In Season 1, Coke Studio brought together the likes of Rohail Hyatt (of Vital Signs fame), Ali Azmat, Strings and Rahat Fateh Ali Khan. Season 2 turbocharges the roster with the addition of Atif Aslam, Noori and Shafqat Amanat Ali Khan. Already, Coke Studio has received critical acclaim. Atif Aslam’s recent performance of Wasta-e-Pyaar Da, mixed with Billie Jean in memory of Michael Jackson, gave the show yet another boost on the Internet, with the song and video going viral and quickly reaching top of the charts on local music channels in Pakistan.

Coke Studio’s local TV program schedule appears below.

Coke Studio TV Schedule

Polls opened today in Afghanistan with Washington watching closely in hopes that elections are peaceful and leave a lasting mark of democracy for future state building. Pakistan has the same interest on perhaps an even more immediate level. Successful elections in Afghanistan are an integral ingredient to Pakistan’s domestic offensive in uprooting dangerous factions, expanding the economy, nurturing their democracy and stabilizing relations with neighbors. But if a candidate does not receive at least 50% of votes in this first round, “elections are pushed into a second, more unpredictable round of voting“. And second round elections might agitate an already rickety political climate amidst apprehensions of violence, which is entirely detrimental for Pakistan given domestic and regional circumstances right now.

On the domestic front, Pakistan’s military continues to make progress against dangerous groups. Weakened by the death (and or disappearance) of leader Baitullah Mehsud, the Taliban in Pakistan “seems to be in disarray”. Meaning Islamabad’s offensive against factions this year are bearing fruits for the War on Terror and shifting toward more stability, hopefully for the long term. But if elections in Afghanistan are pushed to a second round, weeks of political irresolution can allow terrorist groups a climate of uncertainty within which to recuperate from losses and cause turmoil. Which since 2001 has shown that a dangerous spillover effect exists wherein Afghani militant groups shift in to Pakistan harboring themselves into the nebulous, virtually imperturbable border.

Broader regional considerations also factor into Pakistan’s hopes for stable elections. The spillover of militant groups since 9/11 intensifies Pakistan’s long desired interest in seeing a democratic, stable Afghanistan where refugees may repatriate. In fact, Pakistan hosts one of the largest refugee populations in the world, an underreported story that actually helps explain why dangerous factions were able to develop in Pakistan. Millions of devastated Afghans, some armed and many destitute from fighting Soviets in the 1980’s found refuge from their war ravaged country in Pakistan. A mostly destitute population seeking refuge in a developing country with highly volatile political circumstances allowed violent sectarian and religiously extremist factions to exploit and recruit refugees to their cause. In addition, there are heavy economic costs for Pakistan in maintaining such a large number of refugees. Since last years military escalation in Afghanistan, the UN High Commissioner for Refugees explains that there is around 2 to 2.1 million Afghani Refugees now living in Pakistan. He said the United Nations planned to launch an emergency appeal for hundreds of millions of dollars needed to sustain refugees that have come in just this past year. So peaceful elections in a first round that move Afghanistan in a direction of democratic stability is integral to Pakistan’s security: they relieve Islamabad of a very costly responsibility to a long-standing refugee challenge.

Although some minority, yet raucous opinions say elections ushering democratic authority are not in Islamabad’s interest because they “diminish Pakistan’s influence in Afghanistan”. Thus suggesting policymakers are strategically motivated to prevent losing an allegedly malleable buffer zone that Afghanistan serves against India. It’s an unlikely, poorly reasoned notion. It attempts to be qualified by citing Islamabad’s insistence on uprooting domestic militant/fundamentalist groups, so as to avoid confrontation with a supposed malleable buffer forces. But expecting policy makers to divert efforts from turmoil at home to external threats is a laughable assertion. Before taking care of neighboring militant groups whose primary focus is not on fighting Pakistanis, Islamabad legitimately devotes resources to uprooting domestic factions who pose an immediate threat. Suicide bombings have become an almost weekly recurrence in Pakistan and with that level of instability, faulting Pakistan for not doing enough to uproot neighboring terror is outrageous. Plus, NATO forces and amplified American presence in Afghanistan furthers the absurdity of such calls for Pakistan to ignore turmoil at home and focus on Afghanistan. And neither of these allegations logically indicate a Pakistani motivation for instability so as to use Afghanistan as a buffer zone.

