'MY TROUBLESOME DARLING, I LOVE YOU' has MELODY and ORCHESTRATION of such an 'ORIENTAL' TANG. It really is, like so many PAKISTANI FILM SONGS, just a SONG LIKE NO OTHER. The MELODIC ENGINEERING of the NUMBER has PARALLELS with INDIA'S R. D. BURMAN'S 'KYA YEHI PYAR HAI?'/'IS THIS LOVE' from 1981 HINDI FILM: 'ROCKY': https://www.youtube.com/watch?v=sVT0PSKGuME MUSIC DIRECTORS, R. D. BURMAN and M. ASHRAF both CREATE a TUNE that RARELY EVER HITS the HOME, or 'TONIC' NOTE [Do/Sa].The FIRST NOTE of BOTH TUNES BEGINS on a TONE in the MIDDLE of the SCALE and HOVERS round PITCHES that are NOT on the TONIC for MOST of the MELODY. This 'VOICE THAT NEVER GOES HOME' has an 'EMOTIONAL PULL' of 'WANTING TO GO HOME' but RARELY HITS it. So the WHOLE SONG seems to 'FLOAT ON THE CLOUDS' in an ODD WAY that ONE CAN NOT PUT ONE'S FINGER ON what is HAPPENING to CREATE this EMOTION? 'TAKALLAF BAR TARAF JANAN' also has a very 'ORIENTAL' SET of PITCHES for SINGING and ORCHESTRA which EXAGGERATES the 'COLOURFULNESS' of the SOUNDSCAPE that GIVES a SHIMMER of almost CHINESE MUSIC at TIMES. A sort of MIX of HINDUSTANI and CHINESE CLASSICAL PENTATONIC [five note] TRADITIONS making 'MUGHAL'. The SONG is SUCH a GLORY of this BEAUTIFUL SOUND of LONGING and THE ORIENT. The VIBRANT PITCHES of the CHORUS are FURTHER CONTRASTED with PITCHES of a DIFFERENT MODE/SCALE in the VERSE on the DOMINANT/NOTE 5 [So/Pa] 'PLATEAU' adding more PROGRAMMATIC 'LONGING' to the VOCAL.

The VOICE of PLAYBACK SINGER: NAHID AKHTAR is SPARKLING in HEAD TONE and DENTAL HARMONICS [shining overtones of notes bouncing around resonators]. The AKHTAR 'STUDIO SINGER VOICE' is BATHED in a RAINBOW of ELECTRONIC REVERB which gives a GODDESS-LIKE SOUND to the FINAL MIX of the VOCAL. Making it almost 'DIVINE' in SOUND. The VOICE is RINGING with HUNDREDS of MICRO BELLS of HARMONICS which GIVES a FURTHER 'ORIENTALISATION' to the BEAUTY and VARIETY of the GHAZAL. The ELECTRONIC REVERB is CAREFULLY ADJUSTED during the SONG to 'DRENCH' the VOICE in ECHO at STRATEGIC TIMES of LOUD DYNAMICS, HIGH NOTES, or END of PHRASE NOTES LEADING OUT into NO-DRUM SILENCES that FILL the VOID with WAVES of THRILL of EXITING VOCAL OUTRO. NAHID AKHTAR'S VOICE, like many PAKISTANI CINEMA VOCALISTS, is TOTALLY UNIQUE in the WORLD in its TIMBRE and PERFORMANCE STYLE. She often sang in URDU, rather than PUNJABI FILMS.

The ORCHESTRATION is another IDIOSYNCRATIC KALEIDOSCOPE of UNIQUENESS of the SONG. There is a WESTERN GUITAR that is PLAYED on SEPARATE NOTES in a TOTALLY UN-WESTERN WAY. This is CONTRASTED by a LARGE and HEAVILY REVERBED CLOSE-MIC VIOLIN SECTION. The VIOLINS are PLAYING STRANGE NOTES and FIGURES under the SINGER but they are LAYERED and NOT WESTERN HARMONY, but they 'HINT' at IMITATING WESTERN HARMONY, or at least the VIOLINS do have INDEPENDENT LINES away from the MELODY LINE. This adds CURIOUS ORCHESTRAL LOGIC and more MYSTERIOUS and STRANGE SOUND to the SONG. The VIOLINS often PLAY at SURPRISINGLY LOW PITCH [more like ARAB

