SMS Dictionary

Mout Ki Aaghosh Main Jab Thak Kai Soo Jati Hai Maa
Tab Kaheen Ja Kar Sukoon Thora Sa Pa Jati Hai Maa

Fikr Main Bachoon Ki Kuch Is Terha Ghul Jati Hai Maa
Nojawaan Hotay Huwe Budhe Nazar Aati Hai Maa

Rooh Kai Rishtay Ki Yeah Gehrayean To Daikheye
Choot Lagti Hai Humaray Aur Chillati Hai Maa

Kab Zarurat Ho Merai Bachay Ku Itna Sooch Kar
Jaagti Rehti Hain Aankhain Aur Soo Jati Hai Maa

Hudiyoon Ka Ras Pila kar Apnay Dil Kai Chain Ku
Kitnee Hi Ratoon Mai Khali Pait Soo Jati Hai Maa

Janai Kitne Barf Si Ratoon Mai Aysa Bhi Hua
Bacha To Chaati Pai Hai Gelay Main Soo Jati hai Maa

Jab Khilonai Ku Machalta Hai Koie Ghurbat Ka Phool
Aansoon Kai Saaz Par Bachay Ku Bhailati Hai Maa

Fiker Kai Shamshaan Mai Aakhir Chitaoon Ki Terha
Jaisai Sookhi Lakreyaan, Is Terha Jal Jati Hai Maa

Apnay Aanchal Sai Gulabi Aansuoon Ku Poonch Kar
Dair Tak Gurbat Pai Apne Ashk Barsati Hai Maa

Samnai Bachoon Kai Kush Rahti Hai Her Ik Haal Main
Raat Ku Chup Chup Kai Lakin Ashk Bersati Hai Maa

Phailay Bachoon Ku Kheelati Hai Sukoon-o-Chain Sai
Baad Mai Jo Kuch Bacha Oh Shouk Sai Khati Hai Maa

Mangti Hi Kuch Nahi Apnai Leye ALLAH Sai
Apnai Bachoon Kai Leye Daman Ku Phailati Hai Maa

Gar Javan Baiti Ho Ghar Main Aur Koie Rishta Na Ho
Ek Naye Ehsas Ki Suli Pai Char Jati Hai Maa

Har Eebadat Har Mohabbat Mai Nihan Hai Ek Gharz
Be-Gharz, Be-Loos, Har Khidmat Ku Kar Jati Hai Maa

Bazuwoon Mai Kheench Kai Aajaye Gi Jaisai Kayenat
Apnai Bachay Kai Leye Bahoon Ku Phailati Hai Maa

Zindagani Kai Safar Mai Gardishoon Ki Dhoop Mai
Jab Koie Saya Nahi Milta To Yaad Aati Hai Maa

Pyar Khaitai Hain Kisai Aur Mamta Kya Cheez Hai
Koie Un Bachoon Sai Poocheye Jin Ki Mar Jati Hai Maa

Safa-e-Hasti Pai Likhti Hai Usool-e-Zindagi
Is Liye Ek Muktab-e-Islam Khailati Hai Maa

Us Nai Duniyan Ku Deye Masoom Rahber Ise Leye
Azmatoon Mai Sani-e-Quran Khailati Hai Maa

Ghar Sai Jab Pardesh Ja Ta Hai Koie Noor-e-Nazar
Haath Main Qur’an Lai Kar Dar Pai Aajati Hai Maa

Dai Kai Bachay Ku Zamanat Main Raza-e-Pak Ki
Peechay Peechay Sar Jhookaye Door Tak Jaati Hai Maa

Kanpti Aawaz Sai Khaiti Hai Baita “Ulwida”
Samnai Jab Tak Rahe Haatoon Ku Lehrati Hai Maa

Jab Perayshani Mai Ghar Jatai Hain Hum Pardesh Main
Aansuwoon Ku Poonch Nai Khawaboon Main Aajati Hai Maa

Dair Ho Jati Hai Ghar Aanai Main Aksar Jab Hamain
Rait Per Machle Ho Jaisay Aisay Ghabrati Hai Maa

Martai Dam Tak Aasaka Bacha Na Ghar Pardesh Sai
Apni Donoo Putliyaan Chokhat Pai Rakh Jati Hai Maa

Baad Mar Janai Kai Phir Baite Ki Khidmat Kai Leye
Bhaise Beti Ka Badal Kar Ghar Main Aajati Hai Maa

Door Ho Jati Hai Sari Omer Ki Us Dum Thakan
Bayha Kar Kai Betay Ka Jab Ghar Bahu Lati Hai Maa

The first steps to becoming a really great manager are simply common sense; but common sense is not very common. This article suggests some common-sense ideas on the subject of great management.