But perhaps the most unreasonable way of supporting a notion that Pakistan lacks interest in successful elections refers to relations with India. Specifically, that Islamabad’s refusal to remove forces from the Indian border despite current spillover from Afghanistan indicates an excessive concern with an Indian threat. A few reasons why this is incorrect: firstly, referring again to amplified U.S. and current NATO presence and given an abundance of domestic threats that require Islamabad’s attention, removing troops from the Indian border to the Afghan border does little to help Pakistan now, (especially weighted against the risks of doing so). Secondly, even if troops from were redeployed, those forces are squarely trained/equipped to face a potential Indian threat, not in counterterrorism. Which became well known much to Washington’s dismay with the military’s many unsuccessful attempts at uprooting militants from the northern regions along the Afghan border.

Finally, a refusal to redeploy forces is not because of an excessive concern given the reality of current Indian-Pakistani relations. The Mumbai atrocities occurred less than a year ago and the aftermath saw a speedy, vehement escalation of tensions. Some Indian media and politicians fanned the flames, and when tensions rise between India and Pakistan, the world gets nervous. By way of a counterfactual, we can tie how these tensions relate to justifying Islamabad’s decision to maintain troops on the border: If, God Forbid, another atrocity took place on Indian soil since 11/26/08 and Pakistan had redeployed troops away from the border. The result could be an even further escalation of tensions. A terrifying potential  for confrontation ensues and Pakistan’s capacity to defend against an already far more immense Indian force is drastically diminished. Which itself has a potential to cause hasty, over offensive beahvior from either side. Basic lessons in Realism thus teach us that redeployment away from the Indian border is out of the question. Given history, and sensitive circumstances since 11/26 I think military strategy might advise the same. Thus from a Pakistani policymakers point of view, troops on the Indian border is a legitimate priority. If anything, one might even argue they deter confrontation.

So, allegations that Islamabad is not sufficiently committed to stable election processes in Afghanistan are just not reasonable. If anything, successful elections relieve Pakistan of deep social and economic costs through refugee repatriation. And from the Mumbai atrocities to countless civilians who suffer daily from terror and a climate of instability that allows violent factions to operate, a peaceful, prosperous Afghanistan beginning with successful elections is very much in Pakistan’s interest.

ORIGINALLY PUBLISHED @ ]]> http://www.pakistanimusic.com/blog/pakistans-angle-in-the-afghanistan-elections/feed/ 4 http://www.pakistanimusic.com/blog/album-review-ali-azmats-klashinfolk/ http://www.pakistanimusic.com/blog/album-review-ali-azmats-klashinfolk/#comments Sun, 14 Sep 2008 11:41:17 +0000 PM Blog http://www.pakistanimusic.com/blog/?p=286 It was only two years ago when we were touting Ali Azmat’s debut album, Social Circus. No stranger to the Pakistani music scene, his debut album was special because it was Ali going solo – separate from Junoon, the band that made him famous the world over as an accomplished and talented lead singer.

So 2008 sees Klashinfolk arrive on the scene, Ali’s second album. Pop it into the player, and you immediately recognize this to be classic Ali. Each track wild, eclectic but positively Ali Azmat. A 39 second Klashinfolk Intro starts us off leading to Gallan, the Na Re Na equivalent of this album. Highly memorable, the video for which has been dominating the airwaves in recent months. After listening to the song you’ll know why it was chosen for a video.

Track 3 treats you to sing-along special, Mera Khuda. A feel-good song heavily influenced by the mix of acoustic and electric guitars, falls just short of what you expect from Ali after all these years. Maybe it’s us, but after listening to Ali Azmat blow us away with every Junoon album, you expect nothing less. Tanha Hai Kyon starts with a retro vibe at track 4 – slow, steady yet something you’d skip by the next time you listen to the album.

Enter track 5, Yeh Kya Hua takes you back to Junoon circa 1999. But it isn’t until track 6, Naina, that Ali reasserts himself. You know immediately that this isn’t Junoon. This really is a new voice; very refreshing. Naina has a classical, yellow-mellow feel to it: “Taarey tootey hooey hain, apnay rootay hoeey hain”. This one’s a keeper – don’t say we didn’t warn you when you find yourself returning to PakistaniMusic.com to keep playing it again and again.

Tera Mera is another Ali Azmat track – more closer to the tunes Junoon was coming out with in the 2005-2007 time period. A fast drumbeat accompanying Ali’s recognizable stick-the-mic-into-your-face-and-sing-like-there’s-no-tomorrow vocals. Ley Sumbhal, another mellow-yellow track, stands out as one of the stronger candidates on the album: lyrically powerful, you can’t escape the urge to decipher what Ali’s trying to say here. Ditto for Shukria. This track has an eerie feel to it, with more vocal gymnastics – a complete 180 from the world-at-your-feet feel to Gallan.

