Celebrity Interviews - Page 3

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Charkha : Rahet Fateh Ali Khan's album review Rahat Fateh Ali Khan's Charkha is the most haunting record in the market right now. Though the hype around it may not have built up because of the subtlety of the record, but now it seems to have filtered in and through and regularly features on the charts. It's been a slow burner but on first listen one can tell that this is a record that will burn long and gain strength. Charkha is classic in every sense of the term. The videos on music channels all over, 'Tere Bina' and 'Kanday Uttay', are only the tip of the ice berg here. Charkha is music to listen to in solitude, preferably with dim lighting. The reworking of Bullay Shah's 'Charkha' and Shah Hussain's 'Sainyaah' included, most songs on the album are a reworking of the qawwalis in Nusrat Fateh Ali Khan's repertoire. The only original compositions are 'Tere Bina', 'Na Janay Kahan' and the unsurpassable 'Jiya Dhadak Dhadak Jaye' that became a superhit in India in 2005 when Mahesh Bhatt used it for the film Kalyug. Already a star in India after 'Mann Ki Lagan', 'Jiya Dhadak Dhadak Jaye' ensured that Rahat become a voice in demand across the border; beyond the realm of the Bhatt family. He sang 'Naina' for Vishal Bharadwaj's critically acclaimed Omkara (2006), 'Main Jahan Rahoon' for the surprise blockbuster Namastey London (2007) , 'Bol Na Halke Halke' for Yashraj Films Jhoom Barabar Jhoom (2007) , 'Jag Soona Soona Lage' for the Shahrukh Khan magnum opus Om Shanti Om (2007) and the haunting 'O Re Piya' for Madhuri's come back film Aaja Nachle (2007). Yet it is Charkha, Rahat Fateh Ali Khan's solo album that is truly satisfying listening for the qawwali aficionado as well as for those who like trippy lounge music of the sort that Thievery Corporation and Buddha Bar records have made so popular amongst the party crowd looking to chill out to sounds that carry on from where the DJ leaves off. The sound of Charkha Carefully constructed by Rohail Hyatt, Charkha is a sonic delight. The visual landscape reminds one of a desert in bloom. The musicality is sparse but tasteful (barring the remixes of 'Charkha' and 'Tere Bin', that gradually race thumping into a manic assaulting beat, but more on those later). The album opens with the sublime 'Charkha', that reworking one of the immortal kalams of Bulleh Shah, that puts a whole new spin on the phrase 'the wheel keeps on turning'. With the twang of a guitar occassionally interjecting the more consistent percussion that seems to be modelled on the clapping that traditionally accompanies a qawwali performance, Rahat's vocals build up to the chant 'Aaja Har Charkhe De Gheray Main Tainoon Yaad Kardi'. The sound is modern and yet familiar because the form of qawwali is not interfered with and that has been Rohail Hyatt's aim throughout the album. "You can't mess with the form," Rohail resolutely maintained when he set out to do Charkha years ago. Rohail seems to have learned how Westerners worked with Rahat's illustrious uncle Nusrat Fateh Ali Khan. There was Peter Gabriel's 'Mast Qalander' remix that burnt dance floor all over the world, but which remained an aberration for the true followers of qawwali and then there was Michael Brooks' interpretation of the Nusrat first in Mustt Mustt and then more noticeably in the super sublime album Night Songs that will never lose it's incredible replay value. Qawwali is music that you sink yourself into and let it seep in; even as electronica can make it more accessible to the modern world it is important that qawwali retain its essence, which is spiritual to the extent that it caused musician Jeff Buckley to famously comment "Nusrat is my Elvis". And this is precisely what Charkha does. It elevates Rahat to a whole new iconic level. Rohail Hyatt has played acoustic guitars, percussion and done the programming for most of the songs. Assad Ahmed has played electric guitars on the album. Abbas Premjee also comes in for a song. Rahat's troupe is employed for another. But essentially Charkha is all about Rahat Fateh Ali Khan and his craft. It focuses on the qawwal and his qawwalis and being so true to what it sets out to be is the album's greatest strength. After the mindblowing title track, the album launches into the mesmerizing 'More Ang Ang Baje', it's followed by the sonorous 'Rang Rangeela' and then there is 'Tere Bina' which speaks of the sweet pain of parting with a beat that quickens as suspense gathers. On the album it is the song that launches the searing intensity of the next three songs that grab you by the jugular. 'Kanday Uttay' is the only song that employs Rahat's humnawa, who contribute backing vocals on this track; Ballu Bhai from the famed Tafu Brothers of Lahore is responsible for percussions and Dildar who performed with Nusrat and then Rahat was roped in to lend tablas to the track. 'Kanday Uttay' is a scorcher. It is nothing like what you will hear when you watch the glammed up Indian-directed video, unless you close your eyes. This is followed by 'Dunga Pani' with lyrics by Rahat Fateh Ali Khan that is a slow slash your wrists and die melody that takes you to the cavernous depths of inner despair of the worst kind. And this is followed by 'Aj Hun' that begins with haunting classical guitars that can only be done by Abbas Premjee coupled with the rat-a-tat done by Rohail that sounds suspiciously like a matka. 'Aj Hun' is somber song that picks up as Rahat Fateh Ali Khan picks up with his melodic Sa Re Ga Ma, racing through the notes before taking the lyrics to a brighter, happier, uplifting place. After the intensity of the 'Kanday Uttay', 'Dunga Pani' and 'Aj Hun', Na Janay Kahan is a breath of fresh air. It was originally composed by Rahat's father Farrukh Fateh Ali Khan. It's a song as opposed to a qawwali, but when you have Rahat singing, it's a perfect example of how a trained vocalist can lift a ballad. Then come the remixes of 'Tere Bin' and 'Charkha'. Boy would one love to hear them playing at a rave and one is sure that they will. Without the irritating jhankar beats that keep Indian remixes from being truly enjoyable, these are a lesson in how Eastern music can be uplifted by electronica to suit the dance floor without being reduced to being perfect soundtracks to the sleazy clubs typified in the Indian film Chandni Bar. Sandwiched between the two remixes is Shah Hussain's 'Saiyaan' that is electrified to a thrilling intensity but without ever overshadowing Rahat's voice or getting in way of the lyrics that tell of love and longing so great that one would give it all up for the 'Saiyaan'. The album fittingly ends with 'Jiya Dhadak Dhadak Jaye', which we have already heard and been entranced by since 2005. It belongs more in this album Charkha than it did in that film Kalyug. The irony is that had 'Jiya Dhadak Dhadak Jaye' not been given to that film, one doubts that a project as ambitious and pure as Charkha would have seen the light of day in Pakistan. The