'MY TROUBLESOME DARLING, I LOVE YOU' has MELODY and ORCHESTRATION of such an 'ORIENTAL' TANG. It really is, like so many PAKISTANI FILM SONGS, just a SONG LIKE NO OTHER. The MELODIC ENGINEERING of the NUMBER has PARALLELS with INDIA'S R. D. BURMAN'S 'KYA YEHI PYAR HAI?'/'IS THIS LOVE' from 1981 HINDI FILM: 'ROCKY': https://www.youtube.com/watch?v=sVT0PSKGuME MUSIC DIRECTORS, R. D. BURMAN and M. ASHRAF both CREATE a TUNE that RARELY EVER HITS the HOME, or 'TONIC' NOTE [Do/Sa].The FIRST NOTE of BOTH TUNES BEGINS on a TONE in the MIDDLE of the SCALE and HOVERS round PITCHES that are NOT on the TONIC for MOST of the MELODY. This 'VOICE THAT NEVER GOES HOME' has an 'EMOTIONAL PULL' of 'WANTING TO GO HOME' but RARELY HITS it. So the WHOLE SONG seems to 'FLOAT ON THE CLOUDS' in an ODD WAY that ONE CAN NOT PUT ONE'S FINGER ON what is HAPPENING to CREATE this EMOTION? 'TAKALLAF BAR TARAF JANAN' also has a very 'ORIENTAL' SET of PITCHES for SINGING and ORCHESTRA which EXAGGERATES the 'COLOURFULNESS' of the SOUNDSCAPE that GIVES a SHIMMER of almost CHINESE MUSIC at TIMES. A sort of MIX of HINDUSTANI and CHINESE CLASSICAL PENTATONIC [five note] TRADITIONS making 'MUGHAL'. The SONG is SUCH a GLORY of this BEAUTIFUL SOUND of LONGING and THE ORIENT. The VIBRANT PITCHES of the CHORUS are FURTHER CONTRASTED with PITCHES of a DIFFERENT MODE/SCALE in the VERSE on the DOMINANT/NOTE 5 [So/Pa] 'PLATEAU' adding more PROGRAMMATIC 'LONGING' to the VOCAL.

The VOICE of PLAYBACK SINGER: NAHID AKHTAR is SPARKLING in HEAD TONE and DENTAL HARMONICS [shining overtones of notes bouncing around resonators]. The AKHTAR 'STUDIO SINGER VOICE' is BATHED in a RAINBOW of ELECTRONIC REVERB which gives a GODDESS-LIKE SOUND to the FINAL MIX of the VOCAL. Making it almost 'DIVINE' in SOUND. The VOICE is RINGING with HUNDREDS of MICRO BELLS of HARMONICS which GIVES a FURTHER 'ORIENTALISATION' to the BEAUTY and VARIETY of the GHAZAL. The ELECTRONIC REVERB is CAREFULLY ADJUSTED during the SONG to 'DRENCH' the VOICE in ECHO at STRATEGIC TIMES of LOUD DYNAMICS, HIGH NOTES, or END of PHRASE NOTES LEADING OUT into NO-DRUM SILENCES that FILL the VOID with WAVES of THRILL of EXITING VOCAL OUTRO. NAHID AKHTAR'S VOICE, like many PAKISTANI CINEMA VOCALISTS, is TOTALLY UNIQUE in the WORLD in its TIMBRE and PERFORMANCE STYLE. She often sang in URDU, rather than PUNJABI FILMS.

The ORCHESTRATION is another IDIOSYNCRATIC KALEIDOSCOPE of UNIQUENESS of the SONG. There is a WESTERN GUITAR that is PLAYED on SEPARATE NOTES in a TOTALLY UN-WESTERN WAY. This is CONTRASTED by a LARGE and HEAVILY REVERBED CLOSE-MIC VIOLIN SECTION. The VIOLINS are PLAYING STRANGE NOTES and FIGURES under the SINGER but they are LAYERED and NOT WESTERN HARMONY, but they 'HINT' at IMITATING WESTERN HARMONY, or at least the VIOLINS do have INDEPENDENT LINES away from the MELODY LINE. This adds CURIOUS ORCHESTRAL LOGIC and more MYSTERIOUS and STRANGE SOUND to the SONG. The VIOLINS often PLAY at SURPRISINGLY LOW PITCH [more like ARAB