Ay Mere Saathi at track 10 is the return of the escapist. The chorus is addictive – just the sort of thing you expect Ali to sing when warming up a crowd at a Klashinfolk concert tour. You Are at track 11 is something you’d rather Ali not attempt again – but you know that’s probably not likely. Sung in English, it mirrors the undertones which influence the rest of the album. While the chorus is certainly addictive, something appears to be missing. Track 12, Sawal, closes the album. A strong track that sounds forboading, it’s a sign of the times we live in. An unfortunate way to round up the album, not because the track hasn’t been composed well, because it has, but you can’t help but be left with a sinking feeling as the song winds down at the 5:26 mark. Or perhaps it’s meant to empower the listener.

All in all, Klashinfolk is evidence that Ali Azmat’s talent is still alive and well. Just when you think you’ve got his vocal style figured out, you find him pushing the boundaries of Pakistani music further. While not the album that will elevate him to solo stardom, no Ali Azmat junkie should be caught without this album in their collection.

Overall Rating: 3 stars

Amidst the sobs and tears, almost every one had one thing in mind, i.e., “God Almighty had showered Nazia with all the bounties, except length of age.”

Listen to songs by Nazia Hassan

One could easily rank her as the first and foremost pop singer of Asia, generally and the Indo-pak subcontinent in particular. Born in a well to do, highly enlightened family in 1965, she had shown an aptitude for music from her earlier days.As a young child, she frequently appeared in Pakistan television’s music program for children, called “Sang Sang”. Sohail Rana was the lead person of that show. Her father Baseer and her mother Muneeza took great interest in the upbringing and education of Nazia and her younger brother, Zohaib. Both of these gifted kids were admitted to school in London, where they received education as well as lessons in music.

In 1978, in England, thirteen year old Nazia recorded a song “Aap jaisa koi meri zindigi mein Aaye, tou baath bun jaaye” (film: Qurbani, music:Biddu, lyrics: Indeevar, picturised on Zeenat Aman). “Aap jaisa koi” is considered the first pop song of the Indo-Pak Subcontinent, the greatest achievement of Nazia, hence, a milestone in her music career.

In 1979, both Nazia and Zohaib came out with their first music album “Disco Deewanay”, which happened to be a record breaking collection of pop songs. She became the heart-throb of teenagers with songs like:

• Komal Palkain Bojhal
• Boom Boom
• Dum Dum, Dee Dee
• Aaona Pyar Karain, and many more.

Nazia was married to an enterpreneur, Ishtiaq Beig, in 1995, with whom she had a son, Areez, in 1997. She had been battling against cancer since 1996 and eventually succumed to it on Sunday morning. She was only 35 years old.

An admirer of Nazia had confided in me the other day: “How could this happen to such a decent girl, with a sweet voice, who had brought happiness to the lives of millions of music lovers around the world. Oh God, why Nazia?”

“Nazia had, indeed, walked all the steps, which had been ordained for her by an authority, which is greater than any human agency”, I answered calmly.

Presumably, the first time Pakistanis came across Barbara was in the early 1970s. She made her presence felt in a ‘Jet’ washing powder commercial and came to be known as ‘Jet’ powder girl. Fair-haired, attractive and intelligent, Barbara soon became a house- hold word.

Her appearance in the ‘Lux’ advertisement with the message, ‘Aakhir loag hamara chehra he to deiktay hain’, took her fame to the top. After a while, she appeared in Mohsin Shirazi’s television play, which was telecast from Karachi television station. Barbara was smartly dubbed as Nadia in Anwar Maqsood’s Pakistan television comedy play, ‘Nadaan Nadia’. Cast, Talat Husain, Qurban Jilani, Latif Kapadia, Durdana Butt.

Born to a middle class family in 1954, Barbara took considerable interest in show business as she grew up. Confident of her acting potential, Shamim Ara signed her for the film ‘Bhool’ in 1974. ‘Bhool’ was scheduled to be directed by S.Sulaiman. Prior to ‘Bhool’, S.Sulaiman had already signed Barbara for his film ‘Intezaar’. Incidentally, ‘Intizaar’ was released before ‘Bhool’. Hence, Barbara debuted in the film ‘Intezaar’ as supporting actress in 1974. To set the record straight, both ‘Intezaar’ and ‘Bhool’ were released in 1974.

Barbara’s innocent face distinguished her from other actresses of her time. Despite her hard work in the above two films, Barbara had to look for more opportunities in movies, which did not came immediately. In 1975, she appeared as supporting actress, in director Masood Pervez’s film ‘Mera naa patay khan’. Neelo and Shahid played the lead roles.

Her efforts took on a new intensity and she proved her worth in the Pakistani cinema. She worked in director Iqbal Kashmiri’s film ‘Shareef Budmaash.’ In director Ali Sufyan Aafaqi’s film ‘Ajnabi’. In director Nazar Shabab’s film ‘Naukar’.

