Know Constitutional Provisions relating Comptroller and Auditor General of India

Know Constitutional Provisions relating Comptroller and Auditor
General of India

Know Constitutional Provisions relating Comptroller and Auditor General of India

COMPTROLLER AND AUDITOR-GENERAL OF INDIA

148. Comptroller and Auditor-General of India –

(1)
There shall be a Comptroller and Auditor-General of India who shall be appointed by the President by warrant under his hand and seal and shall only be removed from office in like manner and on like grounds as a Judge of the Supreme Court.


(2)
Every person appointed to be the Comptroller and Auditor-General of India shall, before he enters upon his office, make and subscribe before the President or some person appointed in that behalf by him, an oath or affirmation according to the form set out for the purpose in the Third Schedule.

(3)
The salary and other conditions of service of the Comptroller and Auditor-General shall be such as may be determined by Parliament by law and, until they are so determined, shall be as specified in the Second Schedule:

Provided that neither the salary of a Comptroller and Auditor-General nor his rights in respect of leave of absence, pension or age of retirement shall be varied to his disadvantage after his appointment.

(4)
The Comptroller and Auditor-General shall not be eligible for further office either under the Government of India or under the Government of any State after he has ceased to hold his office.

(5)
Subject to the provisions of this Constitution and of any law made by parliament, the conditions of service of persons serving in the Indian Audit and Accounts Department and the administrative powers of the Comptroller and Auditor-General shall be such as may be prescribed by rules made by the President after consultation with the Comptroller and Auditor-General.

(6)
The administrative expenses of the office of the Comptroller and Auditor-General including all salaries, allowances and pensions payable to or in respect of persons serving in that office, shall be charged upon the Consolidated Fund of India.

149.
Duties and Powers of the Comptroller and Auditor-General - The Comptroller and Auditor-General shall perform such duties and exercise such powers in relation to the accounts of the Union and of the States and of any other authority or body as may be prescribed by or under any law made by Parliament and, until provision in that behalf is so made, shall perform such duties and exercise such powers in relation to the accounts of the Union and of the States as were conferred on or exercisable by the Auditor-General of India immediately before the commencement of this Constitution in relation to the accounts of the Dominion of India and of the provinces respectively.

150.
Form of accounts of the Union and of the States - The accounts of the Union and of the States shall be kept in such form as the President may, on the advice of the Comptroller and Auditor-General of India, prescribe.

151.
Audit Reports –

(1)
The reports of the Comptroller and Auditor-General of India relating to the accounts of the Union shall be submitted to the president, who shall cause them to be laid before each House of Parliament.

(2)
The reports of the Comptroller and Auditor-General of India relating to the accounts of a State shall be submitted to the Governor of the State, who shall cause them to be laid before the Legislature of the State.

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Tuesday, June 28, 2011

Tag - cag, India

TV Set Top Boxes Consume maximum electricity use 27 billion kilowatt-hours of electricity Know NRDC and Ecos study finding

TV Set Top Boxes Consume maximum electricity use 27 billion
kilowatt-hours of electricity Know NRDC and Ecos study finding

More than 80 percent of U.S. homes got the set top boxes in one or another form, approximately 160 million set-top boxes, nearly all of which are owned and installed by the cable, satellite, phone, or other service provider.


NRDC and Ecos partnered to better understand how much energy these devices use and what energy savings opportunities exist.

Pay-TV service providers control set-top box installation, configuration, software updates, repair, refurbishment, retirement, and resale.

The consumer, who pays the electric bill, has little choice about what box the service provider installs and how much energy it uses.

The average new cable high-definition digital video recorder (HD-DVR) consumes
more than half the energy of an average new refrigerator and more than an average new flat-panel television.

Even more troubling, when not displaying or recording video content, U.S. boxes draw nearly as much power as they do when in use.

Because set-top boxes are not in use most of the time, two-thirds of total energy consumption—or the equivalent annual energy output of six power plants (500 MW)— occurs when the boxes are not in use.

Innovation to reduce power consumption when not in active use—such as
has occurred with mobile phones, which also work on a subscriber basis and require secure connections—is sorely needed in set-top boxes

NRDC’s investigation and modeling of the energy consumption of pay-TV set-top boxes under business-as-usual and more energy-efficient scenarios revealed a startling fact:
unless the industry deploys more energy efficient designs, the electric bill to power these devices will increase by a staggering $3.5 billion per year by 2020.