[Wait 10 Seconds - Slow Bit-Chute Buffering][NO ENGLISH SUBS]
BUXOM BELLY DANCE, BANDITS and BHANGRA DANCE make up 'HENNA HANDS OF THE WEDDING' 1976 Pakistani Punjabi film starring actors: Yousaf Khan, Zubair and Ali Ejaz. Actresses: Aliya, Sangeeta and Nazli. Fantastic song composing by Akhtar Hussain Akhian. Playback singing by: Madam Noor Jehan, Madam Afshan with Ahmed Rushdi and Masood Rana.
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

[Wait 10 Seconds - Slow Bit-Chute Buffering][NO ENGLISH SUBS]
BUXOM BELLY DANCE, BANDITS and BHANGRA DANCE make up 'HENNA HANDS OF THE WEDDING' 1976 Pakistani Punjabi film starring actors: Yousaf Khan, Zubair and Ali Ejaz. Actresses: Aliya, Sangeeta and Nazli. Fantastic song composing by Akhtar Hussain Akhian. Playback singing by: Madam Noor Jehan, Madam Afshan with Ahmed Rushdi and Masood Rana.
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

'MADNESS, THIS GREAT RAPTURE, BY GOD, THE RAPTURE OF YOU, THIS TORMENT', is a BEAUTIFUL HYBRID PASHTO FILM SONG that is MODELLED on a LAHORIE GHAZAL with the MAGIC of PESHAWARI RHYTHMS with RABAB LUTE. BEAUTIFUL SONG with, the then young, MUSARRAT SHAHEEN with ASIF KHAN. The TINY PASHTO FILM INDUSTRY is a UNIQUE. It is a GLORIOUS WILD FLOWER that STANDS on the BORDER, in PESHAWAR, between TWO GREAT CIVILISATIONS: HINDUSTAN to the EAST and TURKISTAN on the WEST. PUSHTO FILMS take on CLOTHING and IMAGERY of INDIA, but MUSIC, DANCE and LANGUAGE of TURKIC CULTURE. The PASHTO LANGUAGE is almost UNINTELLIGABLE to URDU, PUNJABI and SINDHI SPEAKERS to the EAST of the PATHAN WESTERN REGION. For this REASON, the PASHTO MEDIA is virtually UNKNOWN beyond ISLAMABAD going towards INDIA. However to the NORTH of PESHAWAR up into KALASH VALLEY [independent group of liberal people with KALASH RELIGION, LANGUAGE and CULTURE], SWAT and CHITRAL plus out WESTWARDS to AFGHANISTAN and the former TURKIC 'STAN' countries [like UZBEKISTAN etc.] and IRAN...PUSHTO LANGUAGE and PAKISTAN'S PESHWARI MUSIC INDUSTRY and CINEMA are RICHLY ENJOYED and DEEPLY INFLUENTIAL promoting SECULARISM, DANCE and ART. PASHTO LANGUAGE is a DIALECT of IRANIAN FARSI, as is KURDISH. PUSHTO has some SYNTAX SIMILARITIES with TURKISH where PERSONAL PRONOUNS are at the end of SENTENCES, the REVERSE of URDU and ENGLISH. Although PATHAN'S know URDU, it is very different from PASHTO, so they prefer NOT to SPEAK it. PASHTO DIALECT may PROTECT the PATHANS from the STRONG INFLUENCE of BOMBAY'S WESTERNISING HINDI CINEMA that some think has ERODED LAHORE'S CULTURE as PUNJABI is similar to HINDI in a way that PASHTO is not. The PATHAN'S have RETAINED a lot of CULTURE in MUSIC and CLOTHING that the PUNJABIS are rapidly LOSING. 'PE KHAP LO STA GO KHAPAL AARMAN', sung by KHAYAL MUHAMMED [b.1946]is BEAUTIFUL. PASHTO MUSIC is STUNNING, but, like KURDISH MUSIC, has a FEATURE that OUTSIDERS [particularly some PUNJABIS!] feel...that of MONOTONY and REPETITION. PASHTO MUSIC tends to be built on TWO ELEMENTS. One is RHYTHMIC OSTINATO, that is a PERCUSSION PATTERN that repeats, often a 'ROCKING' figure characteristic of PATHAN MUSIC. The other is a MELODIC OSTINATO or REPEATED MUSICAL MOTIF like a 'RIFF' on the RABAB [a TURKIC LUTE similar to the TURKISH 'SAZ']. These two OSTINATOS are put in place as a BACKGROUND for SINGERS to PERFORM MELODIES that have LIMITED TESSITURA or NOTE RANGE that are SIMPLE and REPETATIVE. PATHAN people grow up with this FINE MUSIC and its FEATURES and ADORE it. However, audiences from OUTSIDE of the PUKHTOON [local name] TRADITIONS sometimes find the RHYTHM UNFAMILAR and the REPETITION and NARROW MELODY quite CHALLENGING, particularly as the SINGING STYLE can be quite STARK [and RAW and WONDERFUL!] in a LANGUAGE that is UNKNOWN [even though PESHAWAR'S PUSHTO has a lot of URDU words MIXED IN but the SENTENCE INFORMATION runs in an opposite SEQUENCE to URDU/ENGLISH so can't be easily 'decoded'