making of Charkha Charkha is a project that started many years ago. With Rahat being based in Faisalabad and Rohail Hyatt in Karachi it was a difficult undertaking. Faisal Rafi was the crucial bridge between Rohail and Rahat shuttling between Karachi and Faisalabad as and when necessary. With a deep abiding love for Sufi music, Faisal Rafi went full throttle into the working with Rahat while at Sajjad Panjwani's Visible Changes. Since he had done the last few shows with Nusrat before his demise, Sajjad had put him onto a project with Rahat which he worked on with Shahi Hasan. This is when Rahat was known as Nusrat's nephew and skeptics believed that with his squeaky voice, he would never be able to live up to the towering legacy of his uncle. Rahat proved the naysayers wrong with 'Mann Ki Lagan', produced by Shahi Hasan and Faisal Rafi. Used by Pooja Bhatt in her super flop film Paap, the song went on to become a superhit. Rahat had proved himself in Bollywood and only greater things would come. It was after the success of Paap in 2003 that Saregama showed an interest in Rahat Fateh Ali Khan's music and the deal for Charkha was made. A few weeks after Rahat's return to Pakistan, his father who had not been keeping too well passed away. As it works in gharanas, Rahat became the head of the clan and was out of musical action for a year. By the mid–2004, Faisal Rafi wanted to set the project rolling, but Shahi was busy, so it he took it to Rohail Hyatt to produce. Rohail Hyatt outdid anything Rahat had done with the standout track 'Jiya Dhadak Dhadak Jaye'. Years in the making, Charkha could find no takers in Pakistan. It was 2005 and Rahat Fateh Ali Khan's star had yet to rise in Bollywood and credible music labels had yet to come out in Pakistan. Who would be interested in a classically trained singer who had no chance of becoming the heart throb of millions and thus help push colas, ice cream cones and mobile phones into the market via his endoresement? The answer is no one. And so the strategy was strike India, where the tradition of trained playback singers ensures that classical ustads have merit. Mahesh Bhatt, who had shown an interest in the music was given 'Jiya Dhadak Dhadak Jaye' to use in Kalyug. The song was an immediate hit when it came out. Saregama became even more interested in Rahat's solo album and Rohail and Faisal took it upon themselves to deliver the goods. There were songs that had to be rewritten and simplified. Like the second track that opens with the words 'Mohe Ang Ang Baje Madhur Bansuri, Torey Yaadon Ki Chhaiyyaan Taley', which is adapted from the Sufic song that goes 'Moray Makhdoom Bajay Madhur Bansuri Teray Gullar Ki Chhaiyaan Taley'. Makhdoom was a saint in India and the song describes him playing the flute under the shade of the gullar tree. Ahmed Anis, a childhood friend of Rahat's has adapted the lyrics to make them more listener friendly for a greater audience. "The qawwalis are in so many dialects that the average listener wouldn't be able to understand them. We changed the lyrics to make them more accessible," Faisal Rafi tells Instep. "But there was also the respect factor. Hazrat Makhdoom was a saint, and the minute you put out an album in India, chances are the videos will feature semi-clad women dancing to the songs. We didn't want to disrespect Sufi saints." Yet, Faisal is quick to pint out: "Anis Ahmed redid the lyrics, but the soul is the same. 'Makhdoom' is replaced with 'Ang Ang' and 'Gullar 'with 'Yaad'. The substitute is true to what Sufis sing about." It's an intelligent logic and one that Rohail Hyatt and Faisal Rafi applied while going about remaking and rewriting with Rahat and his team. These ancient qawwalis that are truly the songs of the soil. And there is something about them that gets people whether they understand the language or not. Eddie Vedder came under the magic of Nusrat's craft, as did Jeff Buckley, Peter Gabriel and Michael Brooks and countless others. Charkha puts Rahat Fateh Ali Khan on the plain that Michael Brooks put Nusrat Fateh Ali Khan on with Night Songs. Charkha is world music that the people anywhere in the world would respond... as they did with Nusrat. And it is the perfect launch for Rahat at a time when he has shed the slightly shrill nervous voice to sing from the heart (and the stomach at times) as his uncle had foreseen he would. The significance of Charkha At Rohail Hyatt's Coke Studio recently, it was Rahat's performance that was the most riveting out of all the artists. He's acquired the same quality Nusrat had of hypnotizing you with the power of his voice and the control he exerts over it. Rahat can make his voice ring out to the heavens and take it down to the soothing effect of falling rain. And like any classical musician, he will only get better with time. Success has come also much easier to Rahat than it did for his uncle. While Nusrat broke out into the West and the world at large rather late in life, he was touching 50, Rahat has made it much younger and with India under his belt, he is perfectly poised to take on the mission his uncle began. "Many have said I have compromised my faith by coming to the West. But this is not so. To travel the world and open the hearts of those whose were previously closed is a joy worth the other sacrifices," said Nusrat in an interview to Andy Carvin while he was alive. It was a man speaking about the opposition to his openness towards collaborating with Westerners within the classical music gharanas of Pakistan. Yet Nusrat reached out to the world because he realised that like all things, qawwali too must evolve. As Pakistan, with the rise of media and a young population, becomes a different place in sync with the rest of the world, it is imperative that qawwali change tack and reach out to both the younger audience and the world at large. This is what Charkha does for Rahat Fateh Ali Khan and it is important that he carry on this path even as he chases those Bollywood hits that can make a Pakistani musicians' career these days. One doubts that Rohail Hyatt's production of Charkha can have rivals amongst Bollywood music composers (the only person one can discount is AR Rahman) who are very good at making filmi songs. The problem with Rahat's Bollywood foray has been that the songs he has sung there employ him as a fine singer and are pleasing to the ear, but they lose the intensity of his art which is qawwali. Nusrat also fell into this trap when he did songs like 'Afreen Afreen' with tacky instrumentation that did no justice to his craft. And then there were also gems like 'Piya Re'. And ironically, the best Rahat Fateh Ali Khan song after 'Jiya Dhadak Dhadak Jaye' has been 'O Re Piya' from the film Aaja Nachle; the rest have been hack jobs. With Charkha, Rahat Fateh Ali Khan gets a brilliant showcase, in front of which his forays into Bollywood fall short. One hopes that there is a sequel to this album and that it is put together as thoughtfully and tastefully as Charkha. Source: showbizhungama.com