The major problem when you start to manage is that you do not actually think about management issues because you do not recognize them. Put simply, things normally go wrong not because you are stupid but only because you have never thought about it. Management is about pausing to ask yourself the right questions so that your common sense can provide the answers.

When you gain managerial responsibility, your first option is the easy option: do what is expected of you. You are new at the job, so people will understand. You can learn (slowly) by your mistakes and probably you will try to devote as much time as possible to the rest of your work (which is what your were good at anyway). Those extra little “management” problems are just common sense, so try to deal with them when they come up.

Your second option is far more exciting: find an empty telephone box, put on a cape and bright-red underpants, and become a SuperManager.
When you become a manager, you gain control over your own work; not all of it, but some of it. You can change things. You can do things differently. You actually have the authority to make a huge impact upon the way in which your staff work. You can shape your own work environment.

In a large company, your options may be limited by the existing corporate culture - and my advice to you is to act like a crab: face directly into the main thrust of corporate policy, and make changes sideways. You do not want to fight the system, but rather to work better within it. In a small company, your options are possibly much wider (since custom is often less rigid) and the impact that you and your team has upon the company’s success is proportionately much greater. Thus once you start working well, this will be quickly recognized and nothing gains faster approval than success. But wherever you work, do not be put off by the surprise colleagues will show when you first get serious about managing well.

STARTING A REVOLUTION
The idea of starting alone, however, may be daunting to you; you may not see yourself as a David against the Goliath of other peoples’ (low) expectations. The bad news is that you will meet resistance to change. Your salvation lies in convincing your team (who are most effected) that what you are doing can only do them good, and in convincing everyone else that it can do them no harm. The good news is that soon others might follow you.

There is precedent for this. For instance, when a British firm called Unipart wanted to introduce Japanese methods (Honda’s to be precise) into their Oxford plan (The Economist - 11th April 1992 - page 89) they sent a small team to Japan to learn what exactly this meant. On their return, they were mocked by their workmates who saw them as management pawns. So instead they were formed into their own team and sent to work in a corner of the plant where they applied their new knowledge in isolation. Slowly, but surely, their example (and missionary zeal) spread through the factory and changes followed. Now Unipart have opened a new factory and the general manger of the first factory attributes the success to “releasing talent already on the shop floor”. Of course one can always find case studies to support any management idea, but it does exemplify the potential of a small cell of dedicated zealots - led by you.

Left-brain and right-brain thinkers can be equally effective.

Although some people may claim that an organized desk is the sign of a sick mind, it is merely the sign of a left-brain thinker. An analytical, left-brain thinker thrives on lists, schedules and alphabetical files tucked neatly out of sight in organized desk drawers - much to the delight of those time management experts who promote structure and order to the nth degree. And although organization is not only efficient, but also viewed as a virtue by many, we are not all left-brained thinkers.
Keeping detailed lists in daily journals, cross-referencing with monthly goals and scheduling every task from window displays to bank deposits, to me at least, is bordering on torture. I like to splash my life across a week-at-a-glance planner [that I designed for myself,] scheduling only the top priorities, and limiting my list to things that should be done that week. I like my working materials splayed in front of me on my desk and my active projects housed in step files in full view. To me, interruptions are opportunities, not hindrances, and quiet hours are figments of time management writers’ imaginations. I suppose I’m a right-brain thinker. In my opinion, there are no points for neatness, and the goal of business is not only to make a profit, but also to enjoy the process.

Having said that, I’m not against left-brain thinkers. We can learn from them. In fact I have a left brain myself, albeit not as prominent. It tempers my emotions with logic, keeps me from making a complete fool of myself, and helps me to cope with all the forms, reports and other paperwork that I detest. But some of the same time management suggestions that help left-brain thinkers increase their personal productivity, serve to drive me up the wall. We must recognize that there is no one best way to manage time. We must select those ideas that match our style. Right-brain, creative people should not feel guilty if left-brain ideas don’t feel comfortable.