An undeterred Barbara, dressed to perform, played the lead role opposite Ghulam Mohyedin, in director Wazeer Ali’s film ‘Masoom’. In her movies, even ordinary things capture tranquility. Her most memorable role came in the super hit film ‘Mera naam hai mohabbat’, directed by Shabab Kiranvi. Barbara and Ghulam Mohyedin played the lead roles. Her fame sky- rocketed soon after the theatrical release of ‘Mera naam hai mohabbat’.

In reality, Barbara became the most sought after actress from 1976 onwards. Moreover, the year 1976 was most definitely the best year for her films as well. In 1976, she worked in director Pervez Malik’s film ‘Talaash’. In director Shabab Kiranvi’s film ‘Dewar’. In director Ali Sufyan Aafaqi’s film ‘Aag aur Aansoo’. Foremost was her sweeping 1976 movie, ‘Shabana’, directed by Zafar Shabab. The film successfully completed golden jubilee, by winning performances turned in by Barbara, Waheed Murad and Shahid.

In her twenty- three- year film career, 1974-1997, Barbara worked in more or less one hundred fifty films. Her auspicious performance in ‘Shabana’, led to more successful movies. Below are six such films: ‘Pyar ka wada’, ‘Manzil’, ‘Teray bina kya jeena’, ‘Daman’, ‘La jawab’, ‘Ye zamana aur hai’.

At the pinnacle of her movie career, Barbara married actor Shahid. Unfortunately, the marriage did not last long. It resulted in their separation. The success of the above films-bolstered by later movies like ‘Sungdil’, ‘Wafa’ and ‘Ka’ainaat’, made Barbara a very busy actress. After more than two decades of acting, her name was greater than ever. Below are six instances of her highly dramatic caliber: The films ‘Aik din bahu ka’, ‘Maazi haal mustaqbil’, ‘Kis naam say pukaroon’, ‘Shehzada’, ‘Aj dee taza khabar’ ‘Haq mehar’.

Admirers had much more faith in her artistic talents than they had in her earlier movies. We have plenty of films to back that up. Below are three such movies:

• ‘Khuda aur mohabbat’, directed by Iqbal Yusuf. This beautifully produced film completed golden jubilee. Starring, Barbara, Waheed Murad, Mohammad Ali.
• Director Iqbal Yusuf’s silver jubilee film ‘Budnaam’, released in 1980. Cast, Barbara, Waheed Murad, Rani, Mohammad Ali.
• Director Iqbal Yusuf’s silver jubilee film ‘Gun man’, 1981. Starring, Barbara- Waheed Murad- Mohammad Ali.

Over the years, she worked her magic throughout Pakistan. Her past accomplishments conveys the tremendous talents of this woman. Her fame was greater than ever with the release of the six movies below:

• The film ‘Hero’, directed by Iqbal Yusuf. Cast,Barbara, Waheed Murad- Mumtaz.
• The films ‘Paas baan’, ‘Miss Bangkok’, ‘Son of undaata’, ‘Aangan’.
• Director Iqbal Yusuf’s film ‘Raaz’.

As the years passed, she kept working in movies. The 1974 golden jubilee film ‘Shama’ was, indeed, her big strike. Directed by Nazar Shabab. Starring, Barbara, Waheed Murad- Deeba- Mohammad Ali- Nadeem. The 1974 silver jubilee film ‘Haqeeqat’, exemplifies her absolute dedication to her role. Director, Nazar-ul-Islam Dada. Cast, Barbara- Waheed Murad- Mohammad Ali. Barbara’s confidence and exuberance are all the more evident in the 1976 silver jubilee film ‘Zubeida’, director, Aslam Daar. Starring, Barbara- Waheed Murad- Nisho- Rangeela.

All her fans that I have come across so far echoed Barbara’s sentiments. During her association with show business, she was considered the life of the parties. Director Zafar Shabab cast her in the 1976 silver jubilee film, ‘Waqt’. Cast, Barbara- Waheed Murad- Kavita- Shamim Ara. Barbara teamed up with Shahid and Waheed Murad in the 1981 silver jubilee film ‘Dil nay phir yaad kya’, directed by Iqbal Akhtar.

Likewise, she joined hands with director Iqbal Akhtar in the 1980 film ‘Chotay Nawab’. Stars, Barbara Waheed Murad- Shahid- Neelo. Barbara appropriately captured the transporting power of love and gentility in her movies. The heart-felt lyricism also played a decisive role in her following six movies: ‘Deewanay Do’, ‘Chakkar’, ‘Khahish’, ‘Deikha jaaye ga’, ‘Jawani Deewani’, ‘Mausum hai Aashiqana’.

