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retrospect
2006: the year that was
Taj Mal and Mughal-e-Azam were released and Ajay came with Omkara. And the only Lollywood effort worth mentioning is Syed Noor's Majajan By Aijaz Gul


As we look back at 2006, it reminds us of missed opportunities, lost goals and failures. But we can flashback still on achievements and a triumph.

43 features came out this year but the only moderately successful film was Majajan, which also happens to be actress Saima's debut venture as producer. The film industry lost one of its biggest assets with the passing away of actor Mohammad Ali. Two Indian films made a miserable theatrical debut here after almost 26 years. And the Karafilm Festival not only brought us respect and distinction but also contributed to the close collaboration in film culture between Pakistan, India and other countries.

The box office and critical record of the film industry was at its very lowest. A total of 43 features (Punjabi 19, Pushto 14, and Urdu 10) were utter disappointment for almost everyone. Saima and Syed Noor's Punjabi film Majajan played extremely well at Lahore, Rawalpindi and Faisalabad. Its business elsewhere was moderate. A film about a married couple where the husband is attracted by a street singer (played by producer Saima) was rather interesting. Syed Noor's direction, Zulfiqar Ali's score and

production values in general were attractive. Shaan and Madiha Shah must also be credited for the only hit of the year. Perhaps Sangeeta was the only woman director in man's macho world who not only survived but also thrived on four box office disasters (Athra, Kangan, Yaar Badmash and Tarap). But then Sangeeta is now more of a macho herself. Her films are loaded with with every kick, trick and brick of action, violence and ample sex. Saima Khan and Laila come in handy for the latter. And if a lack of good scripts happens to be our major setback, Jaffar Arsh can still brag about churning out five scripts in wholesale (all of Sangeeta's wrecks plus Gunahoon Ka Shehar and Zameen Key Khuda).


With the passing away of actor Mohammad Ali, the film industry lost one of its major assets. He was a spokesman of the filmwallahs on every available forum. With debut in Chiragh Jalta Raha in early-sixties, Mohammad Ali soon became not only a household name here but also won respect and distinction. He was the only influential person in the industry who could talk to the Minister, the Chief Minister, the Governor, and the Prime Minister and even the President. There was absolutely nobody else who could do that. Mohammad Ali was not active in films for almost twenty years now and he often complained of the low-grade products the industry was churning out and the mafia which had taken over. But he was always there at his Gulberg residence with hospitality to listen to the problems of the trade and do whatever he could. That is a closed chapter now.

Two Indian films Mughal-e-Azam and Taj Mahal made it to the Pakistani cinemas but did they? The theatrical exhibition of Indian films has not been allowed since 1965. Two films Noor Jehan and Kashish were especially allowed by the then President General Zia-ul-Haq. This time however, the selection of Indian films was unwise to begin with. Most of us had seen Mughal-e-Azam (including the computerized color version on cable, DVD, and VCD). As for Taj Mahal, it was a bad film and there was nothing which could save its career at the box office. And like the Indian audiences, the audience here sank this wreck on the first day, first show. Feroz Khan did not make the sensitive Pakistan-India film matters any better by coming out with his infamous venom against Pakistani society. But we shouldn't take him seriously. He is a debauch who has been slapped by many at Mumbai's late night parties. Feroz Khan is a minor irritant who should not halt the release of Indian films here. Our cinemas need this to happen. They have been reduced from over 700 in 1977 to little over 200 this year. The number of films has been reduced from 111 to 43. The numbers of film studios have come down from 11 in Lahore and Karachi to barely a couple at Lahore. This speaks volumes on the need to make good films and remove restrictions on Indian films. After all, India is the only country in the world besides Pakistan where Urdu is spoken and understood. The release of 450 old Indian films lying with local distributors must be undertaken without delay. Similarly, trade for new films from both sides must begin. It is necessary to let the market set the trend. If there is a market of Punjabi films in India, our films would play and if there is a theatrical market of old or new Indian films here, they would play. As for the fear that the Indian films would damage our film industry, the damage has already been done by the smuggled and uncensored video, DVD and CD channels on cable TV. Indian films are everywhere except where they ought to be – cinemas. If the government is unable to control this menace, then import of Indian films should be allowed without waiting for the remaining cinemas to close down their shutters.

A group of film trade representatives met the Prime Minister to handover a cheque of three million for the earthquake victims, and to inform him of the problems of the film industry. While the Prime Minister has already allowed the film trade to import equipment and machinery with minimum import duty of 5 per cent, it seems that the Government is unaware of the fact that Indian films are being seen uncensored and illegally everywhere in the country.