'MADNESS, THIS GREAT RAPTURE, BY GOD, THE RAPTURE OF YOU, THIS TORMENT', is a BEAUTIFUL HYBRID PASHTO FILM SONG that is MODELLED on a LAHORIE GHAZAL with the MAGIC of PESHAWARI RHYTHMS with RABAB LUTE. BEAUTIFUL SONG with, the then young, MUSARRAT SHAHEEN with ASIF KHAN. The TINY PASHTO FILM INDUSTRY is a UNIQUE. It is a GLORIOUS WILD FLOWER that STANDS on the BORDER, in PESHAWAR, between TWO GREAT CIVILISATIONS: HINDUSTAN to the EAST and TURKISTAN on the WEST. PUSHTO FILMS take on CLOTHING and IMAGERY of INDIA, but MUSIC, DANCE and LANGUAGE of TURKIC CULTURE. The PASHTO LANGUAGE is almost UNINTELLIGABLE to URDU, PUNJABI and SINDHI SPEAKERS to the EAST of the PATHAN WESTERN REGION. For this REASON, the PASHTO MEDIA is virtually UNKNOWN beyond ISLAMABAD going towards INDIA. However to the NORTH of PESHAWAR up into KALASH VALLEY [independent group of liberal people with KALASH RELIGION, LANGUAGE and CULTURE], SWAT and CHITRAL plus out WESTWARDS to AFGHANISTAN and the former TURKIC 'STAN' countries [like UZBEKISTAN etc.] and IRAN...PUSHTO LANGUAGE and PAKISTAN'S PESHWARI MUSIC INDUSTRY and CINEMA are RICHLY ENJOYED and DEEPLY INFLUENTIAL promoting SECULARISM, DANCE and ART. PASHTO LANGUAGE is a DIALECT of IRANIAN FARSI, as is KURDISH. PUSHTO has some SYNTAX SIMILARITIES with TURKISH where PERSONAL PRONOUNS are at the end of SENTENCES, the REVERSE of URDU and ENGLISH. Although PATHAN'S know URDU, it is very different from PASHTO, so they prefer NOT to SPEAK it. PASHTO DIALECT may PROTECT the PATHANS from the STRONG INFLUENCE of BOMBAY'S WESTERNISING HINDI CINEMA that some think has ERODED LAHORE'S CULTURE as PUNJABI is similar to HINDI in a way that PASHTO is not. The PATHAN'S have RETAINED a lot of CULTURE in MUSIC and CLOTHING that the PUNJABIS are rapidly LOSING. 'PE KHAP LO STA GO KHAPAL AARMAN', sung by KHAYAL MUHAMMED [b.1946]is BEAUTIFUL. PASHTO MUSIC is STUNNING, but, like KURDISH MUSIC, has a FEATURE that OUTSIDERS [particularly some PUNJABIS!] feel...that of MONOTONY and REPETITION. PASHTO MUSIC tends to be built on TWO ELEMENTS. One is RHYTHMIC OSTINATO, that is a PERCUSSION PATTERN that repeats, often a 'ROCKING' figure characteristic of PATHAN MUSIC. The other is a MELODIC OSTINATO or REPEATED MUSICAL MOTIF like a 'RIFF' on the RABAB [a TURKIC LUTE similar to the TURKISH 'SAZ']. These two OSTINATOS are put in place as a BACKGROUND for SINGERS to PERFORM MELODIES that have LIMITED TESSITURA or NOTE RANGE that are SIMPLE and REPETATIVE. PATHAN people grow up with this FINE MUSIC and its FEATURES and ADORE it. However, audiences from OUTSIDE of the PUKHTOON [local name] TRADITIONS sometimes find the RHYTHM UNFAMILAR and the REPETITION and NARROW MELODY quite CHALLENGING, particularly as the SINGING STYLE can be quite STARK [and RAW and WONDERFUL!] in a LANGUAGE that is UNKNOWN [even though PESHAWAR'S PUSHTO has a lot of URDU words MIXED IN but the SENTENCE INFORMATION runs in an opposite SEQUENCE to URDU/ENGLISH so can't be easily 'decoded'