If you’re a right-brain thinker, you can practice left-brain ideas. [After all, you do have a left hemisphere as well.] But select only those ideas that are worth the effort. Make notes while talking on the telephone, for instance. Use a follow-up file to house future projects. Record due dates of assignments in your planner.
If you’re a left-brain thinker, you should have no problem incorporating time-saving ideas from books and seminars. But leave time for relaxation, keep your life in balance, and above all, have fun.

Imagine if ur computer starts workin in punjabi then wat will happen ???

You will have commands like these on your computer:

Send = Sutto
Insert = Wich Paao
Attachement = Naal Laao
Edit = Sidda Karo
View = Waikhee Jaao
Forward = Aggay Sutto
Inbox = Undar Da Daak Khaana
Outbox = Baar Da Daak Khana
Trash = Mitti Paao
Sent Items = Bheji Gayee Dak
Address Book = Patay Wali Kaapy
Reply = Bejan Walay Nu Jawab do
Reply All = Saareyaan Nu Jawab do
Delete = Daffa Karo
Download = Thallay Laao
Download All = Saary Cheezan Noon Thallay Laao
Properties = Jaidaad
Connect = Naal Milaao
Fonts = Likhaai
Accounts = Galla
Drafts = Chitheeyaan
Find = Labbo
Paste = Thook Naal Chipkaao
From = Bhejan Walaa Banda
To = Door Betha Hoya Banda
Subject = Khaas Gall
Carbon Copy = Koelay Walee Naqal
Blind Carbon Copy = Anni Koelay Walee Naqal
Stationery = Pensal, Rubburd, Shaapnar
Folders = Thailay
High priority = Waddee Takleef

and finally

Ctrl+Alt+Delete = Sara Syapa Mukao..

Cut the crap, cut the gyan-baazi, cut the will-it-won’ t-it work naatak. Shah Rukh Khan and Farah Khan’s OM SHANTI OM is a true-blue masala entertainer. If MAIN HOON NA was a chauka, this one hits a sixer!

Wait, a word of advice to all netizens/readers across the globe. Don’t, for God’s sake don’t, raise exclamations like kab?, kyun? kahan? as OM SHANTI OM begins to unravel. This is atypical Manmohan Desai film presented in a novel avtaar by Farah Khan. It’s definitely not for pseudos or advocates of arthouse cinema.

Now let’s clear some myths surrounding OM SHANTI OM. Is it the 2007 adaptation of Subhash Ghai’s immensely likable reincarnation film KARZ? Does it have traces of KUDRAT? Or MADHUMATI? Or MILAN? Or KARAN ARJUN? Hold on, there’s a dash of KARZ, a bit of KARAN ARJUN, a sprinkling of KUDRAT, but beyond that it’s a film that makes you nostalgic about 1970s Bollywood.

To sum up, OM SHANTI OM is paisa vasool entertainment. We haven’t seen SRK in a hardcore masala film since quite some time. He had drifted to other genres, which proved his range as an actor of repute and cemented his status further. With OM SHANTI OM, he gives back to the audience what he himself grew up on — a thorough entertainer that will have the audience thirsting for more.

This Diwali, have a blast!

OM SHANTI OM tells the story of Om [Shah Rukh Khan] and Shanti [Deepika Padukone]. Om is a junior artist in the 70s. Shanti is the reigning superstar. He is her biggest fan. He is in love with her. Om dreams of being a superstar, but an incident changes his life forever.

Om dies in a mishap, but is reborn into the present day. He attempts to discover the mystery of his demise…

The general feeling is, Farah Khan has remade Ghai’s KARZ from Frame A to Z. False! There’re similarities, but it’s not a rehashed version of Ghai’s film. For, OM SHANTI OM takes you by complete surprise at several points.

The first twist in the tale [Arjun - Deepika’s heated confrontation, with SRK listening to this important conversation] comes as a bolt from the blue. The second jhatka comes slightly before the intermission, when Arjun takes Deepika to the set of his film ‘Om Shanti Om’ and the entire episode that follows, right till the intermission, is spellbinding. That’s a brilliant stroke from the writing [screenplay: Mushtaq Shaikh and Farah Khan] as also the execution point of view. When the opulent set is set to flames, it leaves you wide-eyed and awe-struck. Such is the impact!