Fortunately, development and deployment of energy-saving technologies and practices has the potential by 2020 to save as much energy as is generated by seven large (500 MW) power plants.

Findings of NRDC and Ecos Study -

1.
NRDC found that In 2010, set-top boxes in the United States consumed approximately 27 billion kilowatt-hours of electricity, which is equivalent to the annual output of nine average (500 MW) coal-fired power plants.

2.
The electricity required to operate all U.S. boxes is equal to the annual household electricity consumption of the entire state of Maryland, results in 16 million metric tons of carbon dioxide (CO2) emissions, and costs households more than $3 billion each year.

3.
There are approximately 160 million set-top boxes installed in U.S. homes. Almost all of these boxes are owned and installed by the service provider (e.g. Comcast, Time Warner, Cox Communications, DISH Network, DirecTV, Verizon and AT&T, etc).

4.
Today’s set-top boxes operate at near full power even when the consumer is neither watching nor recording a show. As a nation, we spend $2 billion each year to power these boxes when they are not being actively used

5.
Digital Video Recorders (DVRs) are growing in popularity and frequently replace set-top boxes without recording capability. DVRs typically use around 40 percent more energy per year than their non-DVR counterparts

6.
Better designed pay-TV set-top boxes could reduce the energy use of the installed base of boxes by 30 percent to 50 percent by 2020. The big opportunities include: a) shifting to whole-home solutions that include a main box connected to the primary TV with either TVs specially-designed to access the video content stored on the main box or low-power thin client boxes that serve the same function, and b) having the boxes automatically power down to much lower power levels when not in use (e.g. in the middle of the night, or while users are at work).

7.
U.S. set-top boxes continue to use almost as much power when not in use as they do when in use. However, leading European service providers have begun to solve this problem in their newest boxes.

8.
Pay-TV set-top box national energy consumption has held steady as efficiency gains at the component level have been offset by the increased energy onsumption of advanced features.

9.
Satellite HD-DVRs in this study drew slightly more power than their cable counterparts, but this may change over time. Internet Protocol TV (IPTV), which is rapidly gaining market share compared to cable and satellite, enables the use of lower-power boxes. The most efficient U.S. HD-DVRs tested were AT&T’s IPTV boxes, drawing approximately 18 watts when operating (On mode) and 12 watts in light sleep state. European IPTV HD-DVRs demonstrated impressively low On mode power levels of less than 10 watts.

10.
Sky Broadcasting in Europe offers one of the best examples of an energy efficient set-top box. Their highly featured HD-DVR draws 23 watts in On mode and 13 watts when the user puts the box into light sleep state by pressing the power button on the remote. In light sleep, the box does not output or record video, but remains connected to the network and able to resume full functionality almost instantly. In addition, Sky set-top boxes default to a less than 1 watt deep sleep state each evening at 11:00 pm. In this state, Sky’s boxes wake for a brief period every half hour to check for new program recording requests entered by subscribers using smart phones. If there is no scheduled activity, the box will automatically return to deep sleep state. Sky’s customers experience a 90-second wake time when they press the power button to wake from deep sleep state, and they may disable this deep sleep feature if they choose.

Recommendations For Reducing electricity consumption –

1.
Meeting Energy Star Requirements Manufacturers are strongly encouraged to design products that meet or surpass ENERGY STAR Version 4.0 requirements as soon as possible.

2.
Employing Automatic Low-Power States Future products should automatically enter a low power state when the user is neither watching nor recording or downloading a show, and should wake up in a sufficiently short period of time to prevent customer dissatisfaction.

3.
Replacing Outdated and Inefficient Set-Top Boxes Service providers should accelerate deployment of new energy-efficient set-top boxes and make any needed changes in their “upstream” equipment to ensure the energy saving features are successfully utilized. Service providers are encouraged to shift to multi-room solutions that require only one main box and employ much lower power boxes (thin clients) to view content on other televisions in the home

4.
Providing Incentives at the Utility Level Electric utilities should consider providing financial incentives to encourage the development and deployment of energy efficient set-top boxes.

5.
Consider Regulatory Policies to Increase Set-Top Box Energy Efficiency Policy makers should consider establishing minimum energy efficiency standards for set-top boxes at the state or national level, or via an industry-led voluntary agreement similar to those established in Europe

6.
Bringing Efficiency to Local Markets As a means to drive demand for more efficient set-top boxes, local cable regulators should consider adding efficiency requirements to their franchise agreements. A simple means to do this is to require deployment of boxes that meet ENERGY STAR Version 4.0 or better.