INDIAN MUSICAL and VISUAL GRAND SPECTACLE NEVER SEEN BEFORE, or SINCE... 'Tohfa' or 'Storm' 'New Wave' Hindi film of 1982 was of the family drama and romantic 'weather-extreme'! The song 'Gori Tere Ang Ang Main'/ 'Your Fair Beauty Makes Me Get Love Pangs'. If we try to define 'New Wave' in Hindi Cinema of the 1980s we may come up with a complex expression of changing politics and reaction to increasing Globalisation in a previously insular and 'closed market' India. On one hand we have Musical Maestro Bappi Lahiri's fascination with Western Pop Music and his measured but radical experiments with Eletronic Sequencers [a computer driver which MIDI musical information is keyed in at slow speed then played back reapeatedly or unhumanly rapidly] and this was complimented with colourful but quite Western Orchestration that demanded some new and highly virtuosic musicianship, particularly from drummers and violinists.

Hindu Scholars criticised New Wave Orchestration as 'Subversive' due to VIOLIN upward scale runs as, "aural symbolism of orgasm"...

ORCHESTRATION
Let us Analyse this 'Indian' Western Pop Song FORM [sections over time]...

INTRO
The INTRO is in FOUR SECTIONS which are a VARIATION and PREVIEW of the CHORUS material.

A huge orchestral TUTTI [all instruments play same rhythm or melody] on tuned and untuned PERCUSSION [instruments you hit] including TABLA [Indian tuned floor hand drums] and small dishes of water tuned to the scale. VIOLINS bow a strong repeated note on the start of each repetition. Other traditional strings like SAROD and SITAR [Indian Lutes] and MANDOLIN [Italian Lute] plus keyboard bass note. This first section of the INTRO plays the scale of the song rather like CHINESE FIVE NOTE/PENTATONIC steps.

The second section keeps now a single note on four beats of the bar with FLUTE scale runs and FEMALE CHOIR singing IMITATION [copying] what the VIOLINS did in the first section with interacton from the FLUTES.

The third section is the speeding up of the PERCUSSION to high speed quaver half notes and hard-bowed 'snaking' upward VIOLIN scale run energetically leaps up two octaves. The DRUMS rest but all other instruments repeat the first section melody on a new rhythm with repeated notes and syncopation but an ocatave higher in pitch to give a sense of having 'moved' up somewhere. The secion CADENCES [musical full stops] down.

The final section of the INTRO starts the TABLA drum beat and a final VARIATION on the first section melody material is sung on the Indian note names by the FEMALE CHOIR: "Sa Sa Sa Sa, Ma Ma Ma Ma, Ga Ga Ga Ga, Re Re Re Re". The VIOLINS interject with ANTIPHONAL [question and answer] CADENCE parts leading to a direct one octave upward energising VIOLIN scale-run to launch female singer to an ALAAP [mood setting vocal vowel] answered by the male ALAAP in ANTIPHONY. The PERCUSSION and ORCHESTRA give three TUTTI strikes with ZITHER scale run down CADENCES before the CHORUS begins.

INDIAN MUSICAL and VISUAL GRAND SPECTACLE NEVER SEEN BEFORE, or SINCE... 'Tohfa' or 'Storm' 'New Wave' Hindi film of 1982 was of the family drama and romantic 'weather-extreme'! The song 'Gori Tere Ang Ang Main'/ 'Your Fair Beauty Makes Me Get Love Pangs'. If we try to define 'New Wave' in Hindi Cinema of the 1980s we may come up with a complex expression of changing politics and reaction to increasing Globalisation in a previously insular and 'closed market' India. On one hand we have Musical Maestro Bappi Lahiri's fascination with Western Pop Music and his measured but radical experiments with Eletronic Sequencers [a computer driver which MIDI musical information is keyed in at slow speed then played back reapeatedly or unhumanly rapidly] and this was complimented with colourful but quite Western Orchestration that demanded some new and highly virtuosic musicianship, particularly from drummers and violinists.

Hindu Scholars criticised New Wave Orchestration as 'Subversive' due to VIOLIN upward scale runs as, "aural symbolism of orgasm"...

ORCHESTRATION
Let us Analyse this 'Indian' Western Pop Song FORM [sections over time]...