She worked with the movie crew as conceptual artists in all of her films. Quite a few of Barbara’s movies are shrouded in a melancholy tone that suffuses the whole performance. Audiences applauded her effort in the six movies below: ‘Aladin’, ‘Maa bani dulhan’, ‘Kaali’, ‘Insaan’, ‘Do Dil’, ‘Qudrat da intiqaam’.

Barbara’s sister, Fakhira, also associated herself in show business. However, she could not click. As for Barbara, she took more challenging roles in her later movies and captured the spotlight with her roles in the seven movies below: ‘Aik chehra do roop’, Mehak’, ‘Saathi’, ‘Baaghi haseena’, ‘Ishq da roag’, ‘Baarish’, ‘Duniya.’

Barbara’s movies also dealt with individual sensibilities. People of uncommon craft directed such films.

Her popularity soared even higher with the release of the four movies below:
‘Aasmaan’, ‘Aik he raasta’, ‘Jaan-e-mun’, ‘Garebaan.’

After a lapse in her career, Barbara re-appeared for the location shooting of director Sangeeta’s film ‘Samaaj’. However, due to unavoidable reasons, she had to give up her character in ‘Samaaj’. Barbara’s last film was ‘Ghayal’, in which she worked opposite Izhar Qazi. Directed by Hasnain and released in 1997.She received the Nigar Award eight times in her movie career. Below are the details:

• Barbara won the Nigar Award for best actress in the film ‘Mera Naam hai Mohabbat’ in 1975.
• Barbara won the Nigar Award for best actress in the film ‘Shabana’ in 1976.
• Barbara won the Nigar Award for best actress in the film ‘Sungdil’ in 1982.
• Barbara won the Nigar Award for best actress in the film ‘Miss Colombo’ in 1984.
• Barbara won the Nigar Award for best actress in the film ‘Miss Bangkok’ in 1986.
• Barbara won the Nigar Award for best actress in the film ‘Kundan’ in 1987.
• Barbara won the Nigar Award for best actress in the film ‘Mukhra’ in 1988.
• Barbara won the Nigar Award for best actress in the film ‘Gori deyaan jhan jharan’ in 1990;

She not only saw and felt the difference her personality made in others lives, she is still living out that difference after her retirement from the entertainment industry. Barbara is not in the public eye any longer. Nevertheless, her influence will not likely abate in the coming years.

Water. Restless, moody, flowing. Ustad Ashiq Ali Mir says “Salman jo kehta hai woh kar ke dikhata hai.” While growing up, this ex-cricketer, ex-doc was all over London, Virginia, Kuwait, NY. Good he gave up medicine. Imagine him doing to patients what he does to the guitar!

A song you’d like everyone to know: “Imagine”. It speaks a universal message: Imagine there’s no country… You may say I’m a dreamer… I think we’re all dreamers, deep down. I am. I dream of one world, without countries, boundaries, passports, religions.

A song that symbolises you: “Mein Kaun Hoon.” Hamara hi hai. In order to find out who you are, you have to search your own conscience, right?

About cricket: I played in an exhibition match against the South African team when they were touring Pakistan scored 42 not out. Jonty Rhodes, who was fielding at point, goes “Hey man, drop the guitar, you gotta pick up the bat.” If there was another junoon in my life, besides music, it was cricket.

On evolution as a musician/ songwriter: As an artiste, you feel like a child every time you pick up your instrument or write a song though I’ve written 40 to 50. For me, soulfulness is a top priority and virtuosity doesn’t interest me that much. You can get the most happening sound out of playing very simply, so I try to push myself in directions where I don’t worry about how technically proficient I am but how I am able to express myself on the guitar.

Listen to songs by Junoon

Teenage idol: Imran Khan.

Most valuable possession: My music.

On Pakistan: I like the warmth and hospitality of the people. What I don’t like about it is the lack of tolerance.

Your guitar: A really beaten-up ebony rosewood Ibanez, six strings, electric. I have another favourite one: a double-necked Gibson la Jimmy Page.

Influences: Hindi film music, Nusrat Fateh Ali Khan, The Beatles, Led Zeppelin, Jimi Hendrix.

In songwriting: John Lennon, R. D. Burman.

Brian O’ Connell

Earth. Solid, stable, you know, all there! Brian met Salman in NY when they were both 13, went to the same high school, and played in their band, Eclipse. He studied music and worked with developmentally disabled people. In ‘92 Salman invited him to join Junoon.