The research performed to prepare this report was funded by a grant to NRDC from the U.S. Environmental Protection Agency. Research and analysis was conducted by Gregg Hardy and Jeffrey Swofford of Ecos (ecosconsulting.com).

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Monday, June 27, 2011

Tag – Electricity consumption Set top box ndrc study

Source - http://www.nrdc.org

Complete List of 2011 Los Angeles Asian Pacific Film Festival Winners

Complete List of 2011 Los Angeles Asian Pacific Film Festival Winners
For the first time, the Los Angeles Film Festival awarded an unrestricted $5,000 cash prize to each short film category.

The 2011 Los Angeles Film Festival gave two juried awards: the Narrative Award and Documentary Award Each carries an unrestricted $15,000 cash prize funded by Film Independent for the winning film’s director to pursue their artistic ambitions.


Below is the complete list of the jury and audience award winners for the 2011 festival, which ran from Thursday, June 16 to Sunday, June 26 in downtown Los Angeles:

Narrative Award – Familiar Ground

Familiar Ground – Best Narrative Feature
Directed By: Stéphane Lafleur
Executive Producer: Francois Reid
Producers: Luc Déry, Kim McCraw
Screenwriter: Stéphane Lafleur
Cinematographer: Sara Mishara
Editor: Sophie Leblond

Featuring: Francis La Haye, Fanny Mallette, Sylvain Marcel, Michel Daigle, Suzanne Lemoine
The gifted Quebecois filmmaker Stephane Lafleur has a rare affinity for unhappy, isolated ordinary people and a rare ability to make their miseries both funny and oddly magical. He’s in total control of his craft in Familiar Ground—every shot has a purpose—as he tells the story of an unhappy wife, Maryse, trapped in a bad marriage, and her slacker brother Benoit, who still lives at home with his cranky, widowed father.

Their bleak lives—not helped by the constant snow that falls around them—get an unexpected jolt when a man who proclaims himself from the future (“Not too distant,” he quips, “just September”) warns Maryse of an accident that may befall them. This droll, deadpan comedy quietly builds to its surprising conclusion.

In bestowing Stéphane Lafleur with the Narrative Award, the Jury stated:
“An entire tree sticking out of a fireplace…a beaten-up snowman…an operatically dancing inflatable blue dude…the anything but familiar images of Familiar Ground won’t soon be forgotten.
In a strong narrative competition this year, this was the singular vision that stood out the most.”

Documentary Award – Wish Me Away

Wish Me Away - Best Documentary Feature
Directed By: Beverly Kopf and Bobbie Birleffi
Executive Producers: Rhonda Eiffe, Richard Bever, Fletcher Foster
Producers: Bobbie Birleffi, Beverly Kopf
Cinematographer: Paul Mailman
Editor: Lisa Palattella
Music: Chely Wright

Country singer Chely Wright knew she was a lesbian at a young age, but she instinctively knew that her orientation was in direct conflict with her aspirations to one day perform at the Grand Ole Opry. She prayed for help from God, stayed in the closet and went on to sell more than 1,000,000 albums.

Wish Me Away chronicles the days leading up to Wright’s coming out announcement on national television in 2010, and it provides both an intimate look at the fear and torment behind her high-risk decision and a revealing glimpse into the multi-media P.R. campaign that attended her brave act of self-exposure.

In bestowing Beverly Kopf and Bobbie Birleffi with the Documentary Award, the Jury stated:
“For its honesty, humor and potential to changes minds and even save lives, the jury awards the Documentary Award to Wish Me Away.”

Best Peformance in the Narrative Competition – The Cast of How to Cheat

How to Cheat – Amber Sealey, Kent Osborne, Amanda Street and Gabriel Diamond
Directed By: Amber Sealey
Producer: Ben Thoma
Screenwriter: Amber Sealey
Cinematographer: Gabriel Diamond
Editor: Michelle M. Witten
Cast: Amber Sealey, Kent Osborne, Amanda Street, Gabriel Diamond

In this funny and honest depiction of the messiness of modern marriage, writer-director Amber Sealey also stars as Beth, a woman of child-bearing age and inclination who, with her husband Mark, has been struggling to conceive. Sealey’s guileless performance as a woman betrayed by her own body is matched by Kent Osborne’s as the awkward Mark, who, confused and frustrated, turns to online dating, where he shops for the perfect affair to shake up his life. Given his counterproductive tendency to reveal his motives up front, his encounters tend to be short and ugly, until he meets the avid Louise, whose complex attitude sets them all down an unexpected path.

