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Pakistani Cinema |
- Mehdi Hassan as I knew him
- Budget 2012-13: A bleak picture for Lollywood
- Ghazal maestro Mehdi Hassan laid to rest
- Twitter Alert: Artists remember Mehdi Hassan
- A tribute to the Ghazal KING : Mehdi Hassan
- Mehdi Hassan Khan: A sun amongst the stars
- Pashto music: Bacha steps forward
| Posted: 15 Jun 2012 06:58 AM PDT  Mehdi Hassan as I knew him By Dr. Amjad Pervaz It was in the late sixties that radio became the main medium for infotainment. I used to listen to radio for music, news and radio dramas. Radio Pakistan, unlike now, used to book artists every month for monthly programmes. It was an honour for every artist to get through the approval process of Radio Pakistan through its tough audition tests. Great music producers used to carry out the job of such auditions. The Radio Pakistan had a cell, Transcription Service, at its Karachi Station for special music and feature programme recordings. Mushtaq Hashmi and I recorded our folk songs 'Sassi', 'Chal Meley Nu Chaliye', 'Main Wi Jhok Ranjhan Di Janaan', etc, there with Ustad Allah Ditta on tabla. During this era of radio, the recordings of Mehdi Hasan at Transcription Service had become very popular. He introduced the ghazals in a form which was a mixture of thumri and modern shazal style. His soft and soothing voice appealed to music lovers a lot. Singing with instrument Surmandal became his identity as can be seen from the recordings of his ghazals 'Naavak Andaz Jidhar Deeda-e-Jaana Honge', 'Kya Bhala Mujhko Parakhne Ka Nateeja Nikla' and 'Kaisey Chupaoon Raaz-e-Gham, Deeda-o-Tar Ko Kaya Karoon'. Two things were very noticeable for a student of music like me, first that his voice was straight whereever a straight note was needed and was perfect in the most difficult of taans and murkis. For example, the link Taan on the word Karoon in the last ghazal stated above could not have been said without years of practice, a fact stated by Mehdi Hasan in his many interviews. Mehdi Hasan was also lucky to have veterans like Bukhara, Saleem Gillani, Abdul Shakoor Bedil, Hameed Naseem and alike to select classic poetry for him. The other ghazals that fell in this category were 'Aage Barhe Na Qissa-e-Ishq -e- Butaan Se Hum', 'Aaye Kuchh Abr Kuchh Sharaab Aaye', 'Bhuuli Bisri Chand Umeedein', 'Chalte Ho To Chaman Ko Chaliye', 'Charaag-e-Toor Jalao Bada Andhera Hai', 'Dil-e-Nadan Tujhe Hua Kya Hei', 'Daikh To Dil Keh Jaan Sei Uthta Hai' and 'Ab Ke Hum Bichre To Shaayad Kabhi Khwaabon Mein Milein'. Mehdi Hasan's compositions of his private ghazals, whether composed by him or by others, were usually raag-based compositions. Mehdi Hasan soon became a craze and a trendsetter. Upcoming singers from India, like Jagjit Singh, Hari Haran, Talat Aziz, Anup Jalota and Suresh Wadekar, would invariably follow his style of singing a ghazal, whether consciously or subconsciously. Anup Jalota openly said, on Mehdi Hasan's death on June 13, that he was not ashamed of the fact that all his life he tried to emulate Mehdi Hasan's style. Hari Haran told journalist Sharma that he started singing ghazals very seriously after listening to Mehdi Saheb. He was like a roohani guru (spiritual teacher) to him. He had experienced some amazing musical times with Mehdi Hasan. He is a person who has shown two, three generations what live music is all about, what gayaki is all about; he showed people how to achieve a blissful combination of words and music, Hari said, adding that feniuses like him are born once in a century. Another quality of Mehdi Hasan was repeating a phrase numerous times while rendering a ghazal live on stage or in mehfils. Secondly his compositions oozed out the exact meaning of the words being spoken. For example, in Mir Taqi Mir's ghazal 'Daikh To Dil Keh Jaan Sei Utheta Hei/ Yei Dhuan Kahan Sei Utheta Hei' on the word 'Dhuan,' the notes used by Mehdi Hassan arouse the listener to imagine the actual imagery of smoke going up in the air. Indian music lovers believe that Mehdi Hasan was more popular in India than in Pakistan. On Mehdi Hasan's demise, Times of India (TOI) reported that Mehdi Hasan may have not come to Lucknow as a child but the place was surely a part of his soul. The connection between ghazal maestro Mehdi Hasan and the City of Nawabs reflected well in his attitude. The reason behind this association could be his uncle Ismail Khan who is said to have learned Hindustani music at Lucknow's 'Bhatkhande Sangeet Sansthaan'. After learning the basics of music from his father Ustad Azim Khan, Mehdi Hasan was taken under the mentorship of his uncle, Ismail Khan. Like my impression, Indian folk singer Malini Awasthi said, "Thehraao (calmness) and sukoon (serenity) were essential elements of ghazal-singing – and the two characteristics are the spirit of Lucknow. Mehdi Hasan's silky voice symbolised both these traits." Malini spent a good time with the singer in London during Zee TV's song reality show 'Sa Re Ga Ma Pa'. She added that Hasan's style was able to win over people mainly because he weaved