INTRO
The INTRO is in FOUR SECTIONS which are a VARIATION and PREVIEW of the CHORUS material.

A huge orchestral TUTTI [all instruments play same rhythm or melody] on tuned and untuned PERCUSSION [instruments you hit] including TABLA [Indian tuned floor hand drums] and small dishes of water tuned to the scale. VIOLINS bow a strong repeated note on the start of each repetition. Other traditional strings like SAROD and SITAR [Indian Lutes] and MANDOLIN [Italian Lute] plus keyboard bass note. This first section of the INTRO plays the scale of the song rather like CHINESE FIVE NOTE/PENTATONIC steps.

The second section keeps now a single note on four beats of the bar with FLUTE scale runs and FEMALE CHOIR singing IMITATION [copying] what the VIOLINS did in the first section with interacton from the FLUTES.

The third section is the speeding up of the PERCUSSION to high speed quaver half notes and hard-bowed 'snaking' upward VIOLIN scale run energetically leaps up two octaves. The DRUMS rest but all other instruments repeat the first section melody on a new rhythm with repeated notes and syncopation but an ocatave higher in pitch to give a sense of having 'moved' up somewhere. The secion CADENCES [musical full stops] down.

The final section of the INTRO starts the TABLA drum beat and a final VARIATION on the first section melody material is sung on the Indian note names by the FEMALE CHOIR: "Sa Sa Sa Sa, Ma Ma Ma Ma, Ga Ga Ga Ga, Re Re Re Re". The VIOLINS interject with ANTIPHONAL [question and answer] CADENCE parts leading to a direct one octave upward energising VIOLIN scale-run to launch female singer to an ALAAP [mood setting vocal vowel] answered by the male ALAAP in ANTIPHONY. The PERCUSSION and ORCHESTRA give three TUTTI strikes with ZITHER scale run down CADENCES before the CHORUS begins.

CHORUS
Male PLAYBACK SINGER [professional CINE singers who record backing tapes for actors with average voices to mime to in film songs] KISHORE KUMAR sings unaccompanied [to give listeners a rest from melodic instruments] in rhythmic single phrases with ANTIPHONAL CADENCIAL drum beats at the end of each line. After four phrases KISHORE hold a long note, and cleverly, the 'movement' moves to the DRUM fill-in starting. Lines are repeated and lyrics and rhymes are simple over a standard TABLA rhythm.
The LAYERED [not Western Harmony but melodic notes played behind sung melody repeats] VIOLINS are curious. They alternate between a sort of UNISION [playing what singer is performing] and 'independent' backing line for contrast?

Repeats of CHORUS later have VIOLINS in IMITATION of INTRO sudden notes after phrases as CADENCES but at a higher octave for variety and sense of 'hightened excitement'developing in the song. By the third repeat the VIOLINS lower the register and make two note trilling CADENCES for more thrill and VARIETY.

BRIDGES
BRIDGE 01 is a VARIATION on the INTRO with the TUTTI melodic figure in a new rhythm with the CHOIR 'Sa Sa Sa' ANTIPHONAL with VIOLIN CADENCES then development of the CHOIR phrase. The SHEHNAI [Traditional Oboe] brings a new VARIATION of the CHORUS in a new TIMBRE. VIOLINS 'skate' around on middle register until CADENCING to VERSE in high stabs.

BRIDGE 02 offers PERCUSSION TUTTI to contrast busy texture with something thin. A high FLUTE offers a new sound followed by FEMALE CHOIR and swirling upward VIOLIN cadences.

VERSE
Typically the VERSE is MODULATED [change scale] up to the area of the FIFTH NOTE - 'Pa'/ 'Soh'. ASHA BHONSLE the female PLAYBACK SINGER starts the ANTIPHONAL longer phrases with KISHORE KUMAR for variety. ASHA'S voice, like the VIOLINS, is heavily REVERBED [electronic echo] making for a piercing sharp thrill. KISHORE's voice is more mellow to counter the sharp SOPRANO sounds of ASHA and VIOLINS.