In bestowing the actors with the Best Performance, the Jury stated:
“At a time where actors are often asked to take a larger role in the creation of what is said in a film and how it’s done, the performers of How to Cheat deserve special distinction. Kent Osborne, Amber Sealey, Amanda Street, and Gabriel Diamond dug deeper and messier, heroically past the point of comfort.”

Audience Award for Best Narrative Feature – Attack the Block

Audience Award – Attack the Block
Directed By: Joe Cornish
Executive Producers: Jenny Borgars, Will Clarke, Matthew Justice, Tessa Ross, Edgar Wright
Producers: Nira Park, James Wilson
Writer: Joe Cornish
Cinematographer: Thomas Townend
Editor: Jonathan Amos
Cast: Jodie Whittaker, John Boyega, Alex Esmail, Franz Drameh, Leeon Jones, Simon Howard, Luke Treadaway, Jumayn Hunter, Nick Frost

From the producers of Shaun of the Dead and Hot Fuzz, Attack the Block is a fast, funny, frightening adventure that pits a teen gang against a savage alien invasion and turns a London apartment complex into a fortress under siege.

When a strange alien creature falls from the sky and attacks the gang of underage hoodlums in the middle of a mugging, the gang grabs weapons, mounts bikes and sets out to defend their turf. Fighting off the next wave of invaders, who are bigger and meaner than before, this bunch of no-hope kids is about to become London’s only hope and the most unlikely batch of heroes you have seen.

This award is given to the narrative feature audiences liked most as voted by a tabulated rating system. Select narrative feature-length films screening in the following sections were eligible for the Audience Award for Best Narrative Feature: Narrative Competition, Gala Screenings, International Showcase, International Spotlight, Summer Showcase, Community Screenings, Ford Amphitheatre Screenings, and The Beyond.

Audience Award for Best Documentary Feature – Beats Rhymes and Life: The Travels of a Tribe Called Quest

Audience Award – Beats Rhymes and Life: The Travels of a Tribe Called Quest
Directed By: Michael Rapaport
Producers: Edward Parks, Michael Rapaport, Frank Mele, Eric Matthies, Robert Benavides, Debra Koffler, ATCQ
As Beats, Rhymes & Life begins, the rappers who anchored pioneering group A Tribe Called Quest are already going their separate ways. As youths in the mid-’80s, the Queens-born foursome of Tribe—Q-Tip, Phife Dawg, Ali Shaheed Muhammad and Jarobi White—found success with their exhuberant exploration and combination of hip hop, pop and jazz. But in recent years, Q-Tip, the band’s visionary and reluctant pop star, has tired of the street-bred capriciousness of his lyrical partner Phife, who is equally frustrated with Q-Tip. How these two friends and musical partners got to this state forms the guts of actor-turned-filmmaker Michael Rapaport’s candid and combustible documentary.

This award is given to the documentary feature audiences liked most as voted on by a tabulated rating system. Select documentary feature-length films screening in the following sections were eligible for the Audience Award for Best Documentary Feature: Documentary Competition, International Showcase, International Spotlight, Documenting Mexico, Summer Showcase, Community Screenings, and Ford Amphitheatre Screenings.

Audience Award for Best International Feature – Senna

Audience Award – Senna
Directed By: Asif Kapadia
Producers: James Gay-Rees, Tim Bevan, Eric Fellner
Screenwriter: Manish Pandey
Editors: Gregers Sall, Chris King

The most exciting driver to ever race Formula One, the handsome, charismatic Ayrton Senna became a Brazilian national hero and an icon to racing fans worldwide. But you don’t need to know the first thing about racing to be thrilled and moved by Asif Kapadia’s high-octane documentary, composed entirely from archival footage. This edge-of you-seat documentary, which literally puts the audience in the driver’s seat, explores the backroom politics, bitter rivalries and the glamour of a sport that leaves no room for error.
This award is given to the international feature audiences liked most as voted on by a tabulated rating system. Select international feature-length films, both narrative and documentary, in the Narrative Competition, Documentary Competition, International Showcase, International Spotlight, Documenting Mexico, Summer Showcase, Ford Amphitheatre Screenings, and The Beyond were eligible for the Audience Award for Best International Feature.

