam accidentally spots Shahid in Scotland, after a gap of many years, you'd expect her to rush up to him; if not hug him, at least make him aware that they've finally found/traced each other. But she doesn't, till he traces her and leaves a note for her. Why does Sonam evade him on the street first and at the concert later? Those in love would jump at the very first opportunity to rekindle an old flame, right?

The graph of the film moves downwards with each passing episode. The war and the aftermath doesn't work, the Switzerland incident [when Shahid spots Sonam and chases her again, only to find her with someone else], though well shot, adds to the length, while the finale in Ahmedabad -- the climax -- is far from convincing. Besides, the lovers cross paths so many times that it doesn't come across as a coincidence anymore. Also, their reunion doesn't make you feel euphoric at all. The film doesn't end at that. There's an element of heroism injected in the finale moments of the film and it is so ridiculous that you actually rub your eyes in disbelief. Seriously, Mr Kapur, what were you thinking when you wrote this part?

Pankaj Kapur is a brilliant actor, but he has a long, long way to go when it comes to writing a screenplay and telling a story without stretching it. There's no denying that he has handled a number of sequences adroitly, but after a point, MAUSAM becomes a tedious experience that sets in boredom and tests the patience of the viewer. The production values are top notch and producers Sheetal Vinod Talwar and Sunil Lulla deserve credit for giving the film a gargantuan look. The soundtrack of MAUSAM [Pritam] is a delight for listeners. The songs that stand out are 'Sajh Dhaj Ke' and 'Rabba Main Toh Mar Gaya Oye'. Binod Pradhan's cinematography is remarkable.

It must have been a challenge of sorts for Shahid and Sonam to get the roles right. For, both sport not one, but varied looks in the film. Shahid gives his all to this role, submitting himself to his director-father to mould him the way he chooses to. It won't be erroneous to state that Shahid surpasses all his previous performances, including the one in KAMINEY, with this film. The film also marks the coming of age of this actor. For Sonam, MAUSAM will prove to be a turning point in her career. Astonishing -- that would be the right word to describe her work this time around. The confidence with which she handles the distinct characterization speaks volumes.

Supriya Pathak Kapur is first-rate. Anupam Kher is wasted. Manoj Pahwa is wonderful, as always. The actors essaying the role of Sonam's father and sister are natural. Vaibhav Talwar gets no scope. Aditi Sharma excels in a brief role. 


Google+ is now open for all.

After a long wait wait now the day come with most awaited another social networking site by the search engine giant "Google" called google plus opens for everyone with great features and for that just do not need a gmail account you can make a google plus id from your current hotmail or yahoo ids to login and curently more that 25 million using google plus lets see after its convenience to everyone what will happen time will tell but facebook really face some cut in their revenue this year thats for sure says market researchers.


Miss Universe 2011- A Miss Angola Leila Lopes First Angolian to be Crown as Miss Universe with Video

A new Miss Universe was crowned Monday night: She's Miss Angola, business student Leila Lopes, and she plans to work on HIV advocacy worldwide, in addition to helping her own country.
"As Miss Angola I've already done a lot to help my people," Lopes, 25, said Tuesday morning after taking home the crown. "I've worked with various social causes. I work with poor kids, I work in the fight against HIV. I work to protect the elderly and I have to do everything that my country needs.
"I think now as Miss Universe I will be able to do much more."


MERE BROTHER KI DULHAN-Yet another winner from Yash Raj!

Kush [Imran Khan] is looking for the ideal Indian bride for his brother Luv [Ali Zafar], who stays in London. In his quest, Kush goes through an array of wacky encounters with several families until he finally finds that perfect girl in Dimple [Katrina Kaif], the craziest / wackiest girl he has ever known.

Both the families meet. Formalities are completed. Preparations proceed in full swing. And just then Kush falls in love with Dimple... his brother's dulhan.

On hindsight, if someone were to tell you that the story of the film is about a guy who falls in love with the bride he has chosen for his brother, you'd expect lots of melodrama and an undercurrent of tension after a point in the narrative. I'd say, ignore all the nagging misconceptions or preconceived notions you may have had about MERE BROTHER KI DULHAN. Venture into the cineplex with an open mind and trust me, as the reels unfold, you'll realize that the film is not like what you may have envisioned prior to its screening. It makes wonderful sense!

