Sky package changes from 1st September 2011

Sky TV will be freezing their subscription prices until the 31st August 2012, for customers who join prior to 31st August 2011.

It has also been confirmed that Sky TV will be changing thier channel structure.

Gone are the 6 genre mixes of Variety, Knowledge, Lifestyle, Music, Childrens and News and Events.

In comes Entertainment and Entertainment Extra.

From initial channel lists, it looks

DISH Network Has NFL RedZone | NFL RedZone

NFL RedZone on DISH Network

DISH Network has the NFL RedZone! 

If you have America's Top 120+ and above programming, for only $7 more per month, you can get all the best NFL action, every touchdown, every big play of every game as it happens, all season long with NFL RedZone on DISH Network.

Read More

My Properties for Sale - Cairo, Egypt, Maadi

See below and another at 21A Canal St, Skakanet, Maadi - also 4 bedroom duplex.

Click on photo to enlarge

Dealing With Hair Loss?

There are of course many reasons a man might lose his hair. Genetics is by far the greatest risk. Others may experience hair loss caused by stress levels or other environmental influences. If you are experiencing hair loss you should not sit around and wonder what to do about it, get up and do something to prevent it. Your hair loss can be minimized with any one of the many options available to you. Most of the time the best solution to hair loss can be found in the knowledge available to you. Read on to hear more about ways to deal with your hair loss. Nevertheless, some studies will show you that using Saw Palmetto will prove a wise move on your part. The most prominent way to cope with your hair loss is to understand why it's happening. A lot of the time men's hair loss is caused by simple genetics. It has been scientifically proven that if your maternal grandfather (your mother's father) lost his hair then it is likely that you will lose your hair as well.

If great grandpa moses did not lose his hair it is a proven fact you won't have to worry about this condition. Don't get a false sense of security, you are not without risk, noone knows for sure just how hair loss got started or where it will occur. Talk to your skin professional about what can be done now to prevent hair loss in the future.Gymnema Sylvestre are great if you want more info about healthy herbs that can really help you.


You probably already know you need to understand the condition in order to accept it. A condition called Telogen Defluvium is one of the reason for hair loss. That sounds like some sort of weird third world disease. It's really not some foreign disease it's just a resting phase of the hair growth cycle. Emotional distress can contribute to the effects of this condition.

Sudden severe hair loss is attributed to this condition. You need to consult your physician for possible resolution. You might need only to reduce your stress to get your hair to come back!

Many people are now trying Laser Comb treatment to fight back against their receding hairlines. The above method is quite simple in fact, it is nothing more than laser lights stimulating the scalp to promote hair growth. Although not endorsed by the FDA yet it is in the pipeline. Hair loss symptoms have been said to be greatly effected for many men when using this method. Bounce these ideas off your doctor and see what he thinks. This could be a method that will work very well for you in counteracting your hair loss. There are many reasons a man might lose his hair. You also have many options to treat and prevent or reduce the effects on your scalp. Make a point of asking your doctor about options. Your medical professional will probably have many options you can try to resolve your issue and help regrow your hair. There is always shaving your head in times of frustration when you are just done dealing with it all.

Top 5 Reasons To Order DISH Network

Among several other satellite TV providers in the market, DISH Network gives you more ways to watch and more ways to save your precious cash. Now the question is why you would opt for DISH Network and not DIRECTV or any other satellite TV provider in US.

Read More

All new biss keys 8/28/2011

Ýdman Az?rbaycan Türksat 23A @ 42° East New
10968 H 11200 5/6
Hex key:12 34 56 00 65 43 21 00  (football only)
---------------------------------------------
CH-1  Sirius 4 @ 4.8° East  SID:0001 12730 V 6000  vpid : 0134 New
Hex key:11 11 11 33 11 11 11 33
------------------------------
CANAL6_FEED (TDA TV6) New
(5°W) Atlantic Bird 3 SID:025B 11065 H  SR: 18080 2/3  12736 H 18085 3/4 NSS 7@ 22°W  SID:025B   SID:0003
Hex key:11 00 00 00 00 00 00 00
---------------------------------------------
ANS TV Eutelsat W7 (36E)  New satellite
New Freq: 12526H - 2960 3/4
Hex key:1212120012121200 (football only)
--------------------------------
TRV Muji EXPRESS AM33 (96.5°E) New satellite
New Freq:4143 R 3210 3/4 SID:0001, VPID:0134
Hex key:69 A4 2E 3B 10 00 00 10
---------------------------------------
Telelombardia HOTBIRD 13E  Only football
11542/V/22000 SID: 0E20 VPID: 009D
HEX key: 11 11 11 33 11 11 11 33
---------------------------------------
Telekanal Sport Nizhny Express AM1 (40.0E)
11676.00 H 11936 3/4 (SID:0384)  New
HEX key:25 09 20 4E 08 17 03 22
---------------------------------------
IRIB feeds 13E HotBird
12437H 27500 3/4 SID:1F07)
HEX key:22 22 22 66 22 22 22 66
---------------------------------------
IRIB TV 3 ( AsiaSat 3S @ 105.5)WORK ONLY FOTBALL New
12352 V 30000 3/4 SID: 0002
HEX key:11 11 11 33 11 11 11 33
---------------------------------------
INTER + Sirius 4 @ 4.8° East | New
12073 H 27500 3/4
HEX Key:12 34 AC 00 12 34 AC 00
---------------------------------------
Mir Belogorya  Eutelsat Sesat (36.0E) New
12546 V 1747 3/4
HEX Key:12 34 56 00 12 34 56 00
---------------------------------------
Tv b92 Atlantic Bird 1 @ 12.5° West  New
11176 H 15190 3/4
HEX Key:AB CD EF 67 AB CD EF 67
---------------------------------------
Saudi sport badr 4 (26°East)New
12353 V 17000 (id:15E3)
HEX Key: 10 10 10 30 10 10 10 30
---------------------------------------
BTV NSS 703 @ 57° East New
12551 V 9404
HEX Key: 03 11 10 00 C0 DE 00 00
---------------------------------------
LIDER TV 13E / 36E  Only football
Eutelsat Sesat (36.0E) - 12521.00 H 4340 1/2
Hotbird 8 (13.0E) - 12149.00 V 27500 3/4
HEX Key:A3 31 30 04 61 67 82 4A
---------------------------------------
Russian channels: (140°East) Express-AM3
GTRK Magadan 3577 R 4285 3/4
GTRK Amur 3589 R 4340 3/4
GTRK Kamchatka 3608 R 4340 3/4
GTRK Sakha 3627 R 4240 3/4
GTRK Vladivostok 3632 R 4340 3/4
GTRK Sakhalin 4180 R 4340 3/4
Telekanal Rossiya (+8h) and (+6) 3675 R 33483 7/8
HEX Key: 03 27 02 00 10 62 51 00
Telekanal Sport 3675 R 33483 7/8
HEX Key: 26 08 39 67 12 04 38 4E
---------------------------------------
Russian channels: (96.5° East) Express-AM33
GTRK Tomsk 11463 H 3200 3/4 (ID:0001)
GTRK Krasnoyarsk 4175 R 3294 3/4 (ID:0001)
TRK Irkutsk 4114 R 4285 3/4 (ID:0001)
GTRK Buryatiya 4108 R 4275 3/4 (ID:0001)
GTRK Kurganskaya 3843 R 3220 3/4 (ID:0001)
GTRK Perm 3588 R 3230 3/4 (ID:0001)
GTRK Altai 3817 R 4270 3/4 (ID:0001)
Telekanal Rossiya NGTRK 3758 R 4340 3/4 (ID:0001)
Telekanal Rossiya (+4h) 3675 R 33483 7/8 (ID:0006)
HEX Key: 03 27 02 2C 10 62 51 C3
---------------------------------------
Russian channels (90.0°E) Yamal 201
Chitinskaya GTRKL 3582 L 4275 3/4 (ID:0001)
GTRK BiraI 3594 L 4275 3/4 (ID:0001)
DVTRK DalnevostochnayaK 3729 L 4285 3/4 (ID:0001)
GTRK El-AltaiE 3918 L 4275 3/4 (ID:0001)
Telekanal Rossiya Tver-SU 3923 L 3570 3/4 (ID:0001)
HEX Key: 03 27 02 2C 10 62 51 C3
----------------------------------------
Russian sport channels (90°E) Yamal 201
Telekanal Sport (Yuzhniy Region) 3903 L 8888 5/6 (ID:0002)
HEX Key: A0 00 01 00 09 20 08 00
Telekanal Sport (RTR Sport) 3645 L 28000 3/4 (ID:0011)
HEX Key: 26 08 39 67 12 04 38 11
----------------------------------------
ÑÒÑ(+4h) ÑÒÑ(+7h) (90°E) Yamal 201
11057 V 26470 CTC+7 (ID:0001)
11092 V 26470 ÑÒÑ+4 (ID:0834)
HEX Key: C1 23 45 00 67 89 AB 00
-----------------------------------------
Telekanal Domashniy(+4h) (+7h) (90°E) Yamal 201
11057 V 26470 (+7h) (ID:1644)
11092 V 26470 (+4h) (ID:0384)
HEX Key: D1 23 45 00 67 89 AB 00
-----------------------------------------
Telekanal Rossiya (+6h)&(+8h) (80.0°E) Express-AM2
3525 R 31110 3/4 (c-band) (+8: ID: 0005; +6: ID: 0002)
HEX Key: 03 27 02 2C 10 62 51 C3
-----------------------------------------
STS Feed (75.0°E) ABS-1
12640 V 22000 3/4 (ID: 012C)
HEX Key: 12 34 56 00 78 9A BC 00
----------------------------------------
NTS (75.0°E) ABS-1
12704 V 3900 7/8 (ID: 0001)
HEX Key 29 C5 37 00 F8 F4 61 00]
---------------------------------------
ÑÒÑ(+7h) (75.0°E) ABS-1 FTA
12640 V 22000 (ID: 0190)
HEX Key: Ñ1 23 45 00 67 89 AB 00
-----------------------------------------
IRIB TV (62°E) Intelsat 902
11555 V 27500 (ID: 0001)
HEX Key: 11 11 11 77 11 11 11 77
-----------------------------------------
IRIB feed=PRESS TV (62.0°E) Intelsat 902
10971 V 8150 3/4
HEX Key: 10 10 10 10 10 10 10 10
-----------------------------------------
Stolicnoe TV(Minsk) (53.0°E) Express-AM22
11158 V 3255 3/4 (ID: 0001)
HEX Key: 10 09 19 32 36 24 62 BC

SÒS(0h) & SÒS(+2h) (53°E) Express AM22
11044 V 44951 (ID: SÒS+2:0003; SÒS: 0004)
HEX Key: C1 23 45 00 67 89 AB 00