Best Narrative Short Film – The Wind Is Blowing on My Street

The Wind Is Blowing on My Street - Best Narrative Short
Directed By: Saba Riazi
Producer: Mohammad Hoseseni
Screenwriter: Saba Riazi
Cinematographer: Touraj Asiani
Editor: Saba Riazi
Cast: Rahman Houshyar, Sajjad Salehivand, Forough Bonakdar, Ashraf Abolfazlian

A young girl in Tehran is accidentally locked out of her home with no scarf on her head.
In bestowing Saba Riazi with Best Narrative Short Film, the Jury stated:

“For offering insight into the specifics of life under theocratic rule in Iran in a way that speaks to us all, with a remarkable lead performance by an actress forced by circumstances to remain anonymous, the jury presents the Narrative Short Film Award to Saba Riazi for The Wind is Blowing on My Street.”

Best Documentary Short Film – I Am A Girl!

I Am a Girl!- Best Documentary Short Film
Directed By: Susan Koenen
Producer: Albert Klein Haneveld
Screenwriter: Susan Koenen
Cinematographer: Reinout Steenhuizen
Editors: Denise Janzée and Susan Koenen
Joppe dreams of love, marriage and children. Being born a boy only complicates things slightly.
In bestowing Susan Koenen with Best Documentary Short Film, the Jury stated:
“For using gorgeous cinematography and energetic editing to capture a young woman’s journey from biological maleness to forthright femininity, and for giving us a glimpse at an open-minded new generation with a better understanding of gender and sexuality issues than their parents ever dreamed, the jury presents the Documentary Short Film Award to Susan Koenen for I Am a Girl!”

Audience Award for Best Short Film – Blind Date

Audience Award – Blind Date
Directed By: Joe Rosen
Producers: Joe Rosen, Abigail Blackmore
Screenwriter: Abigail Blackmore
Cinematographer: Jon Wood
Editors: Joe Rosen, Abigail Blackmore
Cast: Abigail Blackmore, Cavan Clerkin, Zeben Jameson, Matthew Blackmore

Waiting for her date, Rachel has an unexpected encounter.
Awarded to the short film audiences liked most as voted on by a tabulated rating system. Short films screening in the Shorts Programs or before Narrative Competition, Documentary Competition, or International Showcase feature-length screenings were eligible for the Audience Award for Best Short Film.

Best Animated Short Film – The Eagleman Stag

The Eagleman Stag – Best Animated Short Film
Directed By: Mikey Please
Producer: Royal College of Art
Screenwriter: Mikey Please
Cinematographer: Mikey Please
Editor: Mikey Please
Cast: David Cann, Tony Guilfoyle
This unique stop-motion animated film depicts a man’s haunting obsession with the passage of time and his unorthodox relationship with a beetle.
In bestowing Mike Please with Best Animated Short Film, the Jury stated:
“For mixing innovative three-dimensional paper-cut animation, a stunning white-on-white visual style, and a wryly original sense of storytelling, the jury presents the Animated Short Film Award to Mikey Please for The Eagleman Stag.”

Audience Award for Best Music Video – Can’t Shake This Feeling

Audience Award - Can’t Shake This Feeling by The General Assembly’s Adam Littke, Ryan McNeill, Adam Willis
Directed By: The General Assembly
Producer: Frenchie Alburtis
Cinematographers: Scott Kassenoff
Editor: Joseph Remerowski
Cast: Terry G. Reed, Juliana Milton, Zach Steel, Matt Hinrichs, Steve Taschler, Fotini Patris, Adam Carpenter
Music: Grum
This award is given to the music video audiences liked most as voted on by a tabulated rating system.

Sponsors of the 2011 LAAPPFF include:

PREMIERE – Directors Guild of America; CGV Theaters; PLATINUM – Coca-Cola; NBC Universal / Comcast; Wells Fargo; GOLD – Toyota; Solair; SILVER – Verizon Wireless; Sony Pictures Entertainment; BRONZE – CBS Diversity; SAG; SAG Indie; STAR – Motion Pictures Editors Guild; Writers Guild of America, west; Morgan Stanley Smith Barney; Boeing; California Bank & Trust; Taipei Economic & Cultural Office; Ketel One; Shiftboard; AWARDS – Entertainment Partners; RECEPTION – Solair; Kyochon Chicken; Jinro; LA18 KSCI-TV; Stella Artois; Ketel One; Madang the Courtyard; Candy Chef