One is in love with the camera, choosing to remain behind it most of the time while the other romances it to the hilt. Both are well known in their own right — one as an ambitious media person and the other as a successful actor.

Abdullah Kadwani and Humayun Saeed are friends and partners, running Seventh Sky Entertainment since the past three years — a media company high on entertainment and quality production.

Such alliances in showbiz are known to happen when two people want to come out stronger as a team, or when either one is not an entity on his own. However, this is not the case here and though both are successful individually, they have still joined forces professionally.

IWE approached the duo to find out what they have to say about their aspirations regarding friendship, work and most important of all, future endeavors in the form of co-productions with India.

What was your reason to come together as a team?

AK: I have always believed in adding value to whatever one does, hence I have always believed in partnerships that will enhance and add weight to one's work.

Where Humayun is concerned, I had worked with him in the serial Andharay Dareechay and found him to be not only a good actor but a good person, too. That was the beginning of our friendship and as time went by it matured, leading to a certain degree of understanding between us, ultimately culminating into a partnership.

After doing our first project together under the banner of Seventh Sky Entartainment, Ana, which is also the first joint venture with India, things just kept falling into place and here we are today.

HS: As Abdullah said, he believes in partnership very strongly and so do I. I feel that if you're doing good work, by joining hands with another who is equally strong will add to it. In any case, we became friends first and with time it led to partnership. What I like about Abdullah is that he is a self-made man and above all, he is honest.

As for both of us being successful individually, I am relatively a good actor but I give Abdullah more points as a producer doing quality work. Interacting with him has been a learning experience through and through. I feel that I have ended up gaining more out of our partnership.

Are there any ego hassles or conflict?

AK: Conflict is always there but it should not get personal. In any partnership trust, respect and understanding are the three essential ingredients. Commitment counts and where logic prevails, it becomes the positive point in any conflict.

By working together I would say our friendship has gained more strength, and no matter what our collaboration is a win-win situation for both of us. We are in sync by working together on our weaknesses and strengths.

People say that it is the first partnership where two successful individuals have come together and have survived for so long. They asked us why the need to join hands and even tried to create differences, speculating an end to our relationship after a give time.

As for a clash of egos, when it comes to professional decisions conflicts help to improve one's work. From day one we had decided that whatever comes our way professionally, and even if at some point we end up not working together, our friendship will remain intact.

"Conflict is always there but it should not get personal. In any partnership trust, respect and understanding are the three essential ingredients. Commitment counts and where logic prevails, it becomes the positive point in any conflict. By working together I would say our friendship has gained more strength, and no matter what our collaboration is a win-win situation for both of us. We are in sync by working together on our weaknesses and strengths," says Abdullah Kadwani

HS: Having an ego is natural. As individuals we know each other inside out. After all we are mature individuals and while working if you have respect for each other then professional conflicts do not become personal. Conflicting views are talked over and sorted out and mutually worked upon. The friendship stays no matter what. This is our fourth year together and we are growing stronger and stronger.

Between the two of you who is the shrewd businessman and who is the creative head?

AK: I started my career as a model and went on to become an actor, producer/director and marketer, so creativity is in my blood. I am a businessman not by desire but by default. It is my nature to be creative, to go deep into every aspect and think long and hard before making a decision. I believe that an image based on creativity is the pillar that holds one strong. I consider myself lucky that people who I call my gurus, such as Tahir A. Khan, want to brainstorm on ideas with me.

HS: I do my work sincerely, quietly and honestly and things simply start to fall in place, which is assumed by others to be shrewdly tactful. Don't you think that each one of us should have some amount of intelligence when doing business? It is a necessary ingredient.

As for being creative, I do not consider myself to be naturally so. I have learnt to be creative through acting and by interacting with people whom I have worked with, such as Mehreen Jabbar, Marina Khan, Sajjad Gul and Abdullah Kadwani. I am still learning.

In a way you are responsible for introducing Indian talent through your first serial, Ana, in Pakistani dramas — a trend that has caught on but is considered meaningless by many.?

AK: I will always advocate the fact that whenever you work with someone better than yourself you benefit from it the most.

Just look at the Indians where they are today in the field of entartinment. They are recognised all over the world and at times you hear of Bollywood even before Hollywood.

The Indians may not need us but we need them and whatever work we have done, we have kept the Pakistani element intact. We took Ana as a joint venture, taking on their technical crew and actors but everything was done here with our own producer/director. The ultimate benefactor will be Pakistan's entertainment industry.

HS: The honest truth is that Indian actors have been a part of our lives since eons and they are the stars for the Pakistani public as well. I would say the criticism may be a case of insecurities creeping in because we are dealing with Indians.

As an actor my reason was simple — showcasing Pakistani talent to the Indians. They knew me as a producer but not as an actor. Do you know the Indians are in awe of Talat Hussain who played a pivotal role in Ana? One can hire actors from anywhere in the world and it doesn't make a difference. It's just that the story and plot should justify it.

These days dramas are not only glamour-based but have also become increasingly Indianised. Don't you think we have lost our identity in this rat race?

HS: I don't know about others but if you see the track record of plays produced by Seventh Sky you will notice that we haven't become Indianised. After Ana there have only been one or two serials in which we did incorporate Indian talent. Secondly, we did not mould our heroines into the Sita or Geeta prototypes. We kept the Pakistani element intact in every way so that the Indian talent also gets to know about our culture. The point is you can hire talent from anywhere but the story and plot should depict your culture and should justify the inclusion.

AK: We should remain close to our culture. The Indians are very sound technically and have made a remarkable improvement in storylines also. Instead of picking up good points from them we have started to follow them blindly. Our Indianised dramas have ruined the sanctity of relationships and values. They are all about attractive packaging, but if substance is missing then what's there to see? I keep on telling others in the industry to remain in our own sphere but work technically with the Indians which, in turn, will enhance our product.

With channels supporting Bollywood films, television channels airing Indian programmes and FM stations blaring out Indian songs, where does our media stand?

AK: Everyone knows the state of our film industry today. It is we who are to be blamed and whether we like it or not the release of Indian films have become a savior as people want recreation. It doesn't make a difference whether it's Bollywood or Hollywood, people throng cinemas to watch good films.

As for our electronic media it is there and fighting. We have improved in every aspect but there has to be a sincere effort to fill in the vacuum by having a media industry that runs on a proper system. It is only after the media starts playing a positive role that there will be a balance.

HS: I do not have any issues with the release of Indian films in Pakistan. They have always been there so stopping them officially is a non-issue. On the other hand, if good films come out of Lollywood or Hollywood people will still go to dilapidated theatres no matter what. With the release of Indian films at least the trend of going to cinema will revive and proper cinema halls will come up. Our product will also improve and local film-makers will be encouraged to come out with good films.

With our singers making a mark in Bollywood is there a need to stop Indian songs on FM stations? If we do that they might also stop our singers, so what's the use? I don't think it's a big deal that one can hear Bollywood songs on the airwaves. As for television, they don't show our dramas and they have no clue about our culture. The best way to introduce it is by what we did through our productions, especially Ana.

What are your current projects on air and in the making. Will they also make a difference?

"Having an ego is natural. As individuals we know each other inside out. After all we are mature individuals and while working if you have respect for each other then professional conflicts do not become personal. Conflicting views are talked over and sorted out and mutually worked upon. The friendship stays no matter what," says Humayun Saeed

HS: Our recently aired play Wilco has been quite successful. Nowadays Yaadien is also receiving good feedback. Then we have Sarkar Sahib and Koi Toh Baarish. All these four productions have done well.