Russian channels (49°E) Yamal 202
GTRK Pomor'e 3940 L 7500 3/4 (ID: 0003)
Telekanal Rossiya Tyumen 3962 L 8570 3/4, (ID: 0002)
GTRK Yamal 3970 L 4275 3/4 (ID: 00010
HEX Key: 03 27 02 2C 10 62 51 C3
TVS Severnaya Dvina 3940 L 7500 3/4 (ID: 0001)
HEX Key: 26 08 39 67 12 04 38 4E

Imedi (42.0°E) Turksat 2A/3A
12609 V 3700 5/6 (ID: 0001)
HEX Key: 10 00 00 00 00 00 00 00

Rustavi (42.0°E) Turksat 2A/3A
12595 V 2500 5/6 (ID: 0067)
HEX Key: DB A5 45 00 FD E3 62 00

NTV Spor (42.0°E) Turksat 2A/3A
11054 H 30000 5/6 (ID: 0003)
HEX Key: A0 21 23 00 35 46 14 00

TV8 (42°E) Turksat 2A/3A
11870 V 8888 3/4 (ID: 0001)
HEX Key: 12 12 12 12 12 12 12 12

CYS Radio Channels (KKTC First Live FM)(42°E) Turksat 2A/3A
New Freq: 12544 H 24000 5/6  (ID: 0003)
HEX Key: 12 12 12 33 12 12 12 33

TRT-1 and TRT-3 (42°E)Turksat 2A/3A coded in F-1
TRT-1 11094 H 24444 3/4 (ID: 0001)
TRT-3 11918 V 24440 3/4 (ID: 000C)
HEX Key: 10 00 00 00 00 00 00 00
HEX Key: 01 00 00 00 00 00 00 00

EKIN TURK "USUK TV" (42°E) Turksat 2A/3A
11178 V 2190 3/4
HEX Key: 10 00 00 10 00 00 00 00

Russian channels (40.0°E) Express-AM1
Telekanal Rossiya(0h)&(+2h) & RTV Podmoskov'e 3675 R 33483 7/8
GTRK Vologda 3739 R 3230 3/4
GTRK Dagestan 3744 R 3603 3/4
Chechenskaya GTRK 3873 R 4340 3/4
GTRK Komi Gor 3879 R 3255 3/4
GTRK Elista 4058 R 3230 3/4
GTRK Volgograd TRV 4062 R 2772 7/8
GTRK Udmurtia 4078 R 2753
GTRK Kursk 4114 R 4285 3/4
GTRK Kostroma 4131 R 3218 3/4
GTRK Alania 4137 R 3240 3/4
GTRK Orenburg 4140 R 3230 3/4
HEX Key: 03 27 02 2C 10 62 51 C3

NTN Ukraine(39.0°E) HellasSat 2
11512 H 30000 7/8 (ID: 0002)
HEX Key: 1A 6B 1C 00 1D 95 FF 00

ANS TV (36°E) Eutelsat Sesat (coded only for sport)
12526 H 2960 FEC:3/4 (ID: 0001)
HEX Key: 12 12 12 00 12 12 12 00

MBC Inter (26.0°E) Badr-3/4
11919 H 27500 3/4 (ID: 001B)
HEX Key: 12 12 12 36 12 12 12 36

AFLAM TV (21.6°E) EUTELSAT W6
11651 V 15710 3/4 (ID: 0007)
HEX Key: 1A 2B 3C 81 4D 5E 6F 1A

TVM Maroc (21.6E) EUTELSAT W6
11641 V 2893 7/8 (ID: 0001)
HEX Key: 12 34 56 00 65 43 21 00

Al Jazeera Feed (10*E) Eutelsat
11156 H 3978 3/4 (ID: 0064)
HEX Key: 02 08 00 0A 03 07 04 0E

TET (5.0°E) Sirius 4
11766 H 27500 (ID: 17DE)
HEX Key: 19 09 06 28 11 76 60 E7

TV Kyiv (4.0°W) Amos 1/2
10722 H 27500 3/4 (ID: 0004)
HEX Key: 10 72 20 A2 15 05 07 21

NBC/MSNBC/CNBC Feed (15.0°W) Telstar 12
11518 H 3744 7/8
HEX Key: 01 20 15 36 83 53 00 D6

Earth TV (15.0°W) Telstar 12
12645 H 3255 3/4 (ID: 0001)
HEX Key: BB EF 01 AB E6 7E 20 84

ENTV(programe national) (22.0°W)
12735 H 18085 3/4 (ID: 0004)
HEX Key: 11 00 00 11 00 00 00 00

Distrivision (30.0°W) Hispasat 1C/1D
11647 V 1667 5/6 (ID: 0001)
HEX Key: 16 27 38 75 49 50 00 99

TV Canaria (30.0°W) Hispasat 1C/1D
11475 H 3400 3/4 (ID: 0001)
HEX Key: CB A9 87 FB 65 43 21 C9

VESTI (90° East) Yamal 201 FTA
11092 V 26470 3/4 (ID: 3900)
HEX Key: 16 02 06 1E 01 78 83 FE

ÎSÊ-Odessa (5.0°E) Sirius 4
12075 H 27500 3/4 (ID: 19AA)
HEX Key: 11 22 33 00 44 55 66 00

QTV (4°W) Amos 2/3 FTA
10759 H 30000 3/4 (ID: 000B)
HEX Key: 22 33 22 00 22 33 22 00

Manmin TV (95.0°E) NSS 6
Manmin TV @ 12729 H 26400 3/4
Key 00: 00 00 00 00 01 23 45 69

Kanal D Romania (62.0°E) Intelsat 902
11177 H 3333 3/4
HEX Key: C4 8D AF 00 8F DA 97 00

(91.5°E) (C-Band) MEASAT 3
Sarawak TV feed and HTV 7
Key : 12 34 56 9C 78 9A BC CE

Dimsum TV ..... TELSTAR 18 (138.0°E)
12605 H 3600 3/4 Ident: 1FFF
Index HEX Key : AC C1 04 71 50 00 00 50

TVN Caledonie -EINTELSAT 701 (180.0°E) 11136 V
23150 3/4
KEY : 1A2B3C814D5E6F1A

Zamjari tv (NSS 11 at 108.2°E )12411 V 11110-5/6
key : 55 21 0c 72 7d d5 30 72

TV Wallis - 180°E Frequency (11136/V/ 23150-3/4)
KEY : 1A2B3C814D5E6F1A

Guatemalan mux (C-Band) Intelsat 805 (55.5°W)
4084 H 10318 3/4
1371130037111300

Red Tele Sistema (C-Band)Intelsat 805 55.5°W
4111 H 3333 3/4
RTS(Ecuador)= 3107578F18090223

Canal 6(C-Band)Intelsat 805 55.5°W 4105 H 5062 3/4
1604516B14025369

NSS 703 @ 57° East
bTV (12551 V 9404)
HEX Key: 03 11 10 00 C0 DE 00 00

SIC International (40.5°W) NSS 806
C - band (3803 L 27500) ID: 1302
JBN TV - 3658 R 2800 7/8 ???
HEX Key: 2F B6 02 39 D4 D8 C4 D6

All latest biss keys 8/28/2011

Mekha TV  (Syria1 ) ] Euetlsat W4 36°E 11439, pol.H SR:8250 FEC:5/6 | Biss | SID:0008 |
key:01 02 03 06 30 20 10 60
[ Mekha TV  (Syria1 ) ] Eurobird 9A(9.0°E),11919.00 V 27500 3/4 | Biss | SID:002B |
key:01 02 03 06 10 20 30 60
-------------------------------------------------
Myawady TV PALAPA D at 113,0°E 4109 H 5926 SID:0001
Key:12 AB 34 F1 56 EF 78 BD
-------------------------------------------------
[ NBA TV ] 11054 H 30000 5/6 Türksat 2A/3A @ 42° East | Biss | SID:0007 |
key:DF FE FC D9 FD BF 18 D4
-------------------------------------------------
MNC tv palapa D 113°E 4184 V 6700
Key:BA BE 33 [AB] 33 55 55 [DD]
-------------------------------------------------
STUD-RYD  Atlantic Bird2 8°W 11056 H 2201
KEY:AB CD EF [67] 12 34 56 [9C]
-------------------------------------------------
Tamil Box Office
Apstar 2R at 76.5°E 3840 H 27500-3/4 SID:000B
Insat 2E/4A at 83.0°E 4042 V 7420-7/8 SID:0002
Key:04 04 04 0C 40 40 40 C0
-------------------------------------------------
2+2 Astra 4A, 4.8°E (Sirius) 11766H S/R 27500 FEC 3/4
key : 09 02 19 24 63 23 06 8C
-------------------------------------------------
AL Libyah Atlantic Bird 2 (8.0°W) 11170.00 H 2140 3/4 SID:in Hex (0001)
Key:AB CD AB 23 CD AB CD 45
-------------------------------------------------
GTRK @ 80° EastExpress-MD1 @ 80° East (C Band)