MEDIA SPONSORS –
AngryAsianMan.com; LA 18 KSCI-TV; MNet; Glocal; LAWeekly; GOVERNMENT SUPPORT – National Endowment for the Arts; Los Angeles County Arts Commission; Department of Cultural Affairs/City of Los Angeles

FOUNDATION SUPPORT -
California Community Foundation; James Irvine Foundation; Academy of Motion Picture Arts and Sciences; C3 SPONSORS – California Arts Council; SAG Producers-Industry Advancement & Cooperative Fund

About the Los Angeles Asian Pacific Film Festival:

The Los Angeles Asian Pacific Film Festival presented by Visual Communications is the Southland’s premier showcase for the best and brightest of Asian Pacific cinema. Since 1983, the Film Festival has presented over 3400 films and videos by Asian international and Asian American artists, and additionally features seminars and panels, in-person guest appearances, and filmmaker awards.

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Monday, June 27, 2011

Keyword Tag - film festival, la film fest, laff2011, los angeles film fest,

Source - http://www.lafilmfest.com

Last 2 Years Comptroller and Auditor-General (CAG) is demanding 3 new Powers but Congress Government is not ready to give those powers

Last 2 Years Comptroller and Auditor-General (CAG) is
demanding 3 new Powers but Congress Government is not ready to give those powers

We have seen that Comptroller and Auditor-General (CAG) of India is working honestly and their reports are always finding new corruption in which Indian tax payers money is wasted by government.

2G scam – Government took the action after CAG report.


Now CAG's leaked draft saying Reliance Industries was shown “undue favors” in its KG basin operations. From year 2006 CAG started to prepare this report.
Now you can think why so many years to prepare the report?
One of the reason companies do not share documents easily.
Government servants do not share information and documents easily.

Last 2 years Comptroller and Auditor-General CAG is writing to the Finance Ministry to change the 1971 Audit Act.
But government is not ready or government has no time, I do not know why government is giving and changing the audit act as demanded by CAG.

In 2010 the CAG sent proposals for amendments to three broad areas but still government of India servants have not responded , have not taken any action.

Following are 3 demands of CAG, CAG wants following 3 new powers which government is not giving to CAG or still thinking and going slow on it.

1. Speed at which government departments reply to audit report questions. There is no time limit that in how much time, within how much period government department should respond and reply to the questions of CAG.Now CAG is demanding fix a deadline or time period in which government department must answer the questions ask by CAG like 30 days of period. Right to information act says that within 30 days information should be given same type of power CAG wants now that fix a time limit in which government department must answer it.

2. Second demand is that once the report is prepared by CAG and given to Government it must be tabled in parliament compulsorily and immediately without wasting time. The CAG wants the law to specify that governments must immediately table reports submitted while the legislature is in session, or within the first week of the next session, if submitted in between. Now what happens is that if CAG report is not good for Government then government delays the tabling of report in parliament. The CAG's audit of the Delhi Metro Rail Corporation was not tabled in Parliament for a year. Maharashtra government held on to a report for 18 months because it contained adverse comments on Vilasrao Deshmukh, tabling it only when the CAG threatened to have it released through the Governor.

3. Third power demanded by CAG is that to power to audit public-private partnerships and joint ventures, and new types of expenditure that were not included when the law was first framed. Example - routing of money for the Sarva Shiksha Abhiyan, the National Rural Health Mission and the MNREGA through panchayati raj institutions and non-governmental organisations. Media has reported that this way each year more than Rs 80,000 Crore is spent and which is beyond the reach of the CAG's regular audits. Now you can imagine as there is no audit by CAG how much money is wasted and we Indian tax payers never know what exactly is happening with this money, is it utilized properly?

After 2010 regarding this CAG wrote to government weekly but still government is thinking to give CAG these powers or not to give CAG these powers.

Best solution is CAG should directly release the report to Indian citizens and sent the copies to government and Supreme Court of India.

If government officers are not giving information give the power to CAG to visit the officer and get the Xerox of all the documents or file a police complaint against that officer.

Bring all the money matters Under CAG with one simple amendment which will automatically bring new expenses always under CAG.

Suggested Reading –

Know about CAG - Comptroller and Auditor General of India

http://realityviews.blogspot.com/2009/06/know-about-cag-comptroller-and-auditor.html

Reality views by sm-
Monday, June 27, 2011

Keyword Tag – CAG Power CAG Audit