Your guitar: The one I play with Junoon is a Washburn, five strings, it has a low B string (most bass guitars have four), so it goes lower. On Azadi I used a lot of the lower notes; the deeper you go the better it sounds.

On music education: Music is an art and you don’t need the education to put out good music. If a person can speak the   language, they can write poetry; but if you know the language, you can write better poetry. By having education in music, you understand music, the technicalities and how it all fits together much more.

On being a session guitarist: That does really require a music education background. Because you go to a session studio, somebody hands you a piece of music you’ve never heard or played before. That was a challenge.

On teaching music: I taught in high school, college and junior high school (an absolute nightmare!). The last thing you want to do in your teens is pay attention to studies. Hormones get in the way, life in general gets in the way. You spend your whole time trying to discipline the class. I like teaching, but I found it was robbing me of my musical creativity.

A song you’d like everyone to know: “Amazing Grace”. How sweet the sound/that saved a wretch like me/I once was lost but now I’m found/was blind but now I see… It’s a very hopeful song, it’s about faith and the guiding light.

A song that symbolizes you: I am always discovering who I am as time passes. I’ll write a song about it!

Teenage idol: My only idol is Jesus Christ and He is a tough act to follow. You need a connection with God and realize that there is one God.

On the move to Pakistan: I’ve a sense of adventure and at that point, aside of my job, I had very little responsibility. I was single, and still young enough to take a crazy adventure. So I did.

On Pakistan: My favourite things in Pakistan are my wife Ayeshah, my daughters, my band Junoon, and the common man. And not just in Pakistan. In India, I find so much similarity between the cultures. You’ve shared a culture for thousands and thousands of years. It has only been 50 years of separation. I think if there’s any separation, that’s taken place on a political level. What I’d like to see with both countries is to break down the walls. Those walls were put up by people who really do not have a vision of peace, love and hope.

Most valuable possession: My wife Ayeshah (‘Gift of God’ and she is!) How crazy is it to think of someone with a steady job and the securities of the US to uproot and come here. I’ve had many relationships but I truly believe it was God’s will that I come here and meet her.

Influences: As a child, mostly guitarists Eric Clapton, Jimmy Page, Jimi Hendrix. Later, Steven Morris, Larry Coryell. Nowadays, Salman… I’m a very big fan of Salman!

Ali Azmat

Fire. Bright, hot, ballistic. Salman calls him tota, the original mimic, for his unusual Lahore meets Australia meets Texas accent. He worked in a bank for a week, has acted in TV serials, writes poetry and music, but his deepest unfulfilled ambition is to play guitar – he makes do with the air guitar! Unbelievably, Ali has had no training in singing. The guy who said he would teach him guitar just handed him the mike!

On evolution as a singer: There are so many different kinds of music you listen to that you end up taking with you. You venture out this way or that way and there always will be ways. You do things that you haven’t done before. You just go up there and do it, and try to reach that level. More than anything, you don’t worry about doing this garari (you know, the a-a-a-a-a!); you just emote. It’s all emotions. It’s like acting. Every song is like a script and you just read that script accordingly and that is the more important thing. In “Sayonee”, I don’t think I’m singing perfectly. I’m always like, I should have done that note, taken it there. You look at your work critically, but the emotion is there. That’s what reaches the people more.

A song you’d like everyone to know: Any song from Dave Mathews. The music is so so positive. It’s happy and sad at the same time. Musically it’s so much there. Lyrics, composition, voice, guitars, drum, bass.

On singing a capella in any place in the world: The bathroom. Great echo! I go to a friend’s place it has a staircase that has the greatest echo in the world and I go there and try to sing as loud as I can. It’s great.

A song that symbolises you: I said my head is a closet/ I am stuck inside/ Can’t see the light/ I and my head is in a nice house in the sky/ Got central heating/ And I’m around/We’ve been standing here for a long long time/I find sometimes it’s easy to be myself/And sometimes easy to be somebody else. It’s one of my favourite songs. I think it explains a lot of things.

Teenage idol: Pearl Jam, Freddie Mercury, Steven Tyler, A-ha, Robert Plant.

Guitarists: Jimmy Page, Joe Satriani.

On Pakistan: The thing I both love and hate about Pakistan is the people. The reason I am there is that I love the simplicity of the people, the kind of people who live there. At the same time, I am a very non-conformist person and I hate that the people their fake values and their lousy traditions.

Born to an enlightened family, she received the best possible education and upbringing in the U.S.A. Though initially she seemed an ordinary child, her zeal set her apart from her peers.

Additionally, the vivacious and vital Atiqa had her own position from her earlier days. Atiqa was persuaded by Pakistani television in 1990 to work for a drama serial. Her immediate response was that she was neither interested in entertainment, nor did she fluently speak the Urdu language, which was a pre-requisite for the Urdu play.