The post-interval portions only get better and better! If the initial portions are laced with humour [the premiere of ‘Dreamy Girl’, the Manoj Kumar episode, Ghai directing Rishi on ‘Om Shanti Om’ song, et al], the second half moves into a new zone completely.

It’s punar-janam now, but thankfully, there’re no lightening, no fireworks, no zooming of the camera on the idols of Gods. The drama builds up gradually. The voices that SRK keeps hearing, the ‘fire’ soon after the ‘Dard-E-Disco’ track, the mother [Kirron Kher], an old lady now, chasing Om’s car [reminds you of Raakhee of KARAN ARJUN], the flashes of SRK’s earlier birth while receiving the Filmfare Award — the incidents that make him realize that his life was cut short in his earlier janam have been well structured.

When Deepika re-emerges as well, the viewer is confused, but the mystery is resolved towards the end, which, again, takes you by complete surprise.

Given the fact that OM SHANTI OM is a Manmohan Desai kind of a film set in the present-day, it would be foolhardy to ask questions, raise eyebrows and look for logic. But the second half could’ve been crisper [length: 18 reels/2.46 hours], although Shirish Kunder’s editing is perfect.

Farah knows what her priorities are and most importantly, knows exactly what her target audience is. The execution of a number of sequences clearly shows Farah’s growth as a storyteller. Mushtaq and Farah’s writing works because the writers pull out several surprises in those 2.46 hours.

V. Manikanandan’ s cinematography captures the gloss and grandeur to the minutest. The opulent sets [Sabu Cyril] deserve distinction marks. Dialogues [Mayur Puri] are witty and do raise a chuckle at several points. Background score [Sandeep Chowta] is effective.

Vishal-Shekhar’ s music is first-rate. The score is in sync with the content of the film and what accentuate the goings-on are the choreography and execution. Although every song is visually enticing, the 21-star track as also ‘Dard-E-Disco’ will have the masses going into a frenzy.

Now to the performances! SRK proves his supremacy yet again. If you thought that playing to the gallery came easy to certain actors only, watch SRK spin magic in OM SHANTI OM. He’s magnificent, the star attraction, the soul of this film, the true baadshah.

Deepika has all it takes to be a top star — the personality, the looks and yes, she’s supremely talented too. Standing in the same frame as SRK and getting it right is no small achievement. She comes as a whiff of fresh air!

Arjun Rampal is a complete revelation. Cast in a negative role this time, he enacts his part with panache and style. Shreyas Talpade is another surprise. A complete natural, he stands on his feet all through, not getting swayed while sharing the screen space with the topmost star.

Kirron Kher is superb as the over the top mom. Javed Sheikh is alright. Bindu adds to the funny moments.

On the whole, OM SHANTI OM is Bollywood masala in its truest form and also, at its best. At the box-office, the film will set new records in days to come and has the power to emerge one of the biggest hits of SRK’s career. Blockbuster hit!

Irrespective of how his films fare at the box-office, you cannot shut your eyes to the fact that Sanjay Leela Bhansali’s films have so much to offer in terms of style and substance.

Alas, SAAWARIYA is all style, no substance. When a director of the calibre of SLB attempts a love story, you expect to experience the various emotions that you generally associate with romance. Sadly, the emotions you experience while watching SAAWARIYA is sorrow and after the screening, anguish.

With splendid backers like Hollywood giant Columbia/Sony and a dream cast, Bhansali falters big time in SAAWARIYA. It doesn’t give you the feeling that you’re watching an SLB film or a film of epic proportions. Instead, you constantly feel that you’re watching a 2-hour play.

Dostoevsky’s short story WHITE NIGHTS may sound interesting on paper, but SLB’s adaptation suffers because there’s not much meat in the plot. In fact, it wouldn’t be erroneous to state that SAAWARIYA ranks amongst SLB’s weakest films, as far as scripting is concerned.

To cut a long story short, SAAWARIYA disappoints big time. You expect the moon from this genius film-maker, but you’re disheartened as you watch his new creation.

This time, hum dil nahin de chuke sanam!

SAAWARIYA is about two young star-crossed lovers. A musician, Raj [Ranbir Kapoor], is certain that he has found his ultimate dream when he arrives at a picturesque town. However, destiny paints a different picture for Raj. One silent night, he spots a mysterious girl draped in black, standing alone at a bridge.