in beautiful poetry into traditional ragas while keeping the basics of a ghazal intact. Renowned poet Khushbir Singh Shaad, an ardent fan, always wanted to meet him. His twenty-six-year-old dream was realised when he got a chance to go to Karachi for 'Aman Ki Asha' programme. "Though unwell, he met everyone with the warmth his voice is known for. He appreciated some of my couplets but repeated this one several times, 'Yeh Tera Taaj Nahi Hamari Pagri Hai/Yeh Sar Kei Saath Utregi Sar Ka Hissa Jo Hai," Shaad told TOI. My personal memories are in plenty with Mehdi Hasan. As a student of Government College, Lahore, my first exposure to listen to Khan Saheb was at Shakoor Bedil's house on Cooper Road. Singer Salim Raza also sang in this mehfil. Mehdi Hasan's entry into Pakistani film industry was cause of gradual exit of crooners Salim Raza and Munir Hussain and alike who were reigning Lollywood till that time. I was lucky to host PTV's producer Qaiser Ali Shah's programme 'Mehmaan' wherein my guest was none other than Mehdi Hasan. He spoke about his birth, childhood struggle when he used to work at a bicycle puncture shop, his visit to Lahore to judge the music scene, his temporary migration to Karachi and then return to rule the music world with base in Lahore. These stories have been telecast on air since Khan Saheb expired after protracted illness in Karachi. He shall undoubtedly remain in the hearts of music lovers for all times to come! Mehdi Hasan was bestowed with all the civil awards of Pakistan, like Pride of Performance and Hilal-e-Imtiaz. He toured practically the whole world. He received honours from kings of Nepal and Iran. The list of his achievements is endless.  |
| Budget 2012-13: A bleak picture for Lollywood Posted: 15 Jun 2012 06:26 AM PDT  Following the announcement of the Federal and Punjab budgets, thick clouds of confusion have set in amongst leading members of the film industry. A lack of priority and importance are seen as the main hurdles in revamping and improving the industry in the long-term. "The budget does not resonate with the wishes and demands of the general population," says legendary actor Mustafa Qureshi. "Not enough importance has been given to the film industry, which has been an integral part of Lahore's culture for over 100 years." Qureshi, like many other industry insiders, has routinely interacted with the government in the hope of jump-starting the staggering industry. He says that one of the biggest issues is that there is no clarification as to whether the film industry budget is the federal government or Punjab government's responsibility. While discussing the state of the industry, Qureshi is of the opinion that in order to survive, the industry currently needs 10 good films a year. For that, the government's support is essential. "The message should not be that if the industry is struggling, it should die. One shouldn't forget that this industry has helped the government by generating impressive revenues in the past. Hence, its success is beneficial for both parties." In the background Meanwhile, PML-N insiders explained that around Rs5 billion had been divided amongst three departments Tourism, Human Rights, Ministry of Information, with no exact budget allocated the film industry. PML-N's Farah Deeba, who is also the president of the Punjab Cultural Wing of the party, said that the government had not yet held a meeting to discuss what steps should be taken to move ahead . According to Deeba, the government's reluctance to extend all out support to film-makers arises from the issue that most directors foray into vulgarity and obscenity. That said, Deeba affirms that the goal will always be to provide good and positive entertainment for the public. She also added that the censor board will be honest and cater to progressive film-making. Not falling in the trap Senior film-makers and veterans,however, are not buying it. Actor Ghulam Mohiuddin, who rarely goes to his once regular hang-out spot in Evernew Studio in the fear that he will run into many old technicians and cameramen who are now unemployed, says the decision to allocate funds to government-owned institutions like Pakistan National Council of the Arts (PNCA), had only catered to a small elite crowd. He is of the opinion that entertainment which caters to the general public is not addressed in the budget. Apart from that, Mohiuddin points out the bureaucratic nature of the Censor Board, calling for an immediate change in film censoring practices. "It is unfortunate that the producer or director spends so much money on making a film but he's not allowed to sit with the censor board and explain the significance of certain scenes in a film." What can be done? Meanwhile, film director and producer Javed Raza is one of many people from the industry who have concrete proposals which would help make producing the films affordable. The crux of the issue, he says, is that there are no cinemas to adequately sustain the cost of making a film. "The thing I have been pitching for is: in every major city, the government, in a revenue sharing partnership with the industry, should open one cinema with five screens. I guarantee that both sides will be happy in terms of finances," says Raza who believes that if this plan is implemented the government could recover the cost putting up the cinemas within two years. Published in The Express Tribune, June 12th, 2012.  |