'The most shocking Turkish movie ever": https://www.imdb.com/title/tt0428059/reviews
TURKISH HEART-THROB ACTOR/MODEL: KENAN İMİRZALIOĞLU [b.1974] in MULTI-AWARD WINNING DRAMATIC EXPERIMENTAL DIRECTOR: UĞUR YÜCEL'S [b.1957] GLAM SEARCHING LURID STARK PHOTOGRAPHIC MODERNITY of the 2004 TURKISH CINEMA FILM: 'YAZI-TURA' or 'HEADS OR TAILS' [English Subtitles] EXPLODES the SEPTIC PUS of every kind of NEUROSIS that PLAGUES the MIND of PEOPLE of TURKEY:

- EARTHQUAKES
- ARMY
- MILITARY SECULAR OPPRESSION
- GOVERNMENT PROPAGANDA
- TERROR
- KURDISH-TURKISH APARTHEID
- MILITARY SERVICE that INDUCES POST TRAUMATIC STRESS DISORDER in the CONSCRIPTED
- MILITARY INJURY and DEATH
- SEPARATION of FAMILES
- GREEK-TURKISH APARTHEID
- FRIENDSHIP
- BETRAYAL
- LOVE
- ELOPEMENT
- SEX OUTSIDE OF MARRIAGE
- SIN
- DRUGS
- MAFIA
- PROSTITUTION
- TRANSVESTISM
- HOMOSEXUALITY
- DOUBLE CROSSING
- INSINCERITY
- HONOUR
- MELANCHOLIC
- LOSS OF OTTOMAN EMPIRE
- FATEFULNESS
- GOSSIP

CEVHER [KENAN İMİRZALIOĞLU] and his FRIEND: RIDVAN, played by actor OLGUN ŞİMŞEK [b. 1971], are two CONSCRIPTS returning home to İSTANBUL, and rural ANATOLIA respectively. They have both been INJURED by a LANDMINE in SOUTH EASTERN TURKEY through a STRANGE TWIST of FATE of RIDVAN. CEVHER has HEARING INJURY, RIDVAN the footballer-hopeful, has lost his GOAL-SCORING LEG.

Both BOYS, like is the CASE, are both left DEEPLY PSYCHOLOGICALLY DISTURBED by TURKISH ARMY CONSCRIPTION. THESE NAIVE YOUNG MALES were SUBJECTED to UNUSED SEPARATION from FAMILY and OFTEN SUBJECTED to HARDSHIP and CRUELTY. Many RETROSPECTIVE CASES AGAINST the TURKISH MILITARY for SUICIDES, RAPE, and MENTAL ILLNESS are CURRENTLY IN LAW COURTS. The BOYS COME BACK from the ARMY often as MENTALLY DISTURBED and UNLIKE the PEOPLE they were when they LEFT.

RIDVAN returns to the RURAL TOWN to find that his INJURY, LOST FOOTBALL DREAM and OSTRACISATION and GOSSIPING are AFFECTING his MIND. ALCOHOL, DRUGS, PORNOGRAPHY and MULTIPLE VIOLENT ARGUMENTS with FORMER FRIENDS and REJECTION by his FIANCÉE all PUSH RIDVAN and his aged mother the edge.

CEVHER is CAUGHT UP in the DIRECTORS EFFECTIVE RECONSTRUCTION of the 1999 ISTANBUL EARTHQUAKE that KILLED 70,000. The QUAKE CLAIMS his UNCLE. His PREVIOULSY UNKNOWN GREEK STEPMOTHER returns to ISTANBUL from GREECE. CEVHER meets a GREEK HALF-BROTHER he didn't know who is as EFFEMINATE a HOMOSEXUAL as CEVHER is a MACHO 'ALL-MAN' TURK. POST TRAUMATIC STRESS DISORDER, DRUGS, MAFIA, FAILURE of his SMALL BUSINESS, GRIEF and FAMILY COMPLICATIONS and SEXUAL QUESTIONS and TRAGEDY eventually push CEVHER over the edge into MURDER and PRISON...

MELANCHOLIC FATEFULNESS of TURKEY plays out in GRAINY MODERNITY of the 2000s 'EUROIMAGES' CINEMA that aimed to LEAD TURKEY out of its 'SECULAR MELODRAMAS' to 'EUROPEAN ART CINEMA'. In this DECADE, starting with 'GÜNEŞE YOLCULUK' ['JOURNEY TO THE SUN'] in 1999 saw some of the most BREATHTAKING TURKISH FILMS as INDEPENDENT PROJECTS...

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'Gulyaxî' is a lovely light Kurdish song that one can listen to time and again and not get bored of. Yet it has a typical Kurdish STROPHIC FORM [one text block that is repeated in instruments and voice without sense of VERSE/CHORUS or development of song material]. The other striking feature is the narrow melody RANGE [span of notes that make up the melody] which again is typical of music of both the Kurds and the Pathans on either side of Iran. The liking for the same notes and melodic material to be relentlessly repeated seems a strong feature of music of these two cultures.