And now the good news. The 6th Karafilm Festival opened at Mohatta Palace with a dinner and musical programme. Previews/promos for each of the feature, short film and documentary were shown to familiarize the guests on screening. Dr. Ishrat ul Ebad, the Sindh Governor, opened the festival which continued from December 7-17. This was perhaps the only silver lining to 2006. As Hasan Zaidi, the festival director and the real man behind the show pointed out that Kara had grown from a modest film society to a notable international film festival within six years. This is an event where not only distinguished and award winning foreign and especially Indian films are shown but Pakistani films of upcoming and notable filmmakers are exhibited. Hasan Zaidi must be credited for this achievement.

This year's selection included tributes to French director Truffaut, Iranian director Jaffar Panahi and Pakistani director Jamil Dehlavi who is based abroad.

Kara has successfully managed to involve corporates (this year it was Mobilink, Aaj TV and City FM 89) and was able to screen over 170 features, short films and documentaries from 30 countries ranging from India, Iran and Bangladesh to France US, Uk, Canada, Czech Republic, Germany and Spain. This is a feat by itself. Major titles this year included Omkara (Indian version of Othello in a village of Utter Pradesh), The Wind That Shakes the Barley (winner of Silver Bear at Berlin this year), Children of Men, The Road to Guantanamo, Woh Lamhe(based on life of Indian actress Parveen Babi who passed away recently) and Khosla Ka Ghosla among many others. And then there was our hit this year Majajan.

Indian film Nayi Neralu (Shadow of the Dog) by director Girish Kasarvalli won the Best Feature Award with a cash of $3500. The film had won Special Jury Award at Osian's Cinefan festival in Delhi in July this year. Director Girish Kasarvalli is known for adapting literary work. This film too is based on Dr. SLA Bhyrappa's novel. It revolves around social values from three different generations: for the mother, faith is what counts, while for the daughter, it is the living experience and for the granddaughter it is the rational approach and thinking. Indian feature Omkara won the Best Adapted Screenplay Award, along with Best Musical Score and Best Actor (Saif Ali Khan). Khosla Ka Ghosla won the Original Screenplay Award (the film deals with a middle income family and the powerful land mafia against it).

Best Documentary Award went to AFSPA, 1958 (India) and Fuego de Angel (Spain/Peru). Pakistani film Daani by Khalid Ahmed and Farooq Rind won Best Telefilm Award. Best Editing and Cinematography Award went to Road to Guantanamo, which deals with the insulting and humiliating treatment given to prisoners at Gitmo. Best Live-Short film was a tie between Tricko from Czech Republic and Avatar from Spain. Adjustment won the Best Animated Short Film Award. Every win was accompanied with a cash prize. Hasan Zaidi earlier pointed out that cash awards could not be given before due to financial limitations but this year Mobilink was there to pitch in.

A bill board exhibition of cinema decorations was also held on the eve of the festival. Hasan Zaidi said that Kara was all about creating a space for alternate films and film makers. Future goals include a workshop based training film academy, a distribution network for film exhibition by the private sector and a film club. That was 2006.

And now 2007. I bet Kara would now be held in Islamabad and then the Kara in December 2007 at Karachi with more films and more guests. Our favorites Mahesh Bhatt and Anupam Kher would be there to grace the auspicious occasion. 2007 will also mark the release of Shoaib Mansoor's Khuda Key Liye (which should have been released by now but as the saying goes, "Der Aaye, Durast Aye.")

Javed Fazil's Eik Din Lot Key Aoon Ga, filmed and post-produced in Mumbai should also be here soon. Javed Sheikh's Khuley Asman key Nechey, filmed and post-produced in Mumbai is also slated for a 2007 release.

However, these three films cannot change the structure and pattern of the film trade or the habits and lifestyle of once-upon-a-time filmgoers who no go to the cinema but still watch films in the comfort of their homes. The film trade, in order to flourish, should learn to function on professional lines by imposing strict regulations on the members. Self-indulgence in accepting dozen of assignments simultaneously should not be accepted. Our film fraternity must realise that in art and creation, less is more. A single hero and a single heroine working in twelve films, a director directing six film , and a screenwriter dishing out five to six readymade scripts in 2006, is what one calls outrageous excess.

ATIF ASLAM: SOFT ROCK WONDER BOY SUPER HIT SINGER'S EXCLUSIVE INTERVIEW



He is No 1...