| Ghazal maestro Mehdi Hassan laid to rest Posted: 15 Jun 2012 06:23 AM PDT  Ghazal legend Mehdi Hassan was laid to rest on Friday at the Shah Muhammad graveyard located in North Nazimabad, Express News reported. Volunteers from Khidmat-e-Khalq Foundation (KKF), Muttahida Qaumi Movement's (MQM) welfare wing surrounded the graveyard and barred people from entering the premises in order to avoid any disruption. Hassan had quit singing after suffering a massive stroke in 2001. His health deteriorated in 2011 and he passed away at the age of 85 in Karachi on June 13, 2012. He had been under treatment at hospitals in Pakistan for a while, and there had also been reports of shifting him to India. He was admitted at a hospital in Karachi for the past couple of weeks after he had developed a chest infection and breathing problems. Collective prayers were said after his burial, attended by artists, politicians and renowned personalities of the country. His funeral prayers were held at Noorani Mosque. Speaking to the media after the burial, Pakistani filmstar Nadeem said, "It was an honour for me that I picturised many songs sung by Mehdi sahib. As a matter of fact, it was him who drove my career in the forward direction. He might be gone but his songs and ghazals will remain in our hearts forever." Lyricist, scriptwriter Anwer Maqsood said, "After Faiz Ahmed Faiz, Sadequain and Noor Jehan, Mehdi sahib was one person who got the fame he deserved during his lifetime. Not many people can maintain the fame they acquire, but he did, till his last breath."  |
| Twitter Alert: Artists remember Mehdi Hassan Posted: 15 Jun 2012 06:21 AM PDT  June 13 will be remembered in the history of Pakistan for years to come as it will now commemorate the passing away of legendary ghazal maestro Mehdi Hassan. Mehdi Hassan, who was ailing from chest infections and breathing problems, passed away in Karachi at the age of 85. Both Pakistan and India mourned the legend's sad demise. Celebrities from the sub-continent praised him and lamented his passing away, with some posting what the greatest ghazal legend meant to them on social networking website Twitter. Top tweets Ali Zafar Mehdi Hassan moves on & lives forever. Leaving us with a legacy of music, magic, memories and so much more than words can describe. Ali Azmat Oh my God, give his soul royal treatment when he arrives in heaven. Shahrukh Khan Memories of my mom cooking in a grimy kitchen as it rained outside, while Mehdi Hassan floated out of a Beltek two in one Anupam Kher Very saddened to hear about my favourite ghazal singer Mehdi Hassan's demise. As a student, I had gate crashed into Pakistan Embassy to listen to him. RIP Shreya Ghoshal Mehdi Hassan saab is no more. The voice, who made many music lovers n lovers find an expression of their heart's stories, is gone. RIP. Madhur Bhandarkar Emperor of ghazals no more. RIP Mehdi Hassan. You will be missed sorely! Dia Mirza RIP Mehdi Hassan Saab… Your songs are eternal… Kamaal R Khan Truth is this that Mehdi Hassan Sahab was the best ghazal singer of all time. Nobody will ever be able to replace him. RIP Published In The Express Tribune, June 14th, 2012.  |
| A tribute to the Ghazal KING : Mehdi Hassan Posted: 15 Jun 2012 06:16 AM PDT  The remarkable thing about ghazal singer Mehdi Hassan was that he fashioned, along with Begum Akhtar, a style of singing that did not exist before them. The ghazal as a song was not part of our culture before the 20th century. It was part of the canon of poetry which was recited and read, but not sung. The classical training of both these singers brought music to the words of the great Urdu poets. The 1950s, not that long ago, is when the ghazal came into popular music. Its decline came only three decades later. For this entire period, across the subcontinent, in Pakistan, in India and in the nations where Pakistanis and Indians live together, Mehdi Hassan was the undisputed king of ghazal singers. Many good singers came after him, for instance Jagjit Singh and Ghulam Ali. But for most, the idea of the ghazal was linked to Hassan. He was beloved in Gujarat, and often sang in Surat's Gandhi Smruti Bhavan, where I first heard him in 1981. I was too young to notice his singing but still remember what a regal figure he was on stage. My mother always loved the way he looked, and if you see his early photographs you will know why. He had a rough-hewn but intelligent face. The word I'm looking for is leonine. His expression was of a man lost elsewhere, thinking about the words being carried by his voice. And what a voice it was. He had the ability to deliver emotion, a rare talent and one that separates very good singers of our music from the great ones. In keeping with the style