GTRK Alania
Radio Rossii
3607 R 2893 3/4

GTRK Dagestan
3611 R 2893 7/8

GTRK Chechenskaya
Radio Rossii
3615 R 2479 7/8

GTRK Volgograd TRV
Radio Rossii
3619 R 2479 7/8

HEX Key: 03 27 02 2C 10 62 51 C3
-------------------------------------------------
[ FX (PGM 15) ] (Yahsat-1A @ 52.5° East) 12168 H 27500 5/6 | Biss |  SID:000F |
key: 12 34 56 9C CC CD DD 76
-------------------------------------------------
[ Star World Middle East ] (Yahsat-1A @ 52.5° East) 12168 H 27500 5/6 | Biss |  SID:0005 |
key: 12 34 56 9C AA AB BB 10
-------------------------------------------------
[ UKRAINA-SD ] Astra 4A 4.8°E 12130V S/R 27500 FEC 3/4 | Biss |  SID:6610 |
Key:A5 EB 22 B2 57 6F 50 16
-------------------------------------------------
[ UKRAINA-SD ] Astra 4A 4.8°E 12130V S/R 27500 FEC 3/4 | Biss |
Key:A5 EB 22 B2 57 6F 50 16
-------------------------------------------------
[ Majd feed ] Badr 26.0°E -12149.00 H 27500 3/4 | Biss | SID:4E86 |
Key:91 7C A5 B2 6B 78 D2 B5
-------------------------------------------------
HABER HD  11896 H 11200 2/3 Turksat 42°E only events eg. Football
Key:10 00 00 00 00 00 00 00
HABER 11791 H 16000 5/6 Turksat 42°E only events eg. Football
KEY:Key:10 00 00 00 00 00 00 00
-------------------------------------------------
Express MD-1*80E
3575 R 33483 FEC 7/8
Rossia 1 (+6)
Key:03 27 02 2C 10 62 51 C3
Rossia 1 (+8)
Key:03 27 02 2C 10 62 51 C3
4135 R 16200 FEC 3/4, MPEG-4
Rossia 1 (+6)
Key:03 27 02 2C 10 62 51 C3
Rossia 2
Key:26 08 39 67 12 04 38 11
-------------------------------------------------
Tv Azteca Guatemala Intelsat 805 55w 4001 V 3000
Key:8824820083625200
-------------------------------------------------
media boom Thaicom5 3960 V 30000 5/6 Sid:(in HEX)= 10
Key:02 40 A1 E3 25 63 B7 3F
-------------------------------------------------
Teleamazonas  intelsat 805 55w 3879 h 5860
kEY:11 b0 1d de 11 a4 50 05
-------------------------------------------------
[  Orbit  ] Eurobird4 4°E  11653 V 15000  | Biss |
Al-Yawm  SID=0A8D Cinema2  SID=0A90  Fann  SID=0A93 Series SID=0A92 Series +4
SID=0A91 Music Now SID=0A94 -RASCinema 1 SID=0A8F -RAS Al-Safwa  SID=0A8E -RAs
key:12 34 56  9C12 34 56  9C
-------------------------------------------------
Grias di Minga HD Feed  Eurobird 4A @ 4.0°E 10965 H SR-30000 DVB-S2
key: 1A 2B 3C 81 4D 5E 6F 1A
-------------------------------------------------
MBC (South Korea)  Intelsat 8 at 166.0°E 3949 V 4613-3/4/DVB-S SID (in Hex): 0001
Key: A6 B7 C8 25 D9 10 11 FA
-------------------------------------------------
[ Al Aoula Maroc ] Badr 26°E   12682 V 27500    | Biss | SID in HEX:0003 |  RAS
key: CA 50 B7 D1 31 D6 58 5F
-------------------------------------------------
Armenia tv = Kentron TV  Hellas Sat 2 @ 39° East
11686 H 2510 5/6 DVB-S2/8PSK
KEY : 11 11 11 00 11 11 11 00
-------------------------------------------------
football 2011 thaicom5 78.5°E 3710 V 4600
Key:10 00 00 10 00 00 00 00
-------------------------------------------------
DD Saptagiri Arabsat-5A @ 30.5° East 3920 L 5530 2/3
Key: AB CD EF 00 FE DC BA 00
-------------------------------------------------
1+1 Intern. (5.0°E) Sirius 4 MPEG-4 with AAC sound
11766 H 27500  12073 H 27500 3/4 (ID: 198C)
HEX Key: 1A 2B 3C 81 4D 5E 6F 1A
-------------------------------------------------
[  AL Jazeera HD 1   ] Eutelsat W6 21,6 E 11081 V 8888  | Biss |
Key: 00 06 76 7C 37 08 94 D3 ( Durant les Match de Foot )
-------------------------------------------------
[  Al Jazeera Channel  ] Eutelsat W7 @ 36° East 12620 V 2894 3/4  | Biss |SID HEX:0001  ||
key: 12 34 56 9C 78 91 23 2C
-------------------------------------------------
Turksat 3A (42.0°E) 11194.00 H 7200 3/4
Intercom 3  Radio CAID=0x2600 SID=0x0005 PMT=0x0024 APID=0x0108 PROVIDER=0x000000
Intercom Radio(42.0°E)
CAID=0x2600 SID=0x0006 PMT=0x0025 APID=0x010A PROVIDER=0x000000
Key: 002123441361188C
-------------------------------------------------
1 Auto Astra 1E/4A 4.8°E 12073 H 27500 3/4 ID: 1978
Key:1A 1A 1A 00 1A 1A 1A 00
Will use a biss key when broadcast a Formula1
-------------------------------------------------
NBA TV (Service-8 )Eutelsat W2A 10°E 11305 V 30000 5/6 DVB-S2 8PSK
SID (in HEX or Dec): 0008 VPID (in Decimal): 0801 (in HEX): 0321
Key:DB 4D BA E2 82 C7 A2 EB
-------------------------------------------------
BBC Knowledge HD Eutelsat W2A 10E 11126 H 7120  3/4
Key:20 11 B2 E3 AD 5B BC C4
-------------------------------------------------
[ Libya Satellite Channel ] 11168 H 2139  Atlantic Bird2 8°W | Biss | SID:0001 |
key:A2 B3 C4 19 D5 E6 F7 B2
-------------------------------------------------
Real Madrid TV Espagnol
Hispasat 1C/1D/1E at 30.0°W Americas Beam 12.172 h 27500
Key:23 06 79 A2 02 03 09 0E
-------------------------------------------------
[  Monitor Games ] Hotbird (13.0°E)  11317 V 27500  | Biss |SID HEX:44E2  ||
key:66 64 86 50 74 26 37 D1
ECHOLINK -STARSAT FORMAT :Menu Tools FCAS OPTIONS KEY EDITOR CONSTANT CW :
key: 66 64 86 50 74 26 37 D1 66 64 86 50 74 26 37 D1
-------------------------------------------------
[  Opap TV ] Hotbird (13.0°E)  11317 V 27500  | Biss |SID HEX:44E1  ||
key: 67 27 88 16 47 33 23 9D
ECHOLINK -STARSAT FORMAT :Menu Tools FCAS OPTIONS KEY EDITOR CONSTANT CW :
key: 67 27 88 16 47 33 23 9D 67 27 88 16 47 33 23 9D
-------------------------------------------------
CNN Turk (42.0°E) TURKSAT 2A (42.0°E) 11804 V 24444 5/6 Sid in Hex : 0001
Biss Key: 10 00 00 00 00 00 00 00
-------------------------------------------------
Turner (13.0°E) 12245 H 27500 3/4 Sid in Hex :0065
key: D0 12 34 16 AF E0 7B 0A
-------------------------------------------------
GLOBAL TV (113.0E) 3.936 H 6500 3/4 SID=0001
KEY:EE AD 16 B1 11 20 10 41
-------------------------------------------------
STAR TV TURKSAT 2A (42.0°E) 11862 H 27500 5/6 SId : 05DE
(Only Champions League Matches)
Key: 10 00 00 00 00 00 00 00
-------------------------------------------------
[  TVI Internacional   ] Hispasat 1D @30.0°W 12591 V  30000 7/8 | Biss |SID HEX:01F4  ||
Key: 11 22 33 66 44 55 66 FF
-------------------------------------------------
Radio All for peace Eurobird 9A (9.0°E) ,11919.00 V 27500 3/4 SID (in Hex'ID'):0023
key: 1A 2A 3B 7F 3B 2A 1A 7F
-------------------------------------------------
ART Prime Sports (49° East ) YAMAL 202
3946 L  2963 7/8 sid: 0001
Key:FFDE98745BD22CC6
-------------------------------------------------
PTV K FEED  AsiaSat 3S @ 105.5° East  4118 V 6990
Key:000000000007868D
-------------------------------------------------
BTV National Asiasat 3S 105.5°E Sid: 000B  3711 V 11395
Bis key: 12 34 5A A0 BC 67 89 AC
-------------------------------------------------
Al Riyadiah Earth (Saudi Sports) Arabsat-5A @ 30.5° East Mashreq
Biss key: 1010103010101030
-------------------------------------------------
[ Alpha Sat  ] Intelsat 10-02 - Thor 5/6 @ 1° West 11105 H DVB-S2/8PSK 4004 3/4
Key: 10 00 00 10 00 00 01 01
-------------------------------------------------
NTS Intelsat 17, 66.0°E   12648 H 3899
Key : 29 C5 37 00 F8 F4 61 00
-------------------------------------------------
ZBC TV  Intelsat 10 at 68.5°E 3865 V 2315-3/4 SID:0001
key:00 10 23 33 41 05 55 9B
-------------------------------------------------
UBC Thailand ST 1 at 88.0°E 3415 V 3615 3/4
key: 84 89 72 7F 16 89 37 D6
-------------------------------------------------
[ First Ukraine  ] Astra 4A (4.8°E)  (Sirius 4.8E) 11766 H S/R 27500 FEC 3/4 | Biss |SID HEX:1810  ||
Key: 10 06 10 26 11 07 11 29
-------------------------------------------------
Rossia & Sport  Express MD 1 *80E 3465 R 16200,MPEG-4
kEY: 03 27 02 2C 10 62 51 C3
-------------------------------------------------
RAI ITA Feed  Eutelsat W3A (7E)
11126-H-6666
11136-H-6666
11145-H-6666
11154-H-6666
11163-H-6666
11172-H-6666
11182-H-6666
11192-H-6666
key: 10 00 00 10 00 00 01 01
-------------------------------------------------
[ SKY SPORT 24(ITINFI CH8) & JSC SPORT FEED  ] Eutelsat W2A 10E  11134 H 5064 | Biss | SID in HEX:0001 |
KEY:12 34 56 9C AB CD EF 67 ( Durant les Match de Foot )
-------------------------------------------------
[ Rossiya 1 (Vesti Privoljzhe) ] 12595 H  6666 3/4 Intelsat 17 @ 66° East | Biss | SID:0064 vpid:0065 |
Key: 03 27 02 2C 10 62 51 C3
-------------------------------------------------
DOST FM (Radio) Turksat 3A (42.0E) - 12729.00 -H-30000 5/6 Apid: 258 turSID (in HEX):1A
Biss Key: 10 00 00 10 10 00 00 10
-------------------------------------------------
[ EriteriaTV2 ] Arabsat-5A @ 30.5° East  12612 V 2590 3/4 | Biss | SID:0064 |
KEY:AB CD 00 78  43 21 00  64
[ EriteriaTV2 ] Arabsat-5A @ 30.5° East  12612 V 2590 3/4 | Biss | SID:0064 | 2nd Change
KEY : AB CD 00 78 43 21 55 B9
[ EriteriaTV2 ] Arabsat-5A @ 30.5° East  12612 V 2590 3/4 | Biss | SID:0064 |  3nd change
KEY:AB CD 00 78  43 21 12 76
-------------------------------------------------
[ Al Aoula Maroc ] Hotbird 6 (13.0E)  10873.00 V - 27500 3/4  | Biss | SID in HEX:0003 |
key: CA 50 B7 D1 31 D6 58 5F
-------------------------------------------------
Radyo "FB" - Turksat 42E 11862 H 27500 FEC 5/6
Hex Key:10 00 00 00 00 00 00 00
-------------------------------------------------

AL AOULA LAAYOUNE/C-Band (30.5°E)
CAID 0x2600, SID 0x001, VPID 0x12C, PMT 0x020, PROVIDER 0x00000
4006 R 6111 3/4
Ident: 1FFF
Index HEX : 1A 2B 3C 00 4D 5E 6F 00