Long story short, the television crew took the responsibility to groom Atiqa for her role in the television play and Atiqa agreed to do it. Thus, Atiqa debuted from the Pakistani television drama serial, ‘Sitara aur Mehrun Nisa’, in 1991, for which she was eminently suitable.

Moreover, Atiqa was heralded as a star of dazzling luminosity and rightly so. It sounds preposterous that she was labeled such so quickly, but it is true. Her acting appealed to the masses. One can easily remember and savor her great performances.

Atiqa, who is revered for her versatile acting, offered a convincing performance in the television drama serial ‘Dasht’. The cast included Atiqa Odho, Fazila Qazi, Noman Ejaz and Abid Ali. Her interest was to create entertainment, in the transaction; she attained fame beyond her wildest imagination.

Atiqa achieved legendary stature as a television artist. She was highly successful in modeling as well. After nearly a decade, Atiqa grew too tired of travel between U.S. and Pakistan. Hence, she decided to make Pakistan her permanent abode. She has a fervent desire to provide a congenial atmosphere to her two children, and her husband, Javaid, in Pakistan.

Reverting to her show business career, one good thing about Atiqa is that she can tunnel into different roles, which are offered to her from time to time.

In the past thirteen years, 1991- 2004, Atiqa has made her presence felt forcefully in Pakistani television, film, theater, modeling and radio. Through her serene subtle and sometimes heartbreaking performance, she often steals the show.

The Pakistani television play, ‘Nijaat’, is a case in point, in which Atiqa’s acting is laudable. Atiqa, who has brown hair and green eyes, is renowned for her artistic qualities. She enchants the Pakistani community all over the world.

Atiqa gave a superb performance in the film ‘Mujhay chand chahiye’, in 2001, directed by Shan. Stars included Atiqa Odho and Javed Sheikh. She made mediocre movies good and good movies great. Now she is poised to reap awards and gather encomiums from the public.

As time passed by, Atiqa’s emergence as a prominent artist created ripples on and off the screen. Atiqa, a promising artist then, and an accomplished artist now, worked even harder for her role in the film ‘Jo dar gaya wo mar gaya’, in 1995.

We need wisdom to understand, to predict and seize opportunities. Atiqa is good in those venues. The play ‘Talaash’ is a great example of Atiqa’s foresightedness, which was wisely directed by her.

In real life, Atiqa’s face usually wears a radiant smile, and she has a devoted international following. Atiqa, who is renowned for the virtual inclusion of finer feelings, gave one of the most memorable performances of her career in the thirteen episodes, very expensive drama serial, ‘Chahatain.’

Brimming with romantic tunes and powerful script, ‘Chahatain’ apparently delivers the goods. This mega hit drama serial was pictured at twenty- eight different locations in Malaysia, including Kuala Lumpur, and Jandabai jungle. Writer, Seema Ghazal, director, Ahsan Ali Zaidi The cast included Atiqa Odho, Humayun Saeed and Uzma Geelani.

Most importantly, ‘Chahatain’ was a group effort. No one artist could have done all that alone.

‘The Pakistani public wants to see me in the entertainment business’, said Atiqa, ‘and that is a lot to live up to.’

It seems that the dialogues she speaks are more heartfelt than what the viewers could visualize on the screen. Put it this way, Atiqa offers a performance that goes beyond characterization. What could be a better example of her involvement with character other than the television comedy drama ‘Tum he to ho’, in which Atiqa was dubbed as Saira. Writer, Mohammad Ahmed, director, Marina Khan, producer, Humayun Saeed.

Most of all, Atiqa learned early in her life that one need to exist in the moment and attempt to be emotionally and physically resonating with a given situation in the play. She brings out her emotion in the story ‘Umrao Jan Ada’. Writer, Zehra Nigah, director, Rana Sheikh, produced by GEO television. The cast included Atiqa Odho, Amina Banu, Shakeel and Bushra Ansari.

Likewise, Atiqa came out with a big plan to host a television talk show. With this intention, she booked celebrities like Amir Khan, who hopefully will grace the show with their presence.

In fact, Atiqa stepped into her working life as a make- up artist and acquired training in England. Later, she moved to Pakistan and practiced her profession as a beautician. In times due course, she started her own beauty parlor and appropriately named it ‘Cuts and cappuccino.’

Thinking young is great feeling healthy is even better. In spite of her hectic schedule, Atiqa manages to keep herself young, active and healthy. Atiqa most definitely intends to make the years to come the best ones of her life.