of ghazals, this emotion that his voice carried was masculine but melancholic. Of all ghazal singers, his voice suited it best. It was convincing. Technically, he was sound along with the other great Pakistani singer of ghazals, Ghulam Ali. Both of them were inclined towards classical Hindustani music and most of their compositions were in pure raag form. Unlike Ghulam Ali and Jagjit Singh, however, Hassan's best numbers were from the classical canon of Urdu poetry. Ghazals like "Patta Patta" by Mir, or "Aye Kuch Abr" by Faiz. My favourite was the haunting "Dekh toh dil ke jaan say uthta hai, yeh dhuan sa kahan say uthta hai?" It was made superb both by the quality of Mir's writing and the gravelly sombre tone in which Hassan renders it. I cannot listen to it without being deeply moved. Mehdi Hassan was a kind man, and forgiving. In the last of his singing years — this must have been about 15 years ago — a man from Calcutta booked Hassan for a concert. However, he was unable to execute the show for some reason and did not inform Hassan till he came over, wasting his time and causing him loss. If Hassan was overly angered by this he did not reveal it, and simply shrugged off a newspaper reporter's inquiry. This sort of thing happened sometimes, he said, but he did not judge all Indians by such incidents. He would again trust the next man who invited him. But these invites tapered off. By the early 1990s in both India and Pakistan, the ghazal slipped as a form of popular music. It has now become esoteric, liked by only a few who are older. This is a great shame. Nusrat Fateh Ali Khan died in 1997. In 15 years, there has been nobody who has come close to replacing him and who can be surprised by that? Now another very great man is gone from our midst, the likes of whom we will not see again in our generation. Published In The Express Tribune, June 14th, 2012.  |
| Mehdi Hassan Khan: A sun amongst the stars Posted: 15 Jun 2012 06:12 AM PDT In his lifetime, Mehdi Hassan Khan achieved what musicians can only dream of making possible. He refined ghazal singing as a genre, ruled Lollywood as a playback singer and inspired many of today's stalwarts to become who they are. No matter how much we appreciate the role played by bands such as Junoon and Vital Signs for earning global recognition for Pakistan, it has always been great musicians like Hassan and Nusrat Fateh Ali Khan who put Pakistan on the map when it comes to music classics. It was Hassan's beautiful voice and perfect rendition of ghazals that set him aside as a brilliant singer. His will to break conventions made him an unparalleled sensation of the subcontinent. There were occasions where he walked onto a stage in India and senior artists rose to applaud him — like Sonu Nigam, who sat by Hassan's feet to watch him sing. As we mourn the loss of this timeless legend, it is important to celebrate the legacy and influence he left behind. "Our contributions as pop musicians are insignificant in front of someone like Khan sahab," said singer Immu from Fuzon. "The fame he has brought to Pakistan is unmatchable. We can only dream of returning the gifts he left behind." Singer Mohammad Ali Shyhaki, who comes from an era where pop music was in its infancy, believes that Hassan is the true god of music and that the honesty in his delivery of songs is divine. "His songs are not just music given to words," Shyhaki told The Express Tribune. "They are a source of enlightenment and solace." "His surs (melodies) were so perfect that you could use his vocal chord as an instrument for tuning other instruments," he said. Shyhaki also said that the most important thing for any singer to learn from Hassan is the respect he had for sur, adding that only naturally gifted artists can achieve the nirvana of music he had reached. No royalties for the king According to EMI Pakistan, the record label that released most of Hassan's recordings, he had released approximately 115 albums and 468 songs. These figures do not include some of his recently recorded works. Most of his albums were widely popular, but due to the state of intellectual property rights in Pakistan, the distinguished artist did not get his fair share of royalties. It is no wonder then that Hassan required government support and donations for the treatment of his lung condition. The lack of action taken against piracy has been the reason for great trouble for our artists. If the government and record label companies don't change their attitudes about the timely provision of royalties, then another case like Hassan's shouldn't come as a surprise. "It is sad that legends like Mehdi Hassan end up in a dismal shape despite their huge contribution to the music industry," Zeeshan Chaudhry from EMI Pakistan told The Express Tribune. Negating any claims of the non-provision of royalties to Hassan from EMI Pakistan, he said: "We are the only label that has been giving timely royalties to artists. We even gave an amount to Khan sahab last year. The problem is piracy — it remains unattended and unregulated." It is a pity that a star