AL AOULA MAROC/C-Band (30.5°E)
CAID 0x2600, SID 0x065, VPID 0x64, PMT 0x020, PROVIDER 0x00000
4015 R 6111 3/4
Ident: 1FFF
Index HEX : 1A 2B 3C 81 4D 5E 6F 1A (FTA)
-------------------------------------------------
[ Al Raie (TEST) ] (8°W) Atlantic Bird 2 11083 H NEW S/R :2856  FEC 3/4   | Biss | SID=0001
HEX Key:A2 B3 C4 19 D5 E6 F7 B2
-------------------------------------------------
Thaicom 5 @ 78.5° East 3463 V 2857 3/4
Panyapiwat TV 1
HEX Key:10 00 00 10 12 34 50 96
Panyapiwat TV 2
HEX Key:11 11 12 34 21 11 11 34
-------------------------------------------------
TPI TV Palapa D at 113.0°E 4184 V H 6700-3/4 SID:0001
HEX Key:08 88 16 A6 78 48 80 40
-------------------------------------------------
Liverpool FC TV Apstar-2R @ 76.5° East  3840 H 27500 3/4 SID:0001
HEX Key::12 34 56 9C 12 34 56 9C
-------------------------------------------------
BTV National Asiasat 3S 105.5°E SID:0011 (000B in HEX) 3711 V 11395
Key 12 34 56 9c 78 9a bc ce
-------------------------------------------------
BN TV (12.5°W) Atlantic Bird 1
11174 H pol.H SR:15192 FEC:3/4  (ID: 377D)
HEX Key: 12 34 56 9C AB CD EF 67
-------------------------------------------------
TV8(Tur)-Turksat 42°E) -11870 V 8888
key : 10 00 00 00 00 00 00 00
-------------------------------------------------
Toto TV 11501 V  3200 7/8 Intelsat 10-02 - Thor 5/6 @ 1° West
Key: 12 34 56 9C 78 91 23 2C
-------------------------------------------------
Rossiya1(+6h & +8h) (3825 R 33483 new) (ExpressAM1 40°)
Key: 03 27 02 2C 10 62 51 C3
-------------------------------------------------
Armenia 1 TV ..... Eutelsat W7 (36.0°)
11026 H 2500 3/5 (DVB-S2/QPSK)
Ident: 1FFF
Index HEX : 11 11 11 00 11 11 11 00
CAID 0x2600, SID 0x001, VPID 0x4D3, PMT 0x46F
-------------------------------------------------
[ Persia CA ] 11919 H 27500 Badr-4@ 26° East | Biss |  SID HEX :100E
Key : 12 AB 34 F1 CD 56 EF 12
-------------------------------------------------
3D TEST Türksat 2A/3A@42° 12015 H 27500 5/6
SID:0008
keys:10 00 00 10 10 00 00 10
-------------------------------------------------
1 Music Eutelsat W3A at 7.0°E Africa beam
HEX Key:2B 03 66 00 AC F3 DD 00
-------------------------------------------------
[ ENTV ] ( Programe nat)| (5°W) Atlantic Bird3  11065 H 18080 2/3 | Biss |  SID HEX:025C |
Key: 11 00 00 00 00 00 00 00
[ ENTV ] ( Programe nat)| 12674 H 20255 3/4 NSS 7@ 22°W | Biss |  SID HEX:0004 |
Key: 11 00 00 00 00 00 00 00
-------------------------------------------------
[ TV 1 Bosnia  ] 12615-V-02800   Eutelsat W2 16°E   | Biss | SID:0008 | 2nd change
key:22 22 22 44 22 22 22 44
-------------------------------------------------
Star Turkey -Turksat 2A 42°E 11862 H 27500
key : 10 00 00 00 00 00 00 00
-------------------------------------------------
TV KAYSERI  Turksat 42°E
11522 V 2220
Biss key : 10 00 00 00 00 00 00 00
-------------------------------------------
Yamal 202, 49° East
GTRK Vologda has started on 3644 L 3230 3/4
GTRK Kostroma has started on 3735 R 3219 3/4
HEX Key: 03 27 02 2C 10 62 51 C3
-------------------------------------------
[  RDV    ] Eutelsat W4/W7 @ 36° East 12437 H 23437-3/4  | Biss | SID=1388 , V.PID= 138A
Key: 00 01 48 49 00 01 48 49
-------------------------------------------
[ TV 7 Bulgaria   ] Astra 1G (31.5°E) - 12168V S/R 27500 FEC 3/4    | Biss | SID:0004 |
Key: 2C 31 50 AD 00 9D D2 6F
-------------------------------------------
[ ODIE  ] 11052 V 30000 3/4    Hellas Sat 2 @ 39° East   | Biss | SID:0004 |
key:11 11 11 33 22 22 22 66
-------------------------------------------
Idman TV Az?rbaycan
10966H 11200 5/6 TURKSAT 42°E ProviderID/SID in HEX: 0190 (or 400 in Decimal)
KEY:1234560065432100
-------------------------------------------
Domashniy +7 / Express-MD1*80E
3875-R-32000,FEC 3/4
HEX Key:12 34 56 9C 78 9A BC CE
-------------------------------------------
RTR Planeta
freq=11389 H 27500
key:1A 2B 3C 81 C3 B2 A1 16
-------------------------------------------
IRIB 3 (DVB-S2/MPEG-4)  Badr-5 26E 12322 v 27500
IRIB-TV3(SID:0003) PMT:0067 VPID:03EB APID:07D3
HEX Key: 11 11 11 33 11 11 11 33
-------------------------------------------
[ MGM Middle East ] 12611H S/R 9259 FEC 5/6 Eutelsat W2A (10.0E) | Biss | SID (HEX): 0003, VPID (HEX): 1004 ||
Key:15 9A CD 7C EB F6 14 F5
-------------------------------------------
GTRK package channels Express-MD1*80E
3784 H 2893 FEC 3/4
key: 03 27 02 2C 10 62 51 C3
-------------------------------------------
[ Silemani TV ] 11572 V 1250 3/4 on NSS-12 @ 57° East  | Biss |SID HEX:0002 VIP HEX:0023 ||
Key: 00 00 00 00 00 01 23 24
-------------------------------------------
Domashni +7 - ;HOME+7R ABS 75*E
12640:22000:V 123456FF789ABCFF ;HOME+7R
12207 H 27500 12345600789ABC00 ;Domashniy +7"
-------------------------------------------
Express-A4 @ 14° West
3825 R 33483 7/8
Perviy kanal (+6h)
Perviy kanal (+8h)
Rossiya 1 (+6h)
Rossiya 1 (+8h)
Rossiya K (+7h)
HEX key : 03 27 02 2C 10 62 51 C3
-------------------------------------------
Rossia Udmurtija Express MD*80°E
3629 H 2479 FEC 7/8
HEX Key:03 27 02 2C 10 62 51 C3
-------------------------------------------
Radio Rossi  Express-MD1 @ 80° East (C Band)
3791 R 2893 3/4
HEX Key: 03 27 02 2C 10 62 51 C3
-------------------------------------------
Express-A4 @ 14° West  3624 R 16200 3/4 DVB-S/MPEG-4
Rossiya 1
Rossiya 2
Hex key : 03 27 02 2C 10 62 51 C3
-------------------------------------------
Express-A2 @ 103° East 3627 R 16200 3/4
Perviy kanal (+6h)
Rossiya 1 (+6h)
Rossiya 2
Rossiya 24
Rossiya K (+7h)
Radio Mayak
Radio Rossii
Hex key : 03 27 02 2C 10 62 51 C3
-------------------------------------------
TRT HABER Turksat 2A (42.0E) 11096 H 30000 SID:0005
KEY:00 00 00 00 00 00 00 00
-------------------------------------------
Radyo Vatan_m & Vatan_t Türksat 1C @ 31.0° East
11065 H 2500
Rd_Vtn_T(SID:0019) PMT:0106 VPID:0000 APID:0164
Rd_Vtn_M(SID:0018) PMT:0105 VPID:0000 APID:015A
key:10 00 00 00 00 00 00 00
-------------------------------------------
Express-A2 @ 103° East 3675 R 33483 7/8
Rossiya 1 (+6h)
Rossiya 1 (+8h)
Radio Rossii
Radio Mayak
Radio Unost
Radio Rossii
Radio Rossii
Radio Mayak
Hex key : 03 27 02 2C 10 62 51 C3
-------------------------------------------
Radyo Vatan M
Türksat 2A @ 42° East 12130 V 27500 5/6  SID  : 0018
Hex Key : 10 00 00 00 00 00 00 00
-------------------------------------------
Radyo Vatan T
Türksat 2A @ 42° East 12130 V 27500 5/6  SID  :  0019
Hex Key : 10 00 00 00 00 00 00 00
-------------------------------------------
Rossia 1 Express- MD-1* 80E
3675 H 33483 FEC 7/8
Hex Kéy : 03 27 02 2C 10 62 51 C3
-------------------------------------------
Podmoscovje Express- MD-1* 80E
3675 H 33483 FEC 7/8
Hex Kéy : 03 27 02 2C 10 62 51 C3