Our upcoming plays are Char Samandar that was shot in Turkey. Mehreen Jabbar has directed a 22-episode serial written by Humera Ahmed called Doraha. Besides these we have a whole lineup of serials such as Kitne Dur Kitne Paas directed by Arif Khan then Khawab Toot Jaate Hain by Haider Imam Rizvi and Char Chand directed by Javed Fazil.

The serials we are working on are Char Samandar by Kamran Qureshi which is the working title for the time being to be shot in Turkey. Sautaili, Meri Asha and a serial to be shot in America and directed by Mehreen Jabbar.

AK: We are also adding a new dimension to the Seventh Sky portfolio and that is reality shows and game shows. We are working on franchises and buying concepts, and will soon come out with international ventures. We will be the first one to do so and we are looking for media support. The shows taken from abroad carry a lot of dictation from the original owners but what we want is the jest to remain the same but the local touch should be dominant.

Any plans to venture into films in the near future?

AK: I wish we had started working on films. At the moment it's still in the planning stage. When one is quality conscious and venturing into something new for the first time, the most important aspect is to do proper homework.

HS: We have already roped in writer Javed Siddiqui who wrote Dilwale Dulhani Lejayenge and Gulzar sahib is writing the songs and Anu Malik will be the music director. The only hitch is the fact that this is our first film and we don't want to leave any stone unturned and want to come out with a thoroughly planned project.
Source: showbizhungama.com

"The fact that I had been offered the main lead in the movie Osama which is supposedly a critical issue in this part of the world in itself is a good enough reason for (receiving) these threats. Sadly, without even knowing the exact scenario of the movie, people have come to the conclusion that I am actually playing the role of Osama Bin Laden which is absolutely wrong."

Veteran pop star Ali Haider has been making waves with the release of his latest album Jaaney Do as well as working on a few Bollywood projects. Ali recently revealed that he is playing the lead for Faisal Saif's upcoming movie, Osama. An exciting venture and off course, quite controversial, it has put the pop singer under serious criticism and anger from people at home as well as with Muslims in India. Images caught up with him in a very candid interview where he talks about the repercussions of signing up for Osama, other Bollywood offers in pipeline, his future plans and a lot more.

Rumour has it that you've been receiving threatening calls after you signed up for the film Osama? What could be the reasons behind these threats?

I am not sure about the threats but the calls are definitely mysterious. My family and I are very upset about them.
Living in Pakistan there shouldn't be a reason for receiving threats. The fact that I had been offered the main lead in the movie Osama which is supposedly a critical issue in this part of the world in itself is a good enough reason for (receiving) these threats. Sadly, without even knowing the exact scenario of the movie, people have come to the conclusion that I am actually playing the role of Osama Bin Laden which is absolutely wrong.

When did you first receive the disturbing calls and how did you react to them?

I was in Mumbai to meet the director of the movie, Faisal Saif, when my family first received these threatening calls. As an immediate reaction, I rushed back home to find out what was exactly wrong. Upon my return, all my family members and friends, advised me to stay away from such a controversial matter which might result in some undesirable consequences. Till that moment I had not refused the offer and decided to read the complete script.
I went to Mumbai again to read the final script and realised that the storyline wasn't against either Muslims or Hindus. Hence I signed the contract and returned.
Upon my arrival to Karachi, I was shocked to find out that the people here and as well as Muslims from India had serious issues related to a Muslim guy to play the role of Osama Bin Laden.

So what is the story of the movie exactly?

As I have to abide by my contract, I can't exactly tell you the complete story but the theme of the film revolves around a Kashmiri Boy whose name is Osama. It is a musical love story which starts from Kashmir, goes to Afghanistan and to the World Trade Centre.

How do you plan to deal with this situation now?

As mentioned earlier, my contract restricts me from exposing the complete story of the film, the only way out was to back out of the contract, which I have already done.

Don't you think the banner under which the movie was being produced will not appreciate this breach of the contract from your side?

Naturally they are very upset but they understand the situation I am in. And since the director of the movie Faisal Saif is a huge fan of my music, it was easy for me to convince him.
However, they have now requested me to give a guest appearance in the movie as myself, Ali Haider. The situation of the role is that the lead character Osama is a huge fan of Ali Haider and encounters him at an airport in Belgium. According to the script, Ali Haider helps Osama in a serious matter he gets caught up in.

What would be your next step?

I am still receiving stupid calls from unidentified people. These threating calls have forced me to ponder seriously on this issue. I have decided not to indulge myself in any such project that risks my peace of mind and family's safety.
Although, being a very important subject, I wanted to go ahead with the project because I was convinced that by doing this film I could do some justice to portray the true image of Pakistanis and Muslim on an international platform. But unfortunately, if our government couldn't save the lives of national leaders, then who will guarantee the security of myself and my family?

Do you have any other Bollywood offers in pipeline?

I have been offered a role by E. Niwas (Shool & My Name is Anthony fame) for his upcoming film. It is a romantic story and features a cast from India (Vidya Balan and Akshay Kumar) as well as from Pakistan. Mr. Niwas is going to visit Pakistan next month to show me the script and if the role is strong enough, I'd love to do it.
Another project in India is a video of Purani Jeans directed by two very important Indian directors namely Raju Subraminum (Sajan fame) and Kunal Kohli (Hum Tum, Fanaa). It will be a complete new look from what I sported in Janey Do and I am sure my fans will love it.

Rumour has it that you're working with Saqib Malik in a featured film of his?

I definitely have an offer from Saqib Malik because the story that he is working on was penned by me. Saqib is an excellent director and I have full faith in his abilities. It would be too early to say anything about the project so let it gain the momentum and both of us will speak out.

Are you planning to release the album across the border?

The response of the new album is amazing. I am releasing the album in India and Middle East on Valentines Day, following its release in UK, USA and of course Pakistan.
Source: showbizhungama.com

No it's not called Dhoop. The next Strings album is tantalizingly called Koi Aanay Wala Hai. It's an apt name for the most anticipated album of the year.

Strings, as one music aficionado put it recently now fall into the category of "classic". This Strings fan is well into his 50s. With their melody, lyrics by Anwar Maqsood and a signature style that they have never veered from, Strings have become a listening habit in Pakistan. And they've penetrated so deep into our consciousness that they're not going anywhere.

If Ali Azmat is about radical experimentation and newcomer Atif is all about hype, Strings are all about consistency and a mellow attitude that they have made uniquely their own. They are not about 'Garaj Baras' and are definitely not scratching their heads and wondering 'Hum Kis Gali Jaa Rahe Hain'? Faisal Kapadia and Bilal Maqsood are self assured, co-pilots of the enterprise that is the Strings and they're cruising along hitting all the right notes and that too all over the sub-continent!