The ENSEMBLE [group of instruments/vocalists] is an electronic drum machine providing a basic METRE [number of beats per bar] of four. A simple pop drum beat plays with FILLS [rhythmic full stops] that puntuate the ends of sections. There is a SAZ or BAĞLAMA [Turkish three stringed lute] that strums along or plays the STROPH at times for variety. There is also a traditional NAY [overblown wooden Turkish flute - very difficult to learn to play]. That gives a 'breathy' WOODWIND sound that plays a seperate LAYERED [played ontop of another melody but not harmony] parts over the STROPH for variety. All of the instruments are DOUBLE-TRACKED [recorded more than once and played like there are several players but there is only one]. This is for TONE MASS [thick tone] and economic reasons.

Salih Dilovan's voice is solo at times, DOUBLE-TRACKED most of the time, plus electronically HARMONISED [performed in harmonic chords] but the song is MONODIC [singing and drumming with no bass or hamony] so the harmonising is only done for effect and variety which is peculiar when harmony is used? Salih's voice is a little weak in style but the use of the studio really does work to make the vocals more striking and varied in the driving repetition of the STROPH.

VIDEO
The visuals are wonderful. Beautiful Eastern Turkey in the snow with the mountains and village behind! The costumes of the men are two different kinds of traditional ŞALVAR [baggy trousers] with waistcoats - really smart and a great treat to see men in costumes of Turkey as men in traditional clothes is becoming a rare thing. The dancing is 'HALAY' [folk dance]. In countries around Turkey these kinds of holding hands line dances are important - maybe to do with the old rural culture of community and supporting each other in harvesting whilst living in difficult conditions. HALAY is often a celebration of community and working together.
Salih Dilovan alternates between traditional and Western clothes in a way that is normal in the Turkish Republic. The traditional clothes and dance are a beautiful touch to the video.

The filming is one video camera but Salih Dilovan has a good eye for balance and images. The video is a colourful and thrilling montage of Men of Kurdistan. Really Magic! Spras!

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'Gulyaxî' is a lovely light Kurdish song that one can listen to time and again and not get bored of. Yet it has a typical Kurdish STROPHIC FORM [one text block that is repeated in instruments and voice without sense of VERSE/CHORUS or development of song material]. The other striking feature is the narrow melody RANGE [span of notes that make up the melody] which again is typical of music of both the Kurds and the Pathans on either side of Iran. The liking for the same notes and melodic material to be relentlessly repeated seems a strong feature of music of these two cultures.

The ENSEMBLE [group of instruments/vocalists] is an electronic drum machine providing a basic METRE [number of beats per bar] of four. A simple pop drum beat plays with FILLS [rhythmic full stops] that puntuate the ends of sections. There is a SAZ or BAĞLAMA [Turkish three stringed lute] that strums along or plays the STROPH at times for variety. There is also a traditional NAY [overblown wooden Turkish flute - very difficult to learn to play]. That gives a 'breathy' WOODWIND sound that plays a seperate LAYERED [played ontop of another melody but not harmony] parts over the STROPH for variety. All of the instruments are DOUBLE-TRACKED [recorded more than once and played like there are several players but there is only one]. This is for TONE MASS [thick tone] and economic reasons.

Salih Dilovan's voice is solo at times, DOUBLE-TRACKED most of the time, plus electronically HARMONISED [performed in harmonic chords] but the song is MONODIC [singing and drumming with no bass or hamony] so the harmonising is only done for effect and variety which is peculiar when harmony is used? Salih's voice is a little weak in style but the use of the studio really does work to make the vocals more striking and varied in the driving repetition of the STROPH.

VIDEO
The visuals are wonderful. Beautiful Eastern Turkey in the snow with the mountains and village behind! The costumes of the men are two different kinds of traditional ŞALVAR [baggy trousers] with waistcoats - really smart and a great treat to see men in costumes of Turkey as men in traditional clothes is becoming a rare thing. The dancing is 'HALAY' [folk dance]. In countries around Turkey these kinds of holding hands line dances are important - maybe to do with the old rural culture of community and supporting each other in harvesting whilst living in difficult conditions. HALAY is often a celebration of community and working together.
Salih Dilovan alternates between traditional and Western clothes in a way that is normal in the Turkish Republic. The traditional clothes and dance