-------------------------------------------
[ Duhok TV ] 11568 V 2500 5/6 NSS-12 @ 57° East  | Biss | SID HEX :0001 ||
KEY: 00 00 00 00 4F 4C 9B 36
-------------------------------------------
Pal Fm Turksat 42E
11862 H 27500 FEC 5/6
Hex Kéy :10 00 00 00 00 00 00 00
-------------------------------------------
TRT HD (42°E)
12688 05000 V
Hex Kéy :10 00 00 00 00 00 00 00
-------------------------------------------
[Channel 2 Earth ERTU 2 ] 12664 V 27500 5/6 Express-AM22 @ 53° East   | Biss |  SID:177B VPID: 0FC9||
[Channel 1 Earth ERTU 1 ] 12664 V 27500 5/6 Express-AM22 @ 53° East   | Biss |  SID:177A VPID: 04BD||
key: 12 3C D8 26 AB 98 25 68
-------------------------------------------
Toloint (Lemar TV)SID :0002PMT:0020 VPID:0021 APID:0024 New
11495 H 5000 3/4 Express-AM22 @ 53° East
KEY:00 00 00 00 07 11 68 80
-------------------------------------------
Dubai Sports (CH 33)  Atlantic Bird 4A 7°W 12437 H 27500 3/4   SID:1270 VPID: 0213 New
Intelsat 7/10 (IS-7/10) @ 68.5° East 11635 V 2222 5/6
Key: 12 34 56 9C 78 9C 33 47
-------------------------------------------
[ BET] Atlantic Bird2 @ 8°W
NEW FREQ.11074 H 27500 3/4
KEY:01 03 A1 A5 02 B0 78 2A
-------------------------------------------
[ TRT6 ] Atlantic Bird2 @ 8°W
NEW FREQ.11074 H 27500 3/4
KEY:01 03 A1 A5 02 B0 78 2A
-------------------------------------------
TRT Haber (aka TRT 2) Turksat 2A (42.0E) New
11918.00 V 24440 3/4 SID: 0005 VPID: 0264
HEX KEY: 10 00 00 00 00 00 00 00
-------------------------------------------
New freq: 11389 H 27500 3/4 Amos 3 @ 4° West
INTER ((ID: 0001))
HEX Key: AC 12 34 00 43 21 CA 00
INTER + ((ID: 0009))
HEX Key:12 34 AC 00 12 34 AC 00
K1 ((ID: 0003))
HEX Key: AB CD EF 67 FE DC BA 94
NTN ((ID: 0002))
HEX Key: 1A 6B 1C 00 1D 95 FF 00
Mega ((ID: 0004))
HEX Key: AB CD EF 67 FE DC BA 94
-------------------------------------------
Rustavi 2 Türksat 2A/3A @ 42° East
12596 V NEW SR: 3700 5/6 Only football
HEX Key:DB A5 45 C5 FD E3 62 45
-------------------------------------------
IRIB 3 (DVB-S2/MPEG-4) NEW AsiaSat 3S
New freq:12639 V 11400
Index HEX : 11 11 11 33 11 11 11 33
--------------------------------
Mir Belogordya (60°E)
New Freq: 10982  1747 V 3/4
Index HEX : 12 34 56 00 12 34 56 00
--------------------------------
Georgian Tv   Türksat 3A @ 42° East
12600  V S/R 2950 SID: 0001   Only Football : Champions League
Key:00 20 05 00 00 19 56 00
---------------------------------------
PTV FEEDS  AsiaSat 3S at 105.5°E New
4114 V 7000ID 00003
Index HEX :00 00 00 00 00 07 86 8D
---------------------------------------
Rossiya 1 (+2h) ..... EXPRESS AM1 (40.0°E)
New freq:10967 V 20000 3/4
CAID 0x2600, SID 0x006, PMT 0x106, VPID 0x20A, PROVIDER 0x00000
Index HEX : 03 27 02 2C 10 62 51 C3
---------------------------------------
Rossiya 1 (0h) ..... EXPRESS AM1 (40.0°E)
New freq:10995 V 20000 3/4
CAID 0x2600, SID 0x00E, PMT 0x10E, VPID 0x212, PROVIDER 0x00000
Index HEX : 03 27 02 2C 10 62 51 C3
---------------------------------------
Rossiya Kultura (0h) ..... EXPRESS AM1 (40.0°E)
New freq:10995 V 20000 3/4
CAID 0x2600, SID 0x00F, PMT 0x10F, VPID 0x213, PROVIDER 0x00000
Index HEX : 03 27 02 2C 10 62 51 C3
---------------------------------------
Rossiya 2 ..... EXPRESS AM1 (40.0°E)
New freq:10995 V 20000 3/4
CAID 0x2600, SID 0x016, PMT 0x116, VPID 0x21A, PROVIDER 0x00000
Index HEX : 03 27 02 2C 10 62 51 C3
---------------------------------------
Az TV Turksat 3A at 42.0°E New
New Freq: 10968 H 11200 5/6
HEX Key:12 34 56 00 65 43 21 00
---------------------------------------
Ictimai TV Turksat 3A at 42.0°E New
New Freq: 10968 H 11200 5/6
HEX Key:12 12 12 12 12 12 12 12

Women and Allegory in Sembene's 'Xala'

Allegory places a significant role in the films of Ousmane Sembene. Its presence may in part be accounted for by the allegorical nature of African oral and written literature as well as by Sembene's emphasis on the importance of the link between history, politics and culture. When 'Xala' opens, images of a drummer and a dancer are enlarged into a company of musicians and dancers celebrating the independence of Senegal from its French colonial rulers. White statues are ejected from the Chambrede Commerce, and black men take over, but the reality of post-colonial politics is not far behind.The white men reclaim the statues and depart, only to return instantaneously to deliver brief cases filled with cash to the new black government ministers. Thus, the allegorical treatment is introduced early in the film. And particularly with the obvious equation between the council president and the Senegalese president, Leopold Senghor (whose picture we see), the audience is alerted to read subsequent events in the film in allegorical fashion.

In particular, the four women in the film represent specific stages in Senegalese history as well as specific aspects of the history of sexual oppression. El Hadji's eldest wife, Awa Adja, like the older women in Sembene's novel, God's Bits of Wood, represents the traditional Islamic phase of Senegalese history and the contradictory role of women within that context. According to Francoise Pfaff, 'Awa truly appears as the embodiment of African traditions even if her environment is no longer purely traditional.' Awa also dramatizes how traditional ways are ill-adapted to the exigencies of modern Senegal. Her philosophy is characterized by her most trenchant comment in the film, 'If patience could kill, I'd have been dead long ago.' In the film, Awa expresses submission and resignation to fate. Her dignity is admirable, even to the beggars, although they admonish her that she 'knows nothing of life.' While Sembene's analysis of Awa is sympathetic, he acknowledges that her knowledge of the world is truncated,that her emphasis on religion and conjugal and domestic responsibility does not confront contemporary reality. Her sense of duty and loyalty may have been the mainstay of her existence in the past and necessary for the maintenance of her self-esteem, but they are also the sources of her oppression. Through the character of Awa, Sembene seems to be indicating, like Fanon in Black Skin, White Masks and Cabral in Return to the Source (1973), that the retreat to Africanity is delusory. He does, however, later in the film bring Awa into the present, along with her daughter Rama, to share vicariously in El Hadji's ritual of purification.

El Hadji's second wife, Oumi N'Doye, is more westernized than Awa Adja. Through her, Sembene portrays the further breakdown of traditional customs and the encroachments of western ideology and consumerism. Oumi wears European clothes, wigs, makeup and dark glasses. She reads fashion magazines and follows the lives of movie stars. She feeds her romantic fantasies by reading pulp romances. Her competition with and jealousy of El Hadji's first wife and with his new young wife, N'Gone, makes her peremptory and demanding, her demands taking the form of sexual seduction and financial extortion of El Hadji. If Awa's treatment of El Hadji is submissive and resigned, Oumi's is abusive  and tyrannical. In her tyrannizing of El Hadji, she seems to exemplify the European myth of female domestic tyranny which she seeks to emulate. At the same time, Sembene's portrayal of Oumi as second wife also reenacts the traditional conflict between wives under polygamy and the role of the dominant wife. In this way Sembene explores the failure of superimposing western practices on traditional customs when the anastomosis merely reinforces attitudes detrimental to social relationships. Oumi's and El Hadji's marriage is specialized around the exchange of money and services, representing his harsh judgment of economic conditions and social relations under colonialism and neocolonialism.

While the first two wives are individuated and treated with empathy, in spite of their shortcomings, El Hadji's third wife is barely substantial. Much more a fetishistic object than a person, N'Gone has few lines in the film. Her mother undresses her as if she were a lifeless mannequin. During the wedding celebration she appears more like an advertisement in a bridal magazine, or like the white figure of a bride on the sumptuous wedding decoration examined closely and contemptuously by Oumi N'Doye than as a person. N'Gone is lighter than the other two wives; indeed, each of the wives appears to get lighter. N'Gone is also identified by her photograph on the wall,seen as she is being undressed with her back to the camera, while her mother lectures her on the importance of making one's husband feel dominant, if not be dominant. Two photographs, one of her clothed and one unclothed, are more visible to the audience than N'Gone is herself. In effect, she is a body without a face, as we view her later in bed, and a visage ventriloquized by her mother. Ultimately, she is reduced to the clothing on the broomstick that reappears in the ultimate  scenes of El Hadji's humiliation. She does not take revenge, however,and is presumably unaware of the final act of the drama that has overtaken her. The one symbol of her aspiration to prominence, the car that is to be her wedding present from El Hadji, is never unwrapped. In short, Sembene portrays N'Gone as the result par excellence of neocolonial society, a technical fetish, with no identity, no substance, no voice, no language, a symbol of the consequences of cultural impotence.

But not all the women in the film are stunted. Rama, Adja's eldest daughter, represents the desirable union of European and African cultures. Her room marks the complexity of her interests. It contains a poster of Chaplin and of Amilcar Cabral, books, and the disheveled appearance of an active life. She actively supports the Wolof language as a mark of her identification with the struggle for independence from European culture. When she visits El Hadji in his office, Sembene places her before a map of Senegal, and Rama's outfit conspicuously reproduces the colors of the Senegalese flag. El Hadji later adopts Rama's position regarding the use of the Wolof language in his confrontation with the other ministers. El Hadji asks the ministers' permission to address them in Wolof for his final speech before the Chamber, but permission is denied to him much as he had chastised Rama for speaking to him in Wolof. He is told to speak French. El Hadji's action accentuates changes that have taken place in him that signify positive linkages between Rama and himself. Nevertheless, Rama is not fully developed as a personality as she is in the novel. She is not so much the heroine of the film as a symbol of potential. Indeed,the secretary and clerk who seems to run El Hadji's business is a counterpart to Rama, a figure who is waiting and learning rather than doing and teaching. The final scenes of the film propel the allegory into the speculative realm of the future.

[This essay was extracted from 'Political Allegory and "Engaged Cinema": Sembene's "Xala",' written by Marcia Landy with Ousmane Sembene and originally published in Cinema Journal (vol. 3, no. 23, Spring 1984, pp. 31-46). The complete film 'Xala' with English subs is available for multi-part viewing on YouTube.]

BBC News Alba Parliament and Red Button frequency changes in September and October

As part of a cost cutting measure, the BBC has decided to stop transmitting on one satellite frequency / transponder.

The BBC say "By closing a few of the less viewed Red Button video streams on satellite (and hence cable), and moving some TV channels between transponders, we will be able to close a transponder and reduce our distribution costs"

As a result of this, some changes to some of the

Tips for Locating Cheap Domestic Flights

Over the last few years the fear of flying has caused the prices to rise. Domestic flights were once affordable. Now however, even a short jaunt is expensive. We are all looking to save a buck in anything we shop for but now we all seek a great deal when it comes to our airfare. This article will help you learn to be a better airfare shopper. You will learn how to cut down on the price you would normally have to pay for airline tickets. A great local destination would be El Nido Hotels and you'll definitely love it there. Collecting frequent flier miles is one way to get cheaper, or even free flights. Many credit card companies, as well as airlines offer these programs. You can then collect flier miles as you travel. You can earn more miles by spending with your credit card, as well as by flying. As you gain points, you'll be able to buy future tickets at reduced prices. In fact, if you have a large number of flier miles, you can even get free flights. Signing up for multiple frequent flier programs, with each of your credit cards and all the airlines is the way you can get the most miles.