Atif Aslam is a mega star and no one knows this better than the crooner himself. He descends Brando style from his heavy bike to meet for this interview. While I couldn't take my eyes off his tan suede boots lined with fur, Atif took off his gear in slo-mo, savoring the buzz his arrival was causing.

Riding high on the success of Doorie, Atif is still upset as to how his Doorie effort has been inviting brickbats from music critics in Pakistan. Even though Pakistanis love all things Bollywood, our alternative music scene is a different ball game altogether. Atif Aslam, for his Pakistani music fans will always be the definitive voice that made 'Aadat', 'Woh Lamhay' (as he sang it on Jalpari) and 'Mahi Vey' songs an entire generation continues to sing. To his legions of Pakistani fans, Doorie remains a wishy-washy Bollywood juke box churn (which we will dance to, nonetheless).

Ultimately, Doorie is not what die hard Jalpari fans expected from Atif. While his powerful vocals make the album a chart topper on both sides of the border, his cult following here at home feel betrayed by Atif's switchover from his classic raw sound to club remixes. Then there are the terrible videos directed in India which have done nothing to aesthetically project Atif's potential. He is our soft rock wonderboy and the Indians have reinvented him as a chocolate hero. Give us the edgy Atif any day!

Atif insists that Doorie isn't exactly targeted for his fans who know him even before Jalpari but is rather the launch of Atif on an international (read Indian) level. Released worldwide by a telecom conglomerate, Atif has made a conscious effort to establish himself as a singing sensation for a wider audience. But why not be true to his original sound?

"I started off when I was 17 and I never thought I would be this big," Atif confesses. "When Jalpari came out, its raw sound was revolutionary. When I was in India, I received a fantabulous response performing in cities like Pune, Mumbai etc which was a great experience. They (the Indians) respect talent but they cannot understand what I had been doing here. Even here, only a select audience actually understands what I am singing, not the masses. Touring internationally made me think that I should take my music global by releasing it worldwide. I collaborated with a lot of people and thought up a plan for a commercial album, which is not my type of music; which is not ATIF. I just wanted to explore that side of the music. When I composed and wrote these songs for Doorie, I kept in mind that this album has to be commercial," he explains with the ease of an artist genuinely hungry for a wider audience. Atif strived for mass appeal and recognition and via Doorie, that is exactly what he got.

"Doorie is a commercial hit in the UK, Canada, and USA; it's everywhere now. So the first Pakistani artiste is basically out there in the world. Not just in India," he says.

And then abruptly he remarks, "I knew that people were going to criticize me like anything. There was this journalist, who wrote a critical review about my album Doorie. That what is this album and why is it like this? I felt glad about that, because she was so concerned about my album. She criticized it completely and the next week Channel V declared Doorie the best album in India. I want to tell my critics that I'm doing it my way," he insists. Atif is averse to criticism, because to him, the success of his plan to make it big is perhaps bigger than his music integrity. In that, he speaks more like a manager than a musician.

"Doorie has brought along an international change and Aadat was limited to Pakistan and to a small circle of people at that. After Doorie, I am getting offers from places like South Africa. No Pakistani artiste has ever been called to South Africa."

However, Atif with all his stardom, could not gain complete control over his album or the way he was projected and he admits this readily. "When the album Doorie was released I was consulted on all the inlays, on what picture should be there, the designs etc. The write up however wasn't to my temperament at all. And if you see the heart-shaped logo with the caption 'In this lifetime or the next' that was so cheap! I wanted the logo be removed, but it wasn't. Even in the video, there was a girl and you can put her in a sensuous way but at the end of the day you can't tell the director what his job is!" Atif's volcano rumbles, but he is still proud that he played the game and got what he wanted out of it.

The director Kuki Gulati may have extremely poor taste, so ditch him! Why go along, make C-Grade music videos, hug the girls, or did the editor morph those scenes? "Yes, I was hugging the girls," Atif admits. "I think that was a requirement because the Indian audience can never accept my 'stupid' 'Mahi Vey' video or my 'stupid' 'Rangoun Mein' video. They have a different concept about a pop or a rock icon. He has to be a heart throb. Girls here can't sit on motor bikes, in India girls ride them. It's a different culture altogether. They (my Indian videos) are for an international audience. However you can see the weird expression I had in the last scene of the song 'Doorie' when I'm hugging the girl.

People have said that it looked like I had played an Inzamam innings and was run out." Atif laughs, then sighs softly, "Personally speaking I don't want to associate myself with any of the people out there. But eventually if I don't put in a girl in my videos, people would think something's wrong with me."