Faisal Kapadia and Bilal Maqsood have long been the most chilled out guys in the music industry. They occupy their own world. Both are happily married to the women they fell in love with years ago and have children; Bilal, three and Faisal, two. And they have never been into making statements. They don't take up political causes. They will do a 'Beirut' but they won't tom-tom the fact all over the place. They do what they do and they do it well, but they do it very quietly, so at the end of it, all you hear is the music.

Faisal and Bilal are voyeurs. They observe the milieu and resolutely figure out a way of doing their thing their way. Sitting with them in Bilal's gorgeous home within the Maqsood family compound in Defence Karachi, the vibe is easy to pick up on. There is a sense of calm to both of them. They share an easy energy, as mellow as the music they make. They are both excited about their new album, which is being mastered at Yashraj Studios in India, in the heart of Bollywood itself and yet the sound is distinctly Strings.

'Koi Aanay Wala Hai', the song starts off from where the excellent 'Aakhri Alvida' left off. This album sees a reinvention of the Strings. There are breaks between rhythm and melodic bridges that reach to a crescendo and then goes around for another spin. It's a definite departure from Duur and Dhaani. The music is more rocking, the sound is definitely edgier, but it doesn't sound like a whole new band. Faisal and Bilal know the Strings signature well and they stick to it.

"I look at us as a brand like Nike," says Bilal. "Strings are a brand and there is a philosophy behind it. We know what we have to do."

Like what?
Faisal easily takes over from Bilal and launches into the story of the shooting of the 'Aakhri Alvida' video. "We were shooting on the sets of the film and you remember the scene with guns on display?" he asks unassumingly. Who would forget the 'Aakhri Alvida' video? It was a breakthrough lesson in how Pakistani musicians can use Bollywood for their own advantage.

"Well originally Sanjay Gupta, the director, wanted us to play with the guns, load them and stuff," continues Faisal in that husky baritone. "I was very excited by the idea, but Bilal stopped me saying, 'Do we really want to send out the message to our fans that the Strings are into guns?' I thought about it and decided he was right. Guns are not what Strings are about at all."

Bilal smiles. There is an easy awareness between them. And music producer Rohail Hyatt who has known them for ages says that they are very easy. Part of their charm he attributes to the "nice boys next door syndrome, which is how they are." Yet he sees them as two separate entities. "They are very different people," he tells Instep. "Which is why when you ask me about them as a unit, I can't answer because I look at them as two very different individuals." According to Rohail, Bilal is the creative mind, while Faisal has the capacity to be very real and the skill to deliver. And the success of the Strings, Rohail attributes to their difference. "They compliment each other very well."

He echoes how Faisal and Bilal describe their relationship. "When one is slipping, the other brings him back on track."

Faisal and Bilal are their own professional comfort zone. And it doesn't come easy. Yet here are two guys who dreamt a dream together and formed Strings way back in the day and came out with the albums Strings in 1990 and Strings 2 in 1992. 'Sar Kiye Ye Pahar' from their second album became to Strings then what 'Aadat' was for Jal and Atif Aslam at the turn of this century. However, Pakistan wasn't then what it is now and being a musician seemed to be a fool's dream. Faisal and Bilal were respectively in love with the women who would be their wives and they finished their education and worked, got married, had children and became 'normal' people. But the call of music was too strong and they came back with Duur and the rest, as they say, is history.

New media is capable of catapulting stars to the stratosphere. The plethora of music channels in Pakistan, the launch of new newspapers and magazines and the emergence of awards shows have ensured that the music industry is more prolific than ever before and the Strings love it.

"We loved it when Instep Today was launched," says Faisal recounting how excited they were that entertainment news was being covered daily in Pakistan. "That is the way it is in India."

India is a barometer for both of them. It is the land the Strings went to and found fame tenfold the size in Pakistan. They are regulars on the Indian concert circuit and having made inroads into Bollywood, they regularly perform with Bollywood stars. And we at Instep found it rather infuriating when they did a string of concerts with Saif Ali Khan and the Indian band Parikrama and didn't keep us updated at all. Readers would have been so interested in that.

"Look," smiles Faisal. "When we first went to India and performed with Bollywood stars for the first time, we told you about it. It was exciting for us, but now we keep on going there and we keep on performing with them. We can't call up newspapers and say, now we're performing with Saif, and next week Akshay Kumar will be singing with us or that John Abraham is coming in our video. It's become regular now."
Both Faisal and Bilal strongly believe that too much hype can kill and artists. "When you keep reading about someone everyday, see them in interviews on every channel and see there videos all over the place, it kills it. You don't like it when anyone is shoved down your throat," they both agree.

There it is again, the subtlety that has become a trademark of the Strings. It's in their music, it's in the way they talk and it's in the way the way they view the scene and how they choose to play their game. From videos to concerts to music and interviews, it's done with a dignity and grace that's hard to find in the rat race that the burgeoning music scene in Pakistan has become.

And nowhere does this remarkable trait of theirs shine through as clearly as when they give interviews to Indian papers. The quotes attributed to the Strings are fantastic like one they gave to The Hindu in October 2007. "While listening to film music, you visualise the particular actor in the song. In independent albums though, the listener pictures himself in the situation. The listener relates to the singer even more," they were quoted as saying. Or the one that they gave to Rediff when they first went to India where they advised any band who couldn't make it big in India to come to Pakistan which has more of a band culture. They tell it like it is and take a stand for what they believe in. They have taken the Strings signature to India and have refused to compromise on it even if they have been made an offer by the likes of Karan Johar and Madhur Bhandarkar.

An offer came from Karan for them to sing for a film, but they refused that.
"We're open to collaborations, but we're not interested in being playback singers."
And when Madhur Bhandarkar asked them to compose the soundtrack for his upcoming film Fashion, they turned him down preferring to work on their new album Koi Aanay Wala Hai.

"We don't want to be Laxmikant-Pyarelal."
Bilal Maqsood and Faisal Kapadia realize that they are the upholders of the entity that is Strings and they treat it as sacrosanct. They worked with Sanjay Gupta because he understood what they wanted to do and was willing to let them do that for the film. They speak very highly of John Abraham who will appear in their first video for their upcoming album because he gets them. They think highly of Sanjay Dutt because they get along with him. Faisal and Bilal are not starstruck, which is why they deal with Bollywood on their own terms. A lot of music industry insiders attribute their success to Anwar Maqsood's Indian connections, (Bilal's poet father has many fans in India) but as Rohail puts it, while connections do help, it is what you deliver at the end that makes or breaks an artist.

Recently, it was pure pleasure to see the Strings perform at Coke Studio, Rohail's upcoming project that pits our biggest pop stars alongside classical and folk musicians. Right before the show, Faisal and Bilal were speaking with Rohail about how to introduce the lewa musicians who were going to accompany them on 'Sar Kiye Yeh Pahar'. They had heard of lewa dancers and wanted to know if lewa musicians was the correct term. Eventually they pointed to Abdul Lateef and his gang of men and said, "So here's 'Sar Kiye Ye Pahar', lewa style," right before Bilal launched into the most haunting reworking of the first ever Strings classic.