Most rom-coms follow the conventional route. You know how they start, what's in store in the middle and how they usually end. They don't really challenge the intellect, frankly. But there's a twist in the tale in MERE BROTHER KI DULHAN that catches you by surprise. Sure, it's about two guys liking the same girl -- a formula that's done to death -- but even if the theme has been used and re-used time and again, there's always scope that the next man who attempts it may treat it slightly differently. Thankfully, MERE BROTHER KI DULHAN has the conventional plot, but isn't conventional in the true sense. And it's definitely not the been-there-seen-that kind of a movie either.

On the flip side, MERE BROTHER KI DULHAN has its share of few predictable moments in its second hour. Actually, the graph of the film dips, albeit slightly, in the post-interval portions. The problem is, the first hour is so high on entertainment quotient that you expect the second hour to supersede the first by leaps and bounds. Lots seem to happen in the post-interval portions, but the episodes aren't as exciting as the first hour, which is why you feel the difference. However, the finale throws a new twist, which may appear stretched to some, but is likeable nonetheless.

First-time director Ali Abbas Zafar has complete grasp over the medium and has treated each scene wonderfully well. Besides, he has drawn admirable performances from the principal characters. Handling comic scenes is one tough job, but Ali seems to have a flair for it. MERE BROTHER KI DULHAN has a winner of a soundtrack. Expectedly, the songs, composed by Sohail Sen, stress on the fun quotient that compliments the mood of this film. The songs are urbane-friendly, yet massy, with 'Dhunki', 'Choomantar', 'Madhubala' and the title track being excellent compositions. I would also like to make a special mention of the choreography of these songs [Bosco-Caesar]. It's truly eye-catching. Sudeep Chatterjee's cinematography is vibrant.

The performances are easy on the eyes. The unlikely chemistry between Katrina and Imran coupled with Ali Zafar's impeccable comic timing keeps you glued to the screen. Imran, frankly, seems the apt choice for this role and he more than lives up to it. Katrina is only getting better and more endearing with every release. Ali Zafar is a supremely talented actor and this film proves it yet again.

Tara D'Souza does a fine job. Parikshit Sahni and Kanwaljeet Singh are truly wonderful. The actor who plays Imran's friend is natural. John Abraham appears in a cameo.

On the whole, MERE BROTHER KI DULHAN is a delectably wholesome, heartening, feel-good entertainer. Not just a comedy, but also a tender, bittersweet saga, this rom-com is sure to melt your heart, then restore it anew all over again.


How To Kill Processes from Command Prompt

Many People are familiar with the traditional way to kill or end a process in Windows using Task Manager.  This method is effective but not nearly as fun as killing a process in Command Prompt.  Additionally, killing processes in Command Prompt provides much more control and the ability to end multiple processes at once.

All of this is possible with the TaskKill command. First, let's cover the basics.  You can kill a process by the process ID (PID) or by image name (EXE filename).
Open up an Administrative level Command Prompt and run tasklist to see all of the running processes:

Image Name                     PID Session Name        Mem Usage
========================= ======== ================ ============
firefox.exe                  26356 Console             139,352 K
regedit.exe                  24244 Console               9,768 K
cmd.exe                      18664 Console               2,380 K
conhost.exe                   2528 Console               7,852 K
notepad.exe                  17364 Console               7,892 K
notepad.exe                  24696 Console              22,028 K
notepad.exe                  25304 Console               5,852 K
explorer.exe                  2864 Console              72,232 K
In the example above you can see the image name and the PID for each process. If you want to kill the firefox process run:
C:\>Taskkill /IM firefox.exe /F
C:\>Taskkill /PID 26356 /F
The /f flag is kills the process forcefully.  Failure to use the /F flag will result in nothing happening in some cases.  One example is whenever I want to kill the explorer.exe process I have to use the /F flag or else the process just does not terminate.
If you have multiple instances of an image open such as multiple firefox.exe processes, running the taskkill /IM firefox.exe command will kill all instances. When you specify the PID only the specific instane of firefox will be terminated. 