This hasn't been the first time that Atif has been singed by the Indian entertainment industry. Atif's credits were chopped off the soundtrack of the movie Zeher for the song 'Woh Lamhe', and the movie's music director and lyricist went on to bag an award for the song. "Eventually I had to pay the price," Atif admits. But has he learnt a lesson? Judging from his recent Doorie, it seems not. India is too viable a market. "I personally think that is the market. Honestly speaking there was a slump here- that there was no label here; and that was intentionally done. My move was to release Doorie internationally, so that I could tell people that this is the first album that has been released all over the world. All the artists who are going to India will definitely boost other artists. I have referred a few Pakistani singers myself. The Indians don't have the melodies or original music coming out. There was a time when R.D. Burman had such good melodies, lyrics and arrangements, that's not happening now. Everything is run of the mill as they have to produce and produce that there is no original music anymore. That is why they are more interested in the original music coming from the Pakistani side- from Pakistani boys who are picking up their guitars."

Atif adds, "Indians don't have a market for pop songs. They don't have any band. Bollywood markets so much for one movie that there is no space for any other type of music. But after my album became a best seller, a lot of people especially companies are interested in releasing new talent." Atif's eyes beam with delight. He has successfully marketed himself as a pop idol in India, when even Indian idols have burnt out shortly after their debut on the touted show.

When speaking of companies, could corporate sponsorship be far behind? Do we really need paan masalas to promote and brand music? He shrugs and replies, "In Pakistan, corporate sponsorship is really important, because the artiste cannot sell his album on his own. You need to be on the billboards, unless and until you product is very very big! Nowadays people believe that a song should have a good video; the guy should have a good presentation. You have to be on the boards to let people know that the album is out! You have to be on screen 24/7."

If that is the case then why was Doorie out without so much as a whimper? With a mischievous smile, Atif confides, "Whenever there is a controversy there is hype and I love controversies. People will ask what the hell is happening; what is he doing? Why did he do this in this video and that video?" Atif begins to swing to the next extreme, "Other than that, like I said that this wasn't my kind of music so I wasn't interested in giving interviews or coming on TV for it. Now my second album basically is an ATIF style album and I am planning to release it. For that I will be giving interviews and press conferences. Because for that album, people themselves would create the hype. I want to do interviews for that album not for this. The Pakistani nation is such that which ever side you push them they go. If they see a song on B4U, they will say kia baat hai yaar! Eventually this is what has been happening, I have been their artist-of-the-month on Channel V, B4U, MTV and it was a record that when I went to India, I did 16 interviews for TV channels."

But then why is Atif reclusive whenever it came to interviews of any sort especially in Pakistan. "Everywhere in the world, the artists get royalties for their videos. Here the channels ask the artist to come and do their show - a show which is branded. The channels are paid, who tell the corporations that they will provide the artist and pay the artist who actually doesn't get a paisa. I'm strictly against this. I'm not doing TV shows. If my fans want to know why this is so, then they should know that there should be at least one to say that unless and until the artist is paid, we wont do your bidding. We are not just entertainers."

Atif has more on his chest and he warms up to let it off. "A lot of changes are needed in Pakistan. There should be a Copyright Act that is actually implemented. And then people here need to open up their minds. There is so much criticism that it's unbelievable. If someone is doing a good job, let him be."

Switching gears, we turned towards to his new ventures. If Atif oscillates from disinterest to pride on Doorie then he is definitely passionate and focused about Hungami Haalat, his next album- the Atif style album. "It's entirely different from Doorie. It has no commercial aspect. It's just Atif, and I have sung my heart out. In Doorie I couldn't be myself, except for certain minute areas like the song 'Kuch Iss Tarha' which is very close to my heart. With regard to the new album, I know how much hard work has gone into it, how much I've learnt and only I know how I wrote and composed the songs."

Atif sums up his strategy again, "I will be doing more commercial music because my aim is that people be excited about my commercial side and then also lend an ear to my style of music too. I want an audience to my voice and then mould them to my style of music. And then let them know that listen this is me- and introduce my music all over the world."

Atif vrooms off with his words ringing in my ears. He wants the world and India is his platform to get there. He may have sold himself short and stooped to Bollywood standards doing videos that have even made him cringe, but then again, he is hellbent on not being a flash in the pan alternative artist. He wants to sing his heart out, but he won't settle for anything else than the world listening to him.