This chance encounter introduces him to Sakina [Sonam Kapoor], a shy and quiet girl, who continues to intrigue him. Thus follows the beginning of a new friendship, where Raj, with his most charming ways and an undying spirit, tries to win Sakina’s heart.

Raj is unable to accept her haunting past and their friendship pulls him into a whirlwind of desire, madness and romance.

SAAWARIYA suffers because of its writing mainly. Let’s unravel the points that bother the viewer no end…

Which part of the country is this straight-out- of-a-fairytale town located? And what era are we talking of?

Even if you subscribe to the theory that it was love at first sight for Salman and Sonam, what is it that keeps their romance going?

Why does Salman disappear suddenly? Besides his name, the girl knows nothing about him. Not his home/native place, work/profession/ work place, relatives, nothing absolutely. It’s like falling in love with a shadow, isn’t it?

Why does Rani Mukerji abandon Ranbir, when he comes knocking on her doors and admits that he wants to spend time with her? Why does she lose her temper, although she secretly loves him?

And Salman returns. The sequence that follows and the culmination to the story leave you completely disgruntled and perplexed!

Besides, the conversation between the lead pair fails to involve you. Sure, a few sequences are filmed brilliantly, but the impact the film ought to create in totality is missing. It gets verbose and boring after a point.

What makes matters worse is the setting/ambience. The film gets monotonous after a point, visually speaking, since it has been shot in its entirety on dark sets. You long for some visual relief, some bright spots, some sunshine…

Monty’s music is another sore point. Sure, a few songs are well tuned, but the everlasting melody, associated with SLB’s films, is missing. You hear them, savour them that moment, but forget all about them once the movie concludes.

Ravi K. Chandran’s cinematography is of international standards. The sets look imaginative, but as mentioned earlier, you yearn for a visual break, a different colour.

As a storyteller, SLB is letdown by his own writing. Things start slipping as the reels unfold. In the post-interval portions, you fervently pray that things might stabilize, for SLB as also Ranbir and Sonam’s sake, but alas! The love, passion and anguish, the hallmark of SLB films, is clearly missing this time.

Now to the dream launches! Ranbir Kapoor is supremely talented, no two opinions on that. Yes, he looks handsome, but what you carry home is the sincerity in his performance. If that’s the [high] level of performance in his debut film, this lad will only make the Kapoor clan proud in years to come. It’s a 10 on 10 for this debutante!

Sonam Kapoor is an average actor. However, her role doesn’t give her the opportunity to display histrionics. She looks gorgeous at places, but plain ordinary at times.

Age has started showing on Salman Khan’s face. He looks like an old, mature man in this film. The boyish looks have gone! As for his role, he is completely wasted in this hardly-10-minute appearance. Rani Mukerji is first-rate. Zohra Segal is superb, while Begum Para is hardly there.

On the whole, SAAWARIYA lacks soul. It’s SLB’s weakest film to date, in terms of writing. At the box-office, the film will collect big numbers in its opening weekend due to the Diwali vacations as also the hype surrounding the film. But the cracks will start showing at relatively smaller stations/single screens first [where the practice of advance booking doesn’t exist] and at big centres as days progress. For the distributors, they’ll have to rely on its business from multiplexes mainly. While the business from multiplexes at Mumbai, Pune, Delhi, NCR, Kolkata, Jaipur and South will be impressive initially, there would be a big gap between multiplex and non-multiplex centres. Overall, disappointing — in terms of content and in terms of business as well!

Naa ye CHEMISTRY hoti, na me STUDENT hota Na wo LAB hoti, na wo LOVE ACCIDENT hota

Tabhi PRACTICAL ke waqt nazar aayi ek ladki khubsurat is naak uski TEST TUBE jaisi

Uski baaton me GLUCOSE ki mithas thi ETHYL ALCOHOL is thandi uski saans thi

Andhere me wo RADIUM ki tarah chamakti thi jab aankh mili to REACTION hua, love ka PRODUCTION hua!