The best time to fly if you are looking for cheap domestic flights is the middle of the week. Some airlines will give discounts to those who stay over on Saturdays. Flying between Tuesday morning and Thursday night will usually enable you to get the cheapest fare. Weekends are the most popular times for most people to schedule travel.

Jobs make it difficult for many people to travel during the week. So it's more difficult for airlines to sell tickets. Airlines, of course, want to sell as many tickets as they can. When there are many free seats, the price of the tickets goes down. Visiting to Puerto-Princesa Subterranean River National Park is a breeze. One alternative people sometimes forget is driving instead of flying. With the wait times in security lines and check ins, driving to your destination might be just as fast as flying. Depending on your destination, you may even find it cheaper to drive, as long as your car isn't a gas guzzler. Driving would almost certainly be cheaper if you shared the costs with one or more other people. This might not be what you had in mind for a cheap domestic flight, but it could be an even cheaper way to travel! When you drive, you also get to see all the sights!

Finding cheap domestic flights can be hassle free. It is fairly simple to find affordable flights with a little common sense. It works the same way that it does with any other sort of deal. Make sure you review all your options. Take the time to think about your options. Weigh the benefits of each option against its price. You can confidently make your purchase after following these steps. Don't pay for overpriced tickets to fly within your own country. Just remember, the airlines need you, just as you need them.

Four arrested in Spain for illegally distributing copyright films on the Net

This recently appeared in an Costa Blanca news site.


Four arrested in Spain for illegally distributing copyright films on the Net

A Civil Guard operation in Valencia and Zaragoza has arrested four people for illegally distributing copyrighted films and series on the Net without permission.

Their web pages offered some 1,500 films and series which were available, for either free download or

Will my Freeview box work in Spain?

Many UK Freeview boxes do work in Spain and you can use a Freeview receiver / set top box in Spain.

The UK Freeview receiver will only receive the Spanish digital TV channels.

This is beacuase the Freeview box connects to a TV aerial, and in Spain only SPanish TV vchannels are available via a TV aerial.

Just like in the UK where you can only receive the UK Freeview channels via a TV aerial

Grrr.... Riped off by Vodafone

I say Vodafone but all these providers in Egypt and seems worldwide are thieves.  Here's the story. Daughter to Scotland with Blackberry and roaming. When returned got the bill on internet and Gadzooks, GPRS bill for 1897 LE. So on to Vodafone Customer Help (or Customer Stonewalling, Customer Disinformation, or any expletives you care to use). Note, her phone was off for 7 of the 14 days she was there as she forgot charger.

Here is the song and dance I was given. BTW we have 100 LE per month postpaid plan.

While in UK she had 5 MB free GPRS and then the charges were 102 LE per MB thereafter. Vodafone person said this is the agreement between other countries. 

I said damn phone was off  half the time and daughter said she did not use any more than normal with BBM's.
Answer:
Vodafone says, says even with phone off, all the emails and BBM's are waiting on Blackberry server. I asked where is says any of this on website. She said we should have called customer service!!!


I found no explanation of such charges anywhere on their site. Only says BBM Egypt for 100 LE per month you have 200 MB usage. Person also said extra charge in EGYPT was 1 LE per MB

BEWARE - suggest if traveling, get the rates from your provider and get them in writing.

Ya  I am P****ED

Hope this waring helps someone else to avoid being stolen from.

Orientalism and Gender in American Cinema

Hollywood has not been kind to Arabs. Their negative portrayal has existed from the advent of filmmaking. From the beginning, American cinema has been intertwined with stereotypes of Arabs, typically those of buffoons, villains, sexual predators, and more recently, terrorists. Abdeen Jabara, writing in 1989 in the journal Cineaste (vol. 17, no. 1, p. 1), put it this way: 'From harem girls, lusty sheiks, and flying carpeteers through mummy lovers, greedy oil billionaires and sinister terrorists, films have reenforced misconceptions and stereotypos of the Arab people.'

In my 1995 film 'Hollywood Harems,' I examine Hollywood's portrayal of women in films with Orientalist themes and characters. Orientalism, defined by Edward Said as 'a Western style for dominating, restructuring, and having authority over the Orient' (Orientalism, 1979, p. 3), emanated from and in turn influenced the historical circumstances in which Arab and Islamic culture was regarded with fear and fascination by western Europe. Said continues: 'The Orient was almost a European invention, and had been since antiqulty a place of romance, exotic beings, haunting memories and landscapos, remarkable experiences' (1979, p. 3).

From its inception, American cinema has been caught up with the mystique of the Orient. It adopted the narrative and visual conventions, as well as the cultural assumptions, on which Orientalism was based. I compiled an extensive filmography of over a hundred titles of Hollywood productions, historically until the present. The criteria in selecting these feature films, as well as animations, is that they all contain Orientalist themes involving female characters.

I made the hour long documentary as a montage, assembling clips from as many of these films as I was able to procure. The sequence of the montage is arranged by juxtaposing images according to categories (specified below), along with their audio track; that is, without an outside narrative 'voice.' I have decided to group images according to the following categories, all of which involve women or girls in the following situations: seduced, abduated, and sexually harassed; groomed and socialized for wifehood and motherhood; veiled; dancing; sold as slaves or concubines; concorned with finding a man and/or 'love and happiness for ever after'; objectiffed sexually through the male gaze; covetous of material possessions and wealth; jealous or competitive for male attention; temptresses, bitches, or vamps.

Historically, the Arab world was a familiar cinematic backdrop for romance and adventure. From four to six romantic and action productions set in North Africa were distributed annually between 1910 and 1920. In the 1920s, there were at least 87 American films produced with 'Arab' themes, according to Lawrence Michalak's 1989 article 'The Arab in American Cinema' (Cineaste, vol. 17, no. 1, p. 3).

Hollywood fabricated an eroticized and exoticized Orient, titillating audiences with adventure and lust in the untamed desert landscape. The Arab stereotype in films in the 1920s was mostly an unsavory concoction of exoticism, abduction, banditry, revenge, and slavery. The plots invariably made Arabs the adversaries, pitting them against Western good guys. The most famous of the early 'Arab' films was The Sheik (1921), which catapulted Rudolph Valentino into stardom. The blockbuster hit is a prime example of miscegenation (sex relations between whites and non-whites) where Valentino as the lusty sheik sets out to seduce a young, fair woman. A New York Times reviewer reassures readers that, 'You wan't be offended by having a white girl marry an Arab, for the sheik really isn't a native of the desert at all' (cited by Michalak, p.4). At the end of the film, the sheik is revealed to be the son of an English lord, so miscegenation is averted and consummation is OK.

So successful was The Sheik that it inaugurated more hotblooded, swashbuckling melodramas and prompted reviewers' claims that the film's primary 'machinery of excitation... was that delicious masochistic appeal of the fair girl in the strong hands of the ruthless desert tyrant,' as noted by Bernstein and Studlar in Visions of the East (Rutgers University Press, 1997, p. 102). Seduction and abduction are common motifs in these films. Typically, women are chased around, often in tents, or hoisted on shoulders, flung on horseback and taken off to be sexually harassed. The Sheik managed to lump Arabs - Egyptians, Iraqis, Lebanese, Algerians, Saudi Arabians, and others - together. Thus, a collective Arab emerged, undifferentiated by location or cultural plurality. This blurred delineation of an ethnic group is conducive to separating 'them' from 'us,' consequently, making them the quintessential 'Other.'

In the early 1900s, the orientalized 'vamp' made an appearance on the screen. Fashion, opera, and dance lay the Oriental iconographic groundwork for Hollywood's vamps who came to represent the 'New Woman.' On screen, the archetype was represented by Salome who used her sexuality to dominate men. As Bernstein and Studlar (1997, p. 116) observe: 'Associating the moral disorder of the East with female power was resonant with cultural fears that men were on the verge of capitulating to the sexual and social demands of women. To many conservatives, modern women were the metaphorical daughters of Salome because they were increasingly destructive and dominating in their sexuality.' No actress better epitomized the orientalized vamp than Theda Bara, who starred in A Fool There Was (1915). Born Theodosia Goodman in Ohio, she wore Arabian robes, pretended not to speak English, and was driven around in a white limousine with Nubian footmen. Her hotel suites were draped in black and smelled of incense and perfume. In an interview, Bara exonerated the vamp's actions: 'Believe me, for every woman vamp there are ten men of the same men who take everything from women - love, devotion, beauty, youth - and give nothing in return! The vampire that I play is the vengeance of my sex upon its exploiters' (as quoted by Sumiko Higashi in Virgins, Vamps, and Flappers, Eden Press Women's Publications, 1978, p.61). Other films featuring orientalized vamps were Cleopatra, The Ten Commandments, and Blood and Sand.

The usual setting for Hollywood's Orient is the desert. In addition to being 'undeveloped and primitive,' and therefore in need of 'Western civilization,' the desert provides an erotic dimension, that of what Shohat and Stam refer to as 'exposed, barren land and blazing sands, which metaphorized the exposed, unrepressed 'hot' passion and and uncensored emotions of the Orient...' (Unthinking Eurocentrism, Routledge, 1994, p.148).

In King Solomon's Mines, the topography is blatantly compared to a woman's body. The camera tilts down a nude female sculpture - supposedly a map leading to the legendary twin mountains - the Breasts of Sheba; below is the cave hiding King Solomon's diamond mine. The female body becomes the object of the Western male gaze, in this case specifically of the archeologist and antique dealer, and on a breader vicarious level, of the movie audience.

We can now see that Orientalism is a praxis of the same sort, albeit in different territories, as male gender dominance, or patriarchy, in metropolitan societies: the Orient was routinely described as feminine, its riches as fertile, its main symbols the sensual woman, the harem and the despotic - but curiously attractive - ruler. The tendency to project the East as feminine can be seen in the depiction of ancient Babylonia and Egypt, in D.W. Griffith's Intolerance (1916) and Cecil B. de Mille's Cleopatra (1934). In Intolerance, Babylon symbolizes sexual excess and similarly, and in Cleopatra, Egypt is a site of carnal delights.

In the thirties, the initial Mummy film made its debut followed by several incarnations. Abduction and attempted miscegenation were prevalent in this enduring genre. And in the forties, the screen adaptation of Arabian Nights garnered millions of box office dollars. It spawned several movies including Ali Baba and the Forty Thieves, the Sinbad series, and Cobra Woman, all featuring the predictable fare of harems, dancing girls, and odious tyrannical characters. Hollywood studios reproduced this successful formula and mutated it into biblical epics such as Solomon and Sheba. The raunchier renditions of these productions were even referred to as 'T and S' (tits and sand) movies at the studios.