Ustad Hussain Buksh Gullu, the most seasoned classical musician roped into Coke Studio was paired with the Strings. He accompanied them on Duur. At rehearsals where they met for the first time, Faisal sang the opening strains of Duur to him and then said 'Please enter wherever you have the space to and take it wherever you have to." And Ustad Gullu worked his magic, taking Duur to places you couldn't imagine like only a vocalist trained in Eastern classical can. When he stopped, Faisal jumped in front of him waving his hands upwards as if to say, "Carry on sir, it's sounding wonderful." Ustad Gullu smiled and complied.

There is a tameez to dealing with classical musicians, who are a part of an old tradition that does not work well in today's go getting, cut-throat world. Yet, reaching out to them makes popular music richer. Strings realized this a while ago, which is when they teamed up with Hari Haran for the duet 'Bolo Bolo' in India and they manage to work well with classical musicians which is not an easy feat for the proverbial 'popstar'.

Another reason why their performance to an intimate audience at Coke Studio remains memorable is because one hardly gets to see them perform anymore. It seems rather unfair that their Indian fans get to see what their Pakistani fans remain deprived of.

"We've gone on to another level playing at stadiums for thousands of people with great sound and great production values," says Bilal. "After doing that, we can't play for a two hundred people, with either bad sound or fake it on stage."

"We feel ridiculous doing it," agrees Faisal.
It is a tragedy for our music industry that while musicians move ahead, the industry doesn't move with them. The Strings tried to change that when they went to the city government with the idea to do concerts all over the city. This plan resulted in the Hamara Karachi Festival in 2006, which became a hit, but while the Strings performed, they felt that the purpose wasn't fulfilled. The city government took the project in an entirely new direction and so many things happened that the festival lost all focus. The Strings wanted to give public concerts in open spaces where people could just come and listen and they still carry that plan which they hope will materialize one day.

"All colleges need to hold concerts," they say, pointing out that the bulk of their concerts in India are at student festivals. "A college has a concentration of people who listen to pop music and if colleges across the country hold concerts regularly, then we can have a great concert circuit," they believe.

Meanwhile offers keep rolling in from across the border and the sky is the limit for them in India, but Faisal Kapadia and Bilal Maqsood are holding back. It is more important to be Strings than to be big in Bollywood, which is precisely why they'll manage to do both. It's better that the destination be Duur for two musicians who hold the journey above all else.
Source: showbizhungama.com

Adeel Asghar Choudhary

"Koi Chehra" is a song that has been playing on all Indian and Pakistani music channels almost non-stop. Adeel Asghar Choudhary is the voice that has made this song an instant hit with music lovers. Originally studying to become a dentist, this multitalented young man followed his heart and has achieved instant success in the sub-continent.

We had the opportunity to interview Adeel and ask him about his future plans and how he started his very successful journey.

Tell us a little bit about your background, family and education.

My father is a doctor and my mother, a homemaker. I have two elder brothers, the eldest is a doctor and the middle one is a businessman. I grew up wanting to become a musician, but for the sake of my parents I studied medicine and was preparing to become a dentist, while simultaneously working on my music. I studied medicine from the prestigious King Edward College and contrary to popular belief; I was actually a very good student and always scored very high marks.

When did you become interested in music? Was this something your parents and family supported?

I've been interested in music ever since I can remember; the first time I touched a Casio at the age of 6, I knew this was my calling. Unfortunately, initially my family was not supportive at all of my desire to become a musician. I did go through a struggle period, but eventually my parents by Allah's grace saw the passion and hard work that I had put in, and today they are proud of my achievements. So I wouldn't say it's always been a smooth sailing, but I truly feel I'm God's special child and he's guided me to this point, and InshAllah will always do so.

You have released a new single "Koi Chehra" in India, and it has been getting great reviews, how has the experience been for you?

It's been overwhelming, but the response and love that I have received from the Indian market isn't something I can put in words. All I can say is that it's been a wonderful experience and journey. I truly cherish every moment of it.

Who wrote and composed the song? Do you work with a team or are you entirely a solo artist?

I've written and composed that song. Although I usually have musicians with me, I would say that I'm a solo artist.

Why did you think of releasing the song in India? Why do most of our artists and musicians now cross the border to release a song or an album?

India is a huge market, musicians and artists from our country get immense respect and love there. I see no harm in crossing borders to release our music; through music we are bridging the gap between the two countries. Where politics fails, art has taken forward. I feel proud of that fact that Indians are listening to our music; I think it says a lot.

What are your future plans? Are you working on any new songs or albums?

As of now, I've been busy promoting my current album. I've started working on a new album, and have two songs releasing soon in a Bollywood flick. I've always got acting offers from Bollywood, but my career is in a very early stage, so maybe by my next interview to you, I'll be able to tell you a name of a film! Nonetheless, rest assured you have a lot of music coming your way from me.

You have also been selected as a new face to represent Pepsi, tell us about how you got selected? Have you been asked to endorse any other products as well?

I've been a Pepsi brand ambassador for 3 years and it has been a great association. They discovered me through my music, and I'd like to thank Pepsi for selecting me when I was just an infant in this industry. I have been offered a few endorsements, however I would like to stay selective about which brands I endorse, as I would not feel comfortable endorsing something I myself don't feel great about.

Have you done any concerts, if so, where? Do you plan to perform in the U.S anytime soon?

I've done many concerts and toured nearly the whole country; I've been doing concerts in Pakistan, India and Dubai for a few years now. I've also done a few concerts in England, and very recently did a concert in America thanks to SDZ Global, which is doing a great job in promoting Asian talent in the states. I will be working with SDZ again very soon, as we're currently doing the logistics of our next USA/Canada tour.

What words of encouragement would you like to give to the young talent that wants to follow in your footsteps?

All I can say is follow your dreams. Work hard, believe in yourself and Allah, and there's no stopping you. With hard work and dedication every triumph in life can be overtaken.

Lastly, what message would you like to give to the readers of The Saturday Post?

Please pray and give me all your love and support, and I promise to keep you entertained always.

yar really nice topic.. i will also post but not rite na really busy so but still fanx loads

the terrible experience of reading these articales was about one articale. which about meera man she really thinks she is the only one beautiful face on earth. she is so mean she says so many bad things to her fellow actors and even about big bollywood actors like shahrukh. she is a terrible person in nature.

Lux Awards 2008 Music Nominations

Date: 2008-05-04

The Lux Style Awards music nominations for 2008 are out! This year Atif Aslam is back with another nomination and will go up against Jal. It is the year when Josh and Mauj have walked away with their first nominations and a new category has been introduced. Instep takes an inside look...