ATIF'S INTERVIEW COURTESY : THE NEWS

NEXT in line

By Anum Pasha



Of late, the Pakistani consumer market has been bombarded with an influx of international brands and whether this is a win-win situation for all involved is still subject to debate. Nevertheless, world-famous UK brand NEXT opened its doors to the infamous, known-to-shop-till-it-drops Lahore market last week. The label, first established in February 1982, travelled from London's high streets to about a hundred franchises overseas by 2005 and now, hats off to Yuneeb Siddique, Azhar Peracha and Yasin Peracha for bringing it out town as well. Globally recognised for being conventionally casual and comfortable, NEXT displays its plethora of accessories, clothes, and trinkets at the Xinhua Plaza on Hussain Chowk. A neighbour to internationally acclaimed brands Mother Care and Body Shop, NEXT launched its outlet in fashionable company. As I walked upstairs towards the second floor, balloons labelled NEXT greeted me and my surprise. The outlet is a spacey one, carefully divided into sections for both men and women and enclosed by large glass panes showcasing the jam-packed road beneath and allowing a sunshiny feel to the area.
As I sauntered through the shop already chock-a-block with fervent shoppers, my eye first caught the jewellery stand displaying all sorts of beautiful fripperies gorgeously laid out in hot pink gift boxes. This 'Hallmarks' line, brought in especially for Lahori women starved for anything pretty, has a collection of sterling silver sets for Rs. 2,070, pairs of dangling earrings for Rs. 450 each, and shelly ones for Rs. 830 each. Just behind this awfully attractive rack, is a display of handbags and shoes for women. My first impression of this nearly-ignored area of the shop was not a great one – the hand bags were looked old-fashioned with only a cheetah-print piece tagged Rs. 3,450 actually worth carrying around. Disappointingly, the shoes were completely old-school and the assortment lacked variety as well. Furthermore, cheap-looking scarves were hanging just two feet away. These bawdy browns and blacks can be found all over Liberty market and local clearance stalls and I don't see how anyone would purchase one specifically from NEXT even if desperate. The next rack, however, proved to be a saving grace as I saw my childhood dream come true. I had always wanted socks which were colourful and had cute characters printed on them and unfortunately, I owned only a few brought by relatives from London. NEXT in Lahore saved the day with its display of packets each containing three pairs of the yummiest looking socks reasonably priced Rs. 600/pack. Next up in line was the menswear collection which I thought was an absolutely fabulous range. Most men were seen crowding the dress shirts stands which showed off fresh colour combos for the man of style. A unique design at display was that of button-down shirts accompanied by roll-up sleeves, available in simple hues of white, blue and dark gray and priced Rs. 2,760 each. The menswear collection also included ties in shades of pink and purple and made just for the man of fine, fresh taste.
My curiosity about the future of brands like Crossroads after the advent of NEXT was satisfied by Crossroad's Marketing Manager, Misha Peracha's statement: "Crossroads caters to an entirely different market, it's more hip and affordable and we design differently." With the opening of NEXT, I was genuinely worried about the future of a society becoming slave to brands and the idea of imaging but Kamiar Rokini of Karma made me hopeful again by clarifying, "Brands like NEXT are here to stay and eventually, customers will stop making a big deal about them, wiping out brand-consciousness in the near future." With consumerism at its peak and a mass craving for variety, business knows its direction and thus, NEXT has plans to replenish its stock on a monthly basis and will eventually be launched all over the country.

West Indies and Pakistan set explosive for Cup opener

Tuesday, March 13, 2007


Kingston, Jamaica: Hosts West Indies and unpredictable Pakistan, two teams equally blessed with the same explosive potential, fittingly open the 2007 World Cup here on Tuesday at Sabina Park.


The two sides have fought some epic battles in the past, including twice being involved in one-wicket victories - in 1975 when West Indies won, and in 1987 when the Pakistanis triumphed.

No two players demonstrate the volatility of the two sides like the two captains -Brian Lara of West Indies and Inzamam-ul-Haq of Pakistan - both of whom made their debut appearances in World Cup cricket in the same year.

It was 1992, and while Pakistan emerged champions, West Indies bowed out early which is something Lara hopes will not happen this year, although he acknowledges the unpredictable nature of his side.

"This is a team that over the past few years has beaten everyone else and we have played some very good cricket, but we have been unpredictable," he told reporters on the eve of the opening ceremony.