After World War II, Hollywood continued to produce comedies and musicals with Oriental settings. In 1965, Elvis Presley starred in Harum Scarum, which had harem-like nightclubs. The rock star sang: 'I'm gonna go where the desert sun is; where the fun is; go where the harem girls dance; go where there's love and romance, out on the burning sands, in some caravan' (Quoted in Shohat and Stam, 1994, p. 161). In the early sixties, Exodus and Cast A Giant Shadow started a new cinema genre generated by the Arab-Israeli conflict. The good Israelis were seen pitted against the bad Arabs, who were depicted primarily as kidnappers, terrorists, and murderers.

According to the American Film Institute, if the most frequent themes in the 87 Middle East films from the 1920s and the 118 Middle East films of the 60s are tallied it becomes apparent that Hollywood's Middle East had become a more sinister place. As noted  by Michalak (1989, p. 6), in the sixties, murder escalated from twenty-seventh place to second place. Slavery, theft, and abduction all moved into the top ten, and new negative characteristics appear: explosion, prostitution, treason. Hollywood's portrayal of Arabs does not appear to be improving. Black Sunday, Rollover, Protocol, Ashanti, Father of the Bride Part II, Aladdin, and Paradise are examples of recent productions that continue to denigrate Arabs.

The persistence of the negative Arab image in American cinema, as in other popular culture, fuels racism. In addition, this negative stereotyping helps foster the United State's domestic and foreign policy against the Arabs. In the current climate of political correctness in which deliberate efforts are being made in representing multiculturalism in the mass media, it is ironic that Arabs continue to be disparaged without impunity. Nowhere is this more evident than in Hollywood films. Through re-contextualization and juxtaposition of footage taken from Hollywood films, I hope to induce viewers to reassess the representation of Arabs in American cinema; and thus make them aware of the existence of disparaging stereotypes and their insidious repercussions.

[This essay was written by Tania Kamal-Eldin, director of Hollywood Harems, and has been edited for inclusion on TV Multiversity. The original version is at Microsillons. Further information is on her website and she has a similar article here. The film is available on VHS and DVD (for institutional rent or purchase only) from Women Make Movies.]

“Please Wait” Issue on Freesat Humax FOXSAT-HDR receivers when accessing the TV Guide

“Please Wait” Issue on Freesat Humax FOXSAT-HDR receivers

According to reports, a recent software update to Freesat Humax FOXSAT-HDR receivers has meant that in some cases, a "please wait" message is displayed for around 30-40 seconds when trying to access the TV Guide.

Humax have said that "The reason for the change is due to increased EPG data being sent by Freesat above the specification, we

Why can't Brits get Sky TV in Spain?

You can receive Sky TV in Spain.

However, due to the broadcast agreements, the channels on Sky TV do not have the correct broadcast contracts to allow their programming to be available in Spain. In fact, many of those TV programmes on the Sky channels may have already been bought for viewing in Spain by the Spanish TV broadcasters like TVE, or Cuatro, or LA Sexta or their satellite TV service

What is the frequency for Channel Five on Sky TV in Spain?

Normally Channel Five can be found on Sky TV on Sky channel 105.



But, due to the various advertising regions, you may be allocated the "Freesat TV " version of channel Five.
This Freesat Channel Five requires no Sky card to watch, but in many areas of Spain it may not be available 24/7.

The frequency for this free to air version of channel Five is 10773 h 22000 5/6.
This is the same frequency

Have you recently lost True Movies...well it has changed frequency.

True Movies and a few other channels have recently changed frequencies.

The channel affected are

Bliss
Chart Show
Dance Nation
Flava
Kix!
NME
Pop
Pop Girl / +1
Scuzz
The Vault
Tiny Pop / +1
True Ent
True Movies 1
True Movies 2

The new frequency for these channels will be 11307V 27500 2/3

If you use a Sky box or a freesat box then the changes will be done automatically.

If you are using a

Channels changes on Sky Freesat and Generic receivers in Spain (True Movies)

Some channels available Sky TV and Freesat TV have recently changed frequencies.

This has affected the following channels:

Bliss
Chart Show
Dance Nation
Flava
Kix!
NME
Pop
Pop Girl / +1
Scuzz
The Vault
Tiny Pop / +1
True Ent
True Movies 1
True Movies 2

The new frequency for these channels will be 11307V 27500 2/3

It is thought that one reason for this change is the fact that their old

How do I add Freesat channels to Sky?

How do I add Freesat channels to Sky?

Freesat channels are "Free to air" channels, and require no viewing card.

A Sky box without a Sky card will recive the same "free to air" channels as a Freesat box.

So, all channels that are available on Freesat will already be available via the Sky Guide....

Except maybe Channel Five, which you may have to add manually:

Manually Add Channel Five

DISH Network Promo Code-Promo Code A12 Ext 50531

DISH Network Promo Code A12

DISH Network Promo Code A12 and Ext 50531 should be used by new DISH customers when ordering via the toll free number, 1-800-998-DISH(3474).

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AE linear workflow

http://prolost.com/blog/2009/9/30/passing-the-linear-torch.html



http://ae.tutsplus.com/tutorials/workflow/understanding-linear-workflow/

Politics and Femininity in 'The Chess Players'

Like most great Indian myth-makers of the last two hundred years, Satyajit Ray is at his most creative when dealing with problems of women and femininity. There can be no better way of acknowledging his 'presence' in the contemporary Indian consciousness than by recognizing the social criticisms his construction of womanhood offers. I shall try to give some flavour of this presence by partly re-reviewing a film of his which is apparently concerned only with men and with a 'manly' pursuit, politics. This film, 'Shatranj Ke Khilari' ('The Chess Players'), is based on a famous short story by Munshi Premchand and is Ray's only full-length Hindi film, directed at what may be called a pan-Indian audience. That it failed to reach its intended audience is of course well known. We do no know how far the failure was due to the film itself and how far to the structure of the Indian film industry, but that is not a specially relevant question in this context. For my concern in this re-review is to show that there is not only a politics of statecraft but also a politics of culture, and that all great artists have to deal with the second kind of politics, even when overtly refusing to challenge its basic axioms.

Second, I hope to show that both as a pioneer of the Indian art cinema and as a self-conscious representative of the nineteenth-century 'renaissance' of India culture, Ray cannot but venture a criticism of both the West and the East; and that his criticism of the East cannot but bear the imprint of values popularized by the modern West. I also hope to show that the film's attempt to give expression to Indian cultural values and to the struggle for cultural survival is incidental Ray's artistic purpose. This is because Ray's critique of the modern West is internal to modernity and does not use India traditions, which in Shatranj happens to be the culture of the victims, as the baseline for the film's implicit theory of oppression.

My point of departure is a controversy that was reported some years ago in the pages of a popular weekly, in which Satyajit Ray and the film critic Rajbans Khanna debated a central character in 'Shatranj Ke Khilari,' Nawab Wajid Ali Shah. The original piece by Rajbans Khanna was published under the title 'Ray's Wajid Ali Shah' in The Illustrated Weekly of India (22 October 1978, pp. 49-53), and the reply by Satyajit Ray was published as 'My Wajid Ali is not "Effete and Effeminate,"' also in The Illustrated Weekly of India (31 December 1978, pp. 49-53). As is well known, Wajid ruled over Awadh till his kingdom was annexed by the British in 1856. To the utter contempt of most contemporary British historians and Indian nationalists, he gave up Awadh without firing a shot. In his critique of Ray's film, Khanna tries to be more fair than Ray to the defeated Nawab. Khanna argues that Wajid was not an effeminate feeble ruler, devoid of political acumen and military sense, that Ray had depicted Wajid as such following biased British historians and their Indian factotums, ignoring the views of more reliable chroniclers. Ray, always pugnacious when faced with hostile criticism, replied that his political history was sounder than Khanna's; that his Wajid was a more complex figure than Khanna made out and was, in essence, truer to historical fact, as a personification of the feudal decadence and timidity that helped establish the British empire in India.

Actually, despite Ray's defensiveness, the 'truth' of Shatranj is not dependent on the 'historical truth' of the personality of Wajid. Khanna partly misses the point of a story built around two apolitical aristocrats who are members of the political elite of Awadh. Being compulsive chess-players, they spend their time placidly playing chess while the forcible annexation of Awadh to the British empire takes place. The movie shows how the players make a mess of their lives because of their addiction to the game; how they, after being momentarily disturbed by the more serious political chess going on in their society, prepare to go back to their private game. It seems to be Ray's argument - and also Premchand's - that the easy carelessness of the two protagonists, both about their own lives and about public life in general, reflects their and their kind's distorted sense of reality and their unconcern with the fate of their people.

The 'real' personality of King Wajid - primarily a poet, musician, bibliophile, dancer and lover - is incidental to such a story. He forms part of the feudal backdrop against which the game called British colonialism in India was played, which in turn is the backdrop against which the private game of the two aristocrats has been portrayed. In any case, for his purpose Ray has every right to defy history and depict Wajid as a feudal prototype, a king who fails to perform his kingly functions, who is first an aesthete and only then a ruler. And that is how Ray as a creative artist and a historically self-aware commentator on colonial India consciously depicts his Wajid. At this plane, Ray's commitment to the value of masculine kingliness is no less than Khanna's. He merely differs from this critic in his estimate of Wajid's conformity to these values.

However, the film-maker Ray is more sensitive than the political historian Ray and the psychological and political issues which he raises in his movie are deeper than the historical issues he debates with Khanna. Statecraft, measured by masculinity and skill in realpolitik, and the politics of cultural clash, within persons and outside, are the two intersecting themes that give Shatranj its touch of poetry as well as critical content. General James Outram, British Resident at the Court of Awadh and the man who negotiates the surrender of Wajid, is certainly, as depicted by Ray, more cognizant of these themes than Ray himself. Ridden with more doubts, Ray's Outram knows that the British are flouting their treaty with the Nawab and trying to oust him from the throne of Awadh. Outram makes peace with his conscience by reminding himself that Wajid dances with dancing girls, writes poetry and sings. What could be more unkingly, decadent and - this remains half-articulated - unmanly. At one place in the movie, Outram upbraids his English ADC for being infected with the dangerous virus of the oriental concepts of rulership and with sympathy for a king popular with his subjects for his artistic creativity and scholarship, a king willing to forego martial hypermasculinity to actualize his authentic, more androgynous self. But at the same time, Outram sense the fault lines in his own monolithic concept of politics; he suspects that somehow the king, depite losing his kingdom, has articulated a deeper and more healthy concept of governance.