Best Music Album

Easily the most prestigious category in the music segment, year after year, the Best Music Album is getting edgier and competitive with time as more artistes enter the fray and music labels get stronger.
Last year, the battle was between Atif Aslam's Doorie and Ali Zafar's Masty. This year again, Atif Aslam is back with his third record, Meri Kahani and the real battle is between Atif's Meri Kahani and Jal's sophomore effort, Boondh. These records are commercially superhits and have taken Atif and Jal to new heights. This will be the battle to watch this year, because this is the first time Jal and Atif are going head to head against each other with different songs and a different sound.

Another interesting nomination this year is of Rozen-e-Deewar by Roxen. The band escalated to fame after their stint with the Indian film, Awarapan that featured two of their numbers, namely 'Tera Mera

Rishta' and 'To Phir Aao'.
Fighting hard against these commercially acclaimed musical entities are two veterans who made a solid comeback last year. There is bhangra king Abrar-ul Haq's Naara Sada Ishq Aye and is without a doubt, Abrar's most solid effort in years, a return to the tongue-in-cheek lyrical quality that made him a star when he first began more than a decade before. And then there is Ali Haider with Jaanay Do that is his most mature album in years.

Atif Aslam for Meri Kahani
Doorie was a super-hit. Meri Kahani is also going on the same path. However, unlike Doorie, which was composed by Indian songwriters, here one sees Atif Aslam teaming up with his brother-manager Shabaz Aslam on writing credits as well as Overload men Farhad Humayoun, Mahmood Rahman, Shiraz Siddique on music credits.
Atif is a roaring hit and his maturity is reflected in socio-politically aware songs like 'Hungami Halaat' as well as Sufi tune like 'Rabba'. While patchy in places, it is an album that is praiseworthy because it sees Atif Aslam back in the studios on his own, making an effort to be a
lot more edgier, bringing in rock elements and staying true to his sound that we all first fell in love with back when he arrived with the mighty Jalpari. Meri Kahani does have a character and for that Atif Aslam deserves applause.
Atif must be commended with coming out with two albums consecutively for two years. He's kept himself very alive in the public imagination and his popularity has a lot to do with the fact that just when fans have gotten tired of listening to one album, wham bam, he's out with another.

Boondh by Jal
This is their most notable effort as a unit. Gohar Mumtaz is a decent songwriter and Boondh is proof of his talent. He has written lyrics on the album, is the backbone of musical compositions and has sung some tunes too. And he delivers on all three fronts.
The album sees this young trio keeping their signature intact even as they experiment slightly with musical arrangements, tipping towards rock. Farhan Butt has received flak for his vocals in the past. This album silences all those critics because on Boondh he has arrived as a vocalist. And even though the mood of this album is mostly of love, the structure of the songs is mature and never clumsy. As a sequel to Aadat, Boondh is definitely impressive, with many music lovers agreeing that Jal have more depth than Atif Aslam.

Rozen-e-Deewar by Rozen
While Rozen-e-Deewar looses marks on production value, it delivers on every other front. From the sharp and swinging 'Sapnay' to super-duper hit tunes like 'Tera Mera Rishta' and 'Toa Phir Aao', Rozen-e-Deewar as a debut is exciting.It works because of its slashing riffs, Mustafa Zahid's harsh but never-out-of-tune vocals and the clear-cut lyrics. This is a moody record but one that works because it remains cohesive to the genre that is rock.

Jaanay Do by Ali Haider
Ali Haider has been around for over a decade with more than ten studio albums to his credit. Jaanay Do is easily one of his best. Ali Haider has not only produced this album but has also written melodies and a big chunk of the lyrics and for an aging popstar, it is a startling achievement. With mixing credits to Rohail Hyatt, the sound is sharp, crisp and clean. It is a moody record that is melancholic, mature and outstanding in all departments. From the new versions of tracks like 'Agar Pyar' and 'Purani Jeans' to new and beautiful melodies like the title track, 'Jaanay Do' and 'Hamesha, one is genuinely surprised by the way Ali has made a comeback to the genre that has been his forte for years. Jaanay Do is mature pop that has a strong foundation. The album is neither stepping into too many genres but does manage to touch various styles and fuses them together in one neat package.

Naara Sada Ishq Aye by Abrar-ul-Haq
Abrar-ul-Haq's forte has been his wit and the ability to fuse it with some bhangra numbers. But somewhere down the line, Abrar lost that wit. This album sees that wit returning on a massive level and whether it is bhangra or mellow tunes, it is an album that proves his growth as an artist.

Best Live Act

It is one thing when an artist manages to create an album within the walls of a studio. Everything can sound perfect. But when those same tunes have to be performed live, it is something completely different. The ability to make the crowd swing, the sound decent and sing well and only when all this takes place together is when a live act is born. For us, the good news is that the music industry has quite a few great live acts.


Mauj
Just like their name, the band is just that onstage: Mauj. The only other band after Noori who've managed to create such hype around themselves even without an album release, Mauj is like fire onstage. They are, without a doubt, the next big thing!
Sikander Mufti on drums, Sameer Ahmed on bass, Hamza Jafri on rhythm guitars and the most talented guy to hit the music scene in years, Omran Shafique on vocals and lead guitars, this foursome is simply awesome. Whether it is a rocked-up cover of Zoheb Hassan's 'Pyar Ka Jadu' or the funky tune that is 'Paheliyan', Mauj know how to move the crowd and their music is always top-notch. Omran Shafique onstage is charismatic and reminds one of the days when Ali Azmat first began, he has that same fire. Anyone whose seen them live wants to see them again and again.
Finally with a record deal in their hands, Mauj are hell-bent on making it big in the mainstream and believe us, with that energy, it is only a matter of time before they do.

Strings
No artist is as consistent as Strings. Even without an album release in years, they continue to make waves. Their shows in Pakistan are few and far between nowadays because Strings aim for perfection, but whenever they do perform, they impress with just how in sync they are. There is a lot to be said for subtlety and the Strings say it all. Bilal Maqsood's crunching guitars paired with Faisal Kapadia's haunting voice and his friendly demeanour onstage is a lethal combination. Add to that the fact that they stick to the same session players and you have a music machine that has carved a unique niche for itself in Pakistan's expanding music arena.

Josh
'Josh Naal Pao Bhangra' is what defines this duo out from Canada. Calling themselves a desi band, Qurram Hussain (Q) and Rupinder Magon (Rup) may be based in Canada but Pakistan is a strong market for them. Having released their last album Mausam here, the band took a conscious effort to perform live in Pakistan. Their music is unlike the sound of Pakistani music. It is more upbeat, less rock and more rhythm, and that makes for funky concert sound. Q is the heartbeat of the show and is the mighty vocalist and Rup provides ample support as a co-vocalist. The music is often pre-recorded but the vocals are live. With lack of facilities, Josh continues to please Pakistan's youth and for that, we applaud them.