like Hassan was not given his due in a country where he is loved and celebrated. As Ayla Raza, Secretary of the All Pakistan Music Conference, puts it: "He was ill for about 12 years; it must have been painful to see that he achieved so much but was helpless in his last few years. It must have been a painful journey for him." But the praise can never be enough, as she adds: "He had the most handsome voice in playback singing. The emotive quality of his voice made him such a wonderful performer. We lost the voice so long ago. But I hope his legacy lives on. I hope he rests in peace." A National tragedy Sabri: For listeners of ghazal; it's a stroke of a lifetime that they now have to live with. It's sad day. The appeal for his grave site to be within the premises of Mazar-i-Quaid should be accepted and respected Qawwal Amjad Sabri Bunny: He recorded two of his last albums in my studio six years ago, and believe it or not, the texture and quality of his voice was still the same Singer Bunny Jahanzeb: Mehdi Hassan Khan was a legend because he reinvented ghazal and set the bar when it comes to classical music Singer Ahmed Jahanzeb Ali: He had a very mellow and melodious voice with an immense command on diction at the same time. You don't need anything else to make an outstanding singer Singer Shafqat Amanat Ali Published in The Express Tribune, June 14th, 2012.  |
| Pashto music: Bacha steps forward Posted: 15 Jun 2012 05:53 AM PDT  After a hiatus of four years, Pashto singer Haroon Bacha is finally back on the Pashto music scene with his new album titled Darman. Forty-year-old Bacha, who hails from the district of Swabi, Khyber-Pakhtunkhwa, was driven away by extremist militants who believed that singing was against the teachings of Islam. Bacha, however, didn't abandon his creative roots and instead moved to the US where he started hosting a cultural affair programme on Radio Mashaal, a Pashto service of Radio Free Europe/Radio Liberty. Additionally, he kept his passion for music burning by performing for the Pashto community in the US at small gatherings. "We arrange parties in America and friends from various states come to attend them," Bacha tells The Express Tribune. He adds, "Sadly, people who know how to play Pashto tunes are scattered in different states, so attendance is not as high as it used to be in K-P." Even though Bacha is happy with the small steps he is taking to promote Pashto music in America via his radio programmes, he admits that he would have done much more if he were in K-P. The singer says that he misses home and he yearns for cultural shows back home — which have resumed after being halted for a few years by infuriated conservative groups who had banned them. "I was deeply affected when I couldn't attend a cultural event in my country, but it makes me happy to talk about those events on my programme," says Bacha. He blames the militancy in the northern region on a group that he believes conspired to tarnish the image of Pashtuns and Pashto culture and music. "They were trying to make us look like beasts to the world. No one was ready to believe that we actually wanted peace and prosperity in our country." Bacha, who is known for revamping Pashto tappay (a genre of Pashto poetry), longs to go home and make music without fearing of a backlash. From the darker days when militants torched CD and cassette shops and forced the shop owners into other trades, Bacha says the situation has improved. "I'm happy that the situation is better now." It's comeback time Even though Bacha kick-started his career with his album Da Rangoono Makhaam, it was his second album, Ghunchakoona — featuring his revolutionary tappay — which raised him to the status of an icon of the Pashto music industry. His discography includes albums like Walwalay, Tamashay, Nazar Maat, and Yar Sha Kana, the last album he released after which he fled to America. Bacha's most recent venture, Darman, was conceptualised in the US and recorded in Peshawar in one week's time. "I can't record my albums in America because there aren't many musicians here who can make Pashto tunes. The only two options I had were to either send my vocals to Peshawar or go myself to record them." When inquired about the nature of his album that was released in April this year, the singer adds, "The album features songs and folk tappay that depict the state of my country. The lyrics of the songs also convey messages of love, peace and suggest benign solutions to our ongoing problems." The album includes lyrics penned by Ajmal Khattak, Rahmat Shah Sayel, Ali Akbar Sial, Amjad Shahzad and Israr Atal. A song from Bacha's album Darman Song Title "Ay Zama Da Meeny Baada" Lyrics Renowned Pashto poet Ajmal Khattak "Ay zama da meeany baada Da larghon Pukhtun la yaada Da Ghairat la dak Hewada Rasha Rasha Rasha ma da zan sara wakhla" Translation O! The breeze of my love From the memories of ancient Pakthuns From the land of honor Come, Come Come and take me with you Published In The Express Tribune, June 15th, 2012.  |
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