Regarded by PakistaniMusic.com to be “Pakistan’s greatest export”, Khan redefined how Pakistan and Qawwali was viewed across the world.  Trained in the art of qawwali, as had been the Khan family tradition for over 600 years, he transformed what was previously a quaint Sufi tradition into its present modern form.

Listen to songs by Nusrat Fateh Ali Khan

In the mid 1990’s, Nusrat Fateh Ali Khan began his march Westward, collaborating with music personalities such as Michael Brook, Eddie Vedder (of Pearl Jam) and Peter Gabriel. In the East, he performed several tracks for Indian films further consolidating his fan base. Before long, Nusrat Fateh Ali Khan’s music had millions of followers across the globe, with his form of qawwali played everywhere from weddings in Lahore to cafes in Paris to nightclubs across Europe. The Shahenshah-e-Qawwali had arrived.

“Mast Nazron” by Nusrat Fateh Ali Khan

Unfortunately, he wasn’t destined to stay with us for long. Although at the height of his career and international stardom, he was physically a weakened man. He fell ill with kidney and liver failure on August 11, 1997 and died of a sudden cardiac arrest at age 48.

It’s been eleven years, but we still miss Nusrat Fateh Ali Khan. For those of my generation, he represented something magical. Something powerful. His music was inspirational. To see him perform, awe-inspiring. It is tragic that someone with so much talent and potential left us so soon. Yet, his music lives on, with tracks such as Halka Halka Suroor, Ali Maula, and Dam Mast Qalander continuing to inspire.

The above mentioned lyrics (sheir) holds true in the case of Munni Begum. Let us read the real life story of this ghazal singer as narrated by her:

“There are artists who achieve great name and fame, when they are at the pinnacle of their career. As far as I am concerned, all I have been endeavoring to do is just to be like an artist and that is it. An artist of high repute and the height of artistry are a far-fetched idea for me. I had been interested in music and singing since my childhood.
Besides, I was the youngest child in my family, hence, apart from being the center of attraction for my parents, I received the maximum love and attention from both my father and mother.

Later, I took some music lessons from the famous singer, Khwaja Ghulam Mustafa Warsi. Moreover, I spent three years in the college of music.After a while, I settled down in Karachi and since then I have been striving to get recognition as an artist. I have been through extremely difficult times and I have faced tremendous hardships. However, I was never discouraged. Further, by the time I had started my practical life, the entire responsibility of my family had fallen on my shoulders. All I could do was to take one day at a time.

Listen to songs by Munni Begum

Slowly, but surely, bad times passed over. I feel that what ever I have attained in my life has been made possible because of my father. I consider myself one of the most fortunate daughters in this world. Each and every step that I took to reach my destination was accompanied with the guidance, prayer and co-operation from my dedicated father.
Furthermore, I also believe that because of his unconditional love and devotion, I was able to perform in functions. Gradually, I recorded ghazals for the radio and television musical programs. Soon my audio and video cassettes were penetrating the musical industry in Pakistan and then, all over the world.

Today, I stand in front of you. I have been singing ghazals for over two decades. Music lovers are acquainted by the fact that I have chosen an entirely different style of singing, from the beginning. Rather, I have simplified my presentation for the sake of the general public. Take, for instance, these ghazals: “Hua zamana keh us nay hum ko na bhool kar bhi salam bheija”, “Mareez-e-mohabbat unhe ka fasana” (poet: ustaad Qamar Jalalavi)

This is one of those ghazals which took my name the world over. I had recorded the following ghazal for Pakistan television’s music program “Andaaz apna apna”: “Dil ko haal-e-qaraar mein dekha”

Basically, artists feel very pleased to be feted. I wish some one comes to me to say that he likes the way I sing, or that I am a great singer. Once I had been to Dubai for a concert. When I took a cab from the airport, the cab-driver was playing an audio cassette of my ghazals. Out of curiosity, I inquired whether he knows the name of the singer. “Munni Begum, she is a renowned singer, do you like her ghazals,” he replied. I remained silent.

These are some of my favorite ghazals:
“Ghaeroan ko bhala sumjhe, aur mujh ko bura jana”
“Phir wo andaaz-e-nazar yaad Aaya”
“Jis tarhaan chahay karam farmaeye”
(poet: Syed Aali Raza, composer: Khaleel Ahmed)

Both the lyrics and the composition are superb.

“Pyar ki mun mein joth jagaye aik zamana beeth gaya” (poet: Adum)
“Tum poocho aur mein na bataoon, aisay tou halaat nahi”

At every step of her life, when the odds were most against her, Munni Begum never gave up. Instead, she worked harder. I have tremendous admiration for her fortitude. The trial and tribulation and her eventual triumph proves once again this golden maxim: When there is a will, there is a way.