Mekaal Hasan Band
Technically speaking, they are unbeatable. The music is fusion, traditional poetry paired with electric guitars, bass, drums and beautiful flute. MHB always delivers on the live music front and they just get better. That's because head honcho Mekaal has built up an a great line up of musicians. Be it Gumby on drums, Sameer Ahmed on bass, Pappu on the bansuri, Salman Albert on rhythm guitars, the line up of MHB keeps changing but the effect they have on the audience remains the same.

Overload
Tripped-out dhols, hypnotic sounds, these are the men who can cast a trance over anyone with their beefy sound. Farhad Humayun's brainwave resulted in a groundbreaking relationship with legendary dhol player Pappu Saeen and Overload have never looked back even after Pappu departed. Now with a female vocalist, Misha Paracha and former Atif Aslam guitarist Mahmood Rahman on guitars, Overload just got a whole lot more loaded!

Best Music Video

As far as concepts, this year the music video medium outshines last year. Overload, Jal and Mizraab have made it to this category for the very first time, thanks to the visionaries that are video directors.
Unlike last year when small-budget videos dominated, this is a year where big-budgets and grand ideas were welcomed. The themes our directors have touched are striking. From corporate identities like a lota to black and white shades, a lost love, and the scenic beauty of Pakistan - it was remarkable and top it off with the fact that the themes gelled extremely well with the tunes that we fell in love with.

Uns Mufti for 'Broken Boundaries'
Picking up his third LSA nomination for Best Music Video, the ingenious Uns Mufti has made his finest effort with Co-VEN's 'Broken Boundaries'.
The storyboard is hilarious even as the message remains relevant in this consumer-driven culture. It is a lota that takes over the world through rigourous marketing, lots of boardroom meetings and efforts of four-suited, booted men.
The lota finally travels the world and makes it to the cover of Time and People magazine. People like Ayesha Toor, Shahbaz Sumar, Tanya Shafi - all make appearances in the video in-character of course and then, a Muslim shower and it all comes crashing down. In between shots of war on terror and 9/11 also make their way. It is a powerful statement that is too whimsical to be brooding yet manages to make you crack up every time even as it causes you to think about the brand-crazy world we live in. Way to go!

Bilal Lashari for 'Dhamaal'
With a band like Overload, a video is never easy. Their music with its drum fiesta and those trippy, hypnotic rhythms is one that is a sandwich of Asian beats. Young director Bilal Lashari made a very beautiful video to compliment this particular track.
Pappu Saeen with his thumping dhols swinging on scorched earth, Farhad Humayoun drumming up a storm with Karachi Steel Mills playing background, Hasan with his army of various drums under a light foggy sky, Shiraz, dressed in all white surrounded by the calm sea as his fingers gently play the keyboards, beautiful horses running wild, varied movement of camera as it captures the scenic sights of Pakistan, that and more is the video of 'Dhamaal'.
There are few videos that have captured Pakistan so beautifully as 'Dhamaal'. It was a Herculean effort and Bilal delivered without a single glitch. Absolutely incredible. Bravo!

Bilal Lashari for 'Sajni'
Enjoying a double-whammy this year, Bilal Lashari picks up another nomination for Best Music Video and this time, it is for Jal's comeback single, 'Sajni'.
The video, which is perhaps the finest Jal video to date, is exceptionally beautiful. Two men, one woman, a cloudy magical skyline, fairytale image - all that and more is the video that is 'Sajni'. Certainly this isn't the first time that a triangle video is coming on the screen but the way Bilal has captured it, that sets it apart.

Ahsan Rahim for 'Sajania'
There are few instances in our musical history when girls are not playing damsels in ultimate distress and men are playing goody-good lovers. 'Sajania' is a video that is a great example.
Ali Zafar gets out of the Casanova image and plays bad boy to an even badder yet sexier chick in what is initially a bank heist where he is double-crossed. Interspersed with shots of Ali in a club, singing and dancing as babes surround him, the video is one that casts him as an action hero cum loverboy and stars a wild villainess to boot.
As opposed to a broken heart and weeping over it, here is a man who is all up for teaching a lesson, to a woman who steals his heart and plays with it, brutally. Ali looks very sexy in this video in suits and later even in an Orange jumpsuit. The concept is not exactly novel but compared to the lonely, longing videos, it is one that is superb and most of all, it's fun!

Soheb Akhtar for 'Ujalon Mein'
Mizraab is an extremely talented unit. Their songs are top-notch and Faraz Anwar is a maverick. Their videos, however, have usually been one disaster after another. For the first time, a video provides them with a platform. There is no concept here except to highlight the band but the reason why the video is lovely is because of the way it has been shot, black and white, somber and completely in-sync with the addictive number that is 'Ujalon Mein'. The lighting and the introduction to the faces, it works wonderfully.

Song of the Year

The introduction of this category by the Lux Style Awards are a welcome. This is one category that has nothing do with an album and everything to do with songs that have left their mark on the people. These are the songs that we hum all year long and often these are the tunes that make us re-think our view of a certain artist. It is the most exciting category this year, not only because it's the newest, but simply because all the nominated numbers are fantastic.

'Aisi Taisi' by Azal
The video may have come out later but the song had been out over the Internet and on radio stations for a big chunk of 2007. With the catchy sing-a-long chant "Rut Tu Tu Tu" and that in-your-face lyrics which took a clear look at the system and defies it bravely is what makes 'Aisi Taisi' such a wonder. Azal are a young band but with a song like 'Aisi Taisi' to their credit, we can only expect great things from them.

'Bandeya' by Khawar/Faiza from Khuda Kay Liye
With words by Baba Bullay Shah, that sharp vocals of Khawar Jawed with support from Lene Marlin-like Faiza Mujahid, 'Bandeya' is a song that is embedded in our musical memory. A beautiful melody with powerful vocals, this is a song that became one of the biggest hits of 2007!

'Laaree Chootee' by Call
This was the tune that catapulted Call to massive fame. The tune, which was composed and sung by Call guitarist Xulfi was a lot less edgier than Call's music. It was more on the pop side but was a lovely tune nonetheless. The song that was made for the Indian film, Ek Chalis Ki Last Local and while the film didn't work, it made Call a bigger name and remains their most well-known number to date.

Roya Re' by Shiraz Uppal
Perhaps one of the most underrated artists of our time, Shiraz Uppal too came into his own with 'Roya Re' that became a massive hit. He wrote and composed the tune for the Pooja Bhatt film Dhoka and again, the film did average business, it was the striking melody, the emotive vocals of Shiraz that did the trick.

'Sajni' by Jal
'Sajni' was Jal's comeback single and what a comeback it has been! The music is signature Jal but crisp and sharp, thank to production wizardry by Mekaal Hasan. Essentially a love song, it is a single that made everyone sit up and take notice of the singer that is Farhan Butt. As soon as 'Sajni' released, it was all over the place and rightly so because it remains one of Jal's nicest tracks.

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