Fir to lagne lage uske ghar ke chakkar aise, NUCLEUS ke charo aur ELECTRON jaise

Jis din TEST ka PERFECTION tha us din uske pitaji se hamara INTRODUCTION tha

Mano IGNITION TUBE se SODIUM ke piece nikal pade wo bole hosh me aao, pehchano apni aukat IRON kabhi mil nahi sakta GOLD ke saath!

Is tarah tod diya unhone hamare armano ka BEAKER hum chup hi reh gaye BENJALDEHYDE ka ghoont pikar.

Ab unki yado ke bina hamara kaam chalta nahi hain zindagi ho gayi AB UNSATURATED CARBON ki tarah, bekar ghumte AB hum awaara HYDROGEN ki tarah.

dar o deewaar pe wehshat hay chhaii
na jaanay kis jaga main aagaya hoon

hua hay haadsa kuch aaj aisa
main apni zaat se ttakra gaya hon

azaab e zindagi likhoon k chorroon
tawalat dekh k ghabra gaya hoon

main insan hoon magar a’amaal kiya hain
aaina dekh kar sharmaa gaya hoon

chala hay koi bhi kab saath mere
jahan bhi gaya ,tanha gaya hoon

An 80-year old Italian man goes to the doctor for a check-up.

The doctor is amazed at what good shape the guy is in and asks, ” How do you stay in such great physical condition?”

I’m Italian and I am a golfer,” says the old guy,” and that’s why I’m in such good shape.” I’m up well before daylight and out golfing up and down the fairways.” “Have a glass of vino, and all is well.”

“Well,” says the doctor, “I’m sure that helps, but there’s got to be more to it. How old was your Dad when he died?”

” Who said my Dad’s dead?”

The doctor is amazed. “You mean you’re 80 years old and your Dad’s still alive. How old is he?”

“He’s 100 years old,” says the old Italian golfer. “In fact he golfed with me this morning, and then we went to the topless beach for a walk, that’s why he’s still alive … he’s Italian and he’s a golfer too.”

“Well,” the doctor says, “that’s great, but I’m sure there’s more to it than that. How about your Dad’s Dad? How old was he when he died?”

” Who said my grandpa’s dead?”

Stunned, the doctor asks, “You mean you’re 80 years old and your grandfather’s still living! Incredible, how old is he?”

“He’s 118 years old,” says the old Italian golfer. The doctor is getting frustrated at this point, “So, I guess he went golfing with you this morning too?”

“No. Grandpa couldn’t go this morning because he’s getting married today.”

At this point the doctor is close to losing it. “Getting married!! Why would a 118 year-old guy want to get married?”

“Who said he wanted to?”

Beware while using the trial rooms any where.
GIRLS BE CAREFUL

HI All,

Have you seen recent advertisement of M/S SAINT GOBAIN GLASSES shown in TELEVISION’S - Then you must have known about 2 Way mirror)

How to determine if a mirror is 2 way or not ? (Not a Joke!)
Not to scare you, but to make sure that you aware. Many of the Hotels and Textile showrooms cheat the customers this way.

HOW TO DETECT A 2-WAY MIRROR?
When we visit toilets, bathrooms, hotel rooms, changing rooms, etc.,
How many of you know for sure that the seemingly ordinary mirror hanging on the wall is a real mirror, or actually a 2-way mirror I.e., they can
see you, but you can’t see them. There have been many cases of people installing 2-way mirrors in female changing rooms or bathroom or bedrooms.
It is very difficult to positively identify the surface by just looking at it. So, how do we determine with any amount of certainty what type of
mirror we are looking at?

CONDUCT THIS SIMPLE TEST:
Place the tip of your fingernail against the reflective surface and if there is a GAP between your fingernail and the image of the nail,
then it is a GENUINE mirror.

However, if your fingernail DIRECTLY TOUCHES the image of your nail, then BEWARE, IT IS A 2-WAY MIRROR! (There may be someone seeing you from the other side). So remember, every time you see a mirror, do the “fingernail test.” It doesn’t cost you anything. It is simple to do.

This is a really good thing to do. The reason there is a gap on a real mirror, is because the silver is on the back of the mirror UNDER the glass.
Whereas with a two-way mirror, the silver is on the surface. Keep it in mind! Make sure and check every time you enter in hotel rooms.

Ladies:
Share this with your friends.

Men:
Share this with your sisters, wives, daughters, friends, colleagues, etc.

Pass this message to all Ur friends in the Contacts