The denouement comes when James Outram faces Wajid Ali Shah for the final negotiations; in effect, to deliver the ultimatum for surrender. Wajid, determined to avoid bloodshed, takes off his crown and offers it to a highly embarrassed Outram. Outwardly, modern statecraft wins but, against the historical judgment of Satyajit Ray, the traditional vision of the public realm reaffirms its moral stature. And that through the primary agent of modern statecraft, Outram himself.

It is possible to argue that, unknown to Ray, Shatranj is an essay on the clash between two perspectives on womanhood, power and culture. These perspectives arise not from two irreconcilable sets of cultural categories represented by the East and the West; they provide an element of contradiction within each of the two confronting cultures too. Wajid borrows from the indigenous concept of self-realization which equates saintliness with the ability to transcend the barrier of gender. But he also deviates from the dominant concept of kingship in Indian Islam as well as in the Hindu tradition of Ksatriyahood. Most of his courtiers and many of the ordinary citizens of Awadh know this, and Wajid occasionally appears to be a lonely man fighting a lonely battle with less than complete sanction for his lifestyle in his society. However, ever if only partial, the sanction is there. In his culture, he could create a legitimate space for himself in the public realm.

In Outram's world, too, the legitimacy of hypermasculinity and pure politics is not complete. As his ADC's ambivalence shows, in the jungle of colonial politics persists a vague British disapproval of overt aggression, an almost pathetic attempt to justify the intervention in Awadh in terms of the rules of fair play, a hesitant cognitive respect for the creative androgyny of Wajid, and an uncomfortable ambivalence toward softness femininity and poetry. In spite of the needs of colonialism, the demands of civilisational mission and masculine Christianity, there remains in the English characters of the movie a certain self-doubt, an awareness of elements of their culture that have become recessive but are not entirely dead. Even Outram, that redoubtable hero of British colonialism, is not free of this doubt. There is an unspoken dialogue between him and Wajid which transcends the barriers of culture.

This dialogue reveals the common predicament of the principal antagonists. Both Wajid and Outram are torn men. Apparently, Wajid has full confidence in his own way of life and kingly identity. 'Can your Queen write poetry like me,' he asks a perplexed Outram, 'and do people sing her lyrics the way they sing mine?' But he also nurtures the feeling that he has failed as a man, that perhaps his is not the correct model of kingship. There is a long monologue in the movie where the kind accuses his court of political and administrative failure. The criteria by which he judges his officers are not different from the criteria by which he himself is judged by Outram and Ray.

At this plane, Shatranj holds Wajid responsible for not living up to his own declared values of masculine statecraft. In fact it underscores these values by connecting the Wajid who admonishes his court to the colonial-bureaucratic self of Outram through a speech by the Queen Mother of Awadh to Outram, in which she invokes the principles of fair play and statesmanship. For Ray, there is a domain of discourse in which Indian passivity and cowardice meet their match in British power politics and perfidy, and the Queen Mother's vision of politics marks out that domain. He therefore tries, through the uncharacteristic use of Wajid's and his mother's long speeches, to make peace with his overt values and to deny the alternative political statement that his creative self makes throughout his movie. For if there are two Outrams here, there are two Satyajit Rays, too.

Himself a self-conscious product of the dialogue between East and West absentmindedly brought about by colonialism, Ray depicts Outram's ethical discomfort as if it mainly involved modern concepts of justice and treaty obligations. Yet he hints at Outram's fear that not merely his ADC but he himself might become 'soft' towards the king's androgynous political style. If Wajid is guilty of trying to transcend the 'rightful' divisions between male and female, work and leisure, pleasure and responsibility, the soft and the hard, the political and non-political, Outram is no less guilty of wavering in allegiance to the dominant motif of his culture and the ideology of colonialism. His moral discomfort is even more patent, given the minimal sanction he gets from his own immediate environment, the British-Indian colonial culture, to defy the historical and cultural role imposed on him.

[The foregoing was written by Ashis Nandy and was extracted from the longer piece 'An Intelligent Critic's Guide to Indian Cinema,' originally published in The Savage Freud and Other Essays on Possible and Retrievable Selves (Princeton University Press, 1995, pp. 209-14). The remaining parts of 'The Chess Players' are available on YouTube.]

This weeks live football on Sky ESPN ADMC Canal+

Saturday 13th August
FA Premier League

Queens Park Rangers v Bolton Wanderers 3.00pm ADMC Sport
Blackburn Rovers v Wolves 3.00pm ADMC Sport
Fulham v Aston Villa 3.00pm ADMC Sport
Liverpool v Sunderland 3.00pm ADMC Sport, Canal+ Futbol Spain
Spurs v Everton 3.00pm ADMC Sport
Wigna v Norwich 3.00pm ADMC Sport
Newcastle United v Arsenal 5.30pm ESPN, ESPN HD, ADMC Sport

Sunday 14th August
FA

Blockbuster Free For 3 Months - DISH Network Updates

Blockbuster FREE for 3 Months Only With DISH Network - Updates

Running Now - 1/31/12 - Take advantage of this Blockbuster special offer from DISH Network!

Read More

ILM - Creating the Impossible

Thanks A-Hom's info....

http://www.youtube.com/watch?v=5ZGkneixgpg&cc=1

New codes for Canalsat - 8/8/2011

Canalsat  ] Viaccess Astra 19.2°E | | Emus | Provider : 022610 | Frequency |

V 022610 08 DFB61C951AE2C57BDE0D4887B9614295 ; Active
V 022610 09 B4BFE2CDD4CC726B7F9EAB768A86E215 ;
V 022610 0A 3871F777C42CFB6D946A506D78FF5284 ;
V 022610 0B 2942EDF704B6FD8AD53BA211CFA060B7 ;
V 022610 0C E39A2FD7F86CD3ACD38F6EBA87B98CDB ;
V 022610 0D EA330AF252112263481CB0F2059B8178 ;
V 022610 0E 38E27A647C1BC3CB4C059F6495FF1C6C ;
V 022610 0F FA68F98A53EF0077900BCF59C0673E2B ;
V 022610 D1 536D1D0DC041D468 ;
V 022610 X1 8DE3666B8CB0B00B ;
V 022610 P1 0106000203050407 ;
V 022610 C1 1332DB1E6775561E ;
V 022610 T1 D6B456127B1032D86067DF48284A9C6C05E4036DBC33D48E53654BAA6A57C263C0434F5E69F434B80C6FE57C58CF9697C86E
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8FAF9AFD0ABC4CC ;




Canalsat  ] Viaccess Astra 19.2°E | Cristor Format  | Provider : 022610 | Firmware Here | Data Full Here | Frequency |

Key00/ 5F75A467755235FE7CD89DF41B00404B
kEY01/ 660EF34AA73D9076EBF63DA6064F7289
KEY02/ B02AC4F7B99BFC51FF14ADCE0122E1F0
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KEY05/ 001AC6E9E2EAE4B752BCF38B2F598224
KEY06/ E46CA08D3ED5FD994F9FAFBDD1835D1C
KEY07/ 2F918DA74552A6C31944D1B0E58E7EFC
KEY08/ 8CFF760828F47042F354CDE91C5DA05A
KEY09/ 8178ECE0CC33776B7CD89DF41B00404B
KEY0A/ 660EF34AA73D9076EBF63DA6064F7289
KEY0B/ B02AC4F7B99BFC51FF14ADCE0122E1F0
KEY0C/ B0D9C2D2E76FD5B315517D1D95B48383
KEY0D/ 81908FDF008ECAEA10E2E0C324DBEEE9
KEY0E/ 001AC6E9E2EAE4B752BCF38B2F598224
KEY0F/ 348C6B889F55670D1944D1B0E58E7EFC

New full satellite tv keys - 8/8/2011

AL Jazeera HD 1   ] Eutelsat W6 21,6 E 11081 V 8888  | Biss |
Key: 00 06 76 7C 37 08 94 D3 ( Durant les Match de Foot )

Cablecom (Swiss cable network) ] ident 7301 [Nagra2] 27-04.2011
Key 00: 01 61 2B 09 BF B6 B8 71 36 59 AA C9 37 A7 52 7F

Libya Satellite Channel ] 11168 H 2139  Atlantic Bird2 8°W | Biss | SID:0001 |
key:A2 B3 C4 19 D5 E6 F7 B2

Monitor Games ] Hotbird (13.0°E)  11317 V 27500  | Biss |SID HEX:44E2  ||
key:66 64 86 50 74 26 37 D1

ECHOLINK -STARSAT FORMAT :Menu Tools FCAS OPTIONS KEY EDITOR CONSTANT CW :
key: 66 64 86 50 74 26 37 D1 66 64 86 50 74 26 37 D1

Opap TV ] Hotbird (13.0°E)  11317 V 27500  | Biss |SID HEX:44E1  ||
key: 67 27 88 16 47 33 23 9D

ECHOLINK -STARSAT FORMAT :Menu Tools FCAS OPTIONS KEY EDITOR CONSTANT CW :
key: 67 27 88 16 47 33 23 9D 67 27 88 16 47 33 23 9D

Turner ( Cartoon Net Arabic ) ] Hotbird (13.0°E)  12245 H 27500 3/4  | Biss |SID HEX:0065  ||
key: D0 12 34 16 AF E0 7B 0A

TVI Internacional   ] Hispasat 1D @30.0°W 12591 V  30000 7/8 | Biss |SID HEX:01F4  ||
Key: 11 22 33 66 44 55 66 FF

AustriaSat  ] | Cryptoworks |Provider: 0D0510  | Astra 19.2°E | Frequency
Key00: 00 00 00 00 00 00 00 00 C2 E0 17 77 E6 9B 85 0D

SIC International Eutelsat W2M (16.0°E)  12736.00 V 3703 7/8 SID:0001 CCW  Caid : 0500
CCWs keys:FCD013DF3655C550 BF643255AF483C33

First Ukraine  ] Astra 4A (4.8°E) (Sirius 4.8E) 11766 H S/R 27500 FEC 3/4 | Biss |SID HEX:1810  ||
Key: 10 06 10 26 11 07 11 29

SKY SPORT 24(ITINFI CH8) & JSC SPORT FEED  ] Eutelsat W2A 10E  11134 H 5064 | Biss | SID in HEX:0001 |
KEY:12 34 56 9C AB CD EF 67 ( Durant les Match de Foot )

Al Aoula Maroc ] Hotbird 6 (13.0E)  10873.00 V - 27500 3/4  | Biss | SID in HEX:0003 |
key: CA 50 B7 D1 31 D6 58 5F

ORF ] | Cryptoworks |Provider: 0D0504 | Astra 19.2°E | Frequency
W 0D0504 06 0987CF2A611D; CardSystem Key
W 0D0504 00 A9D732F5E738E48A91C8638B12746661; OP key