"I don't think people should be so sarcastic about this team." The unpredictability reared its ugly head as recently as Friday, when India dismissed the hosts for 85 and clinched a morale-boosting nine-wicket win in their final warm-up. "We talked about getting our act together," Lara said.

We tend to be unpredictable, this was not a one-off, and it is something we are trying to stamp out." I'd prefer it if we were very consistent and not unpredictable, but the pressure of the situation sometimes gets to the team."

Aurat aur Mard: Movie Coming Soon!

Date: 2007-03-13

Every possible concept in the universe can be understood but two entities which couldn't be comprehended and resolved are AURAT and MARD. We tend to reject the ideas conflicting our beliefs but that doesn't actually change the reality. This movie is about a truth we would ignore to hide from our darker self. This true story is a contentious tale about obsession, lust, and infidelity. The conservatism of the society is portrayed by the intricacy faced by the couples. It is about the fact that irrespective of how civilized and sensitive we humans are, there are extremes in all relationships where insensitivity finds the extent of infamy. Aurat aur Mard is a story of betrayals and deception that delineate the private lives of couples in black and white.
The story revolves around Izzat Adil (Mahnoor Baloch) a university professor cum novelist, a mesmeric & ambitious woman, who is married to Dabeer Baig (Shahzad Nawaz); a local shipping & business tycoon. Due to lack of intimacy and communication between two; emotions run high and things become tense when nature adds to the misery by bringing more people into their lives.
Izzat, dissatisfied with her matrimony, finds herself attracted to Sharjeel Khan (Ali Kazmi); an intelligent and self assured guy, who is her student and is living under a false pretence.
Sharjeel's personality is marred by certain events in his life. After his parents death he found escape in paintings and sketches to overcome his isolation. But with the growing interaction between himself and his professor, he finds a confidant in Izzat.
In contrast, there is Rosheen Aslam (Nausheen Shah), an efficient and smart employee at Baig Group. Dabeer is unwillingly attracted to this incisive open-minded and sympathetic Rosheen who possesses the qualities Izzat lacks. In return she is attracted to Dabeer too.
All the characters are hostages of their emotions trapped in a game of hide and seek. What is to be seen is that who turns down the rest and comes out successful. Who will win the battle between the promises of marriage and the evil of lust?
The movie is produced by ZAID AZIZ, who believes in latest technology and spanking new ideas. One of his productions include "The Early days", which became extremely famous amongst the younger lot, giving away some credit to its OST "silsilay". The duo behind silsilay is back with a song for this movie as well. Aurat aur Mard is directed by well-known director AHSON TALISH. Co-produced by AYAZ KARAMATULLAH | ASAD AZIZ | FARAZ KARAMATULLAH.
Starring: SHAHZAD NAWAZ | MAHNOOR BALOCH | ALI KAZMI | NAUSHEEN SHAH & Others.
Original soundtrack is "ULJHAN" by SOMAIR RIZVI & TAHIR ALI SHAH.
AURAT AUR MARD is a VOX VISION production & a ZAID AZIZ presentation.
The movie will be released in mid of March 2007 and will be aired on one of the leading channels + worldwide DVD release to follow soon.
Draft of the Story written by: Sana Akhtar

Thursday, March 15, 2007

Friday, March 16, 2007

Friday, March 16, 2007

Karachi: Pakistan captain Inzamam-ul-Haq has said the team in the World Cup was severly missing allrounders Shahid Afridi and Abdul Razzaq, who were experienced to release pressure on the top order batsmen in one-day matches.

Friday, March 16, 2007

TOP TEN CHARTS OF THE WEEK

Date: 2007-03-25
Lets check out this week top ten charts :

TOP TEN MUSIC ALBUMS :
1.NAARA SAADA ISHK DA – ABRAR UL HAQUE
2.DOORIE – ATIF ASLAM
3.MASTY – ALI ZAFAR
4.SUN RE – ABBAS ALI KHAN
5.VE SONIYA – SAIRA ARSHAD
6.RANG NEELA – AAROH
7.BE THE ONE – OMER ANAYAT
8.MAUSAM – JOSH
9.SAATHIYA – ALI KHAN
10.RAETH – RAETH

TOP TEN TV SHOWS:
1.NADIA KHAN SHOW
2.DIL DIA DEHLEEZ
3.LOOSE TALK
4.MARINA MORNINGS
5.BEGUM NAWAZISH ALI
6.TERE PEHLOO MAIN
7.GUMNAAM
8.TANHAIYAN
9.DHOOP KINARAY
10.WARIS

COMPILED BY : DR EJAZ WARIS