The real power of taskkill are the filtering options that allow you to use the following variables and operators.
  • PID
  • eq (equals)
  • ne (not equal)
  • gt (greater than)
  • lt (less than)
  • ge (greater than or equal)
  • le (less than or equal)
"*" is the wildcard.
You can use the variables and operators with the /FI filtering flag.  For example, let's say you want to end all processes that have a window title that starts with "Internet":
C:\>taskkill /FI "WINDOWTITLE eq Internet*" /F
How about killing all processes running under the Steve account:
C:\>taskkill /FI "USERNAME eq Steve" /F
It is also possible to kill a process running on a remote computer with taskkill.  Just run the following to kill notepad.exe on a remote computer called SteveDesktop:
C:\>taskkill /S SteveDesktop /U RemoteAccountName /P RemoteAccountPassword /IM notepad.exe /F
To learn more about taskkill run it with the /? command just like any other Windows command.

Watch this film THAT GIRL IN YELLOW BOOTS-if you want to see cinema from India beyond the routine Bollywoodish stuff.

THAT GIRL IN YELLOW BOOTS traces Ruth's [Kalki Koechlin] search for her father -- a man she hardly knew, but cannot forget. Desperation drives her to work, without a permit, at a massage parlor. Torn between several schisms, Mumbai becomes the alien but yet strangely familiar backdrop for Ruth's quest. She struggles to find her independence and space even as she is sucked deeper into the labyrinthine politics of the city's underbelly. A city that feeds on her misery, a love that eludes her and above all, a devastating truth that she encounters.

First things first, THAT GIRL IN YELLOW BOOTS is not your emblematic desi flick. It speaks a new language and has the unflinching approach of individualist director Anurag Kashyap. The screenplay is such that it keeps you estimating as to what's going to happen subsequently, till the finale hits you like a ton of bricks. Truly, this is not your characteristic desi flick.

Shot in undersized places, like tiny dwellings, seedy massage parlors and shrunk spaces, the visuals add to the feeling of anxiety, claustrophobia and uneasiness throughout, which, frankly, gels very well with the character and plot of the film. That's not all, the sundry characters that you are introduced to in Ruth's journey -- shady people, drug dealers, ruthless criminals, sex fanatics and of course, the crooked officers at the government offices [note the treatment meted out to white women at these places] -- leaves you flabbergasted.

The narrative moves at its own pace, but let me add, there's never a dull moment in the enterprise. Kashyap successfully probes into the disturbed mind of his central character as she encounters her dilemmas and the scandalous conclusion to the story is something, I am sure, you'd never forget. I'd like to add here that this is Kashyap's most powerful film to date, his best work so far in terms of narrative and storytelling. Together with co-writer Kalki Koechlin, Kashyap narrates a tale that's extremely compelling and equally complicated.

THAT GIRL IN YELLOW BOOTS is embellished with top notch performances, with Kalki scoring brownie points for her super performance in the film. Playing a stylish, sensible, sharp-witted British girl supporting herself by working illegally in a massage parlor, Kalki has the right look for her part, but it does take a lot of guts to portray this intricate role. She has an inimitable talent and onscreen presence by means of which she single-handedly carries the film with her gut wrenching raw performance.

One of the finest actors of India, Naseeruddin Shah brings value and reverence to the character he depicts. In addition, there's a wonderful performance by Prashant Prakash, who plays Kalki's oversexed coke-sniffing lover boy. Gulshan Devaiya is an incredible talent, no two opinions on that, and he carries off his part brilliantly. The actress portraying the role of a vivacious chatterbox in charge of the massage parlor is excellent. Kumud Mishra, Shiv Subramaniam, Makrand Deshpande, Ronit Roy, Piyush Mishra, Rajat Kapoor and Divya Jagdale are perfect in their parts.

On the whole, THAT GIRL IN YELLOW BOOTS is yet another outstanding example of independent cinema. This Anurag Kashyap film caters to a more evolved, cinema literate audience. The film may not boast of big stars or may not be very huge on hype and hoopla, but it is a gem of a movie that should be watched for its powerful plot and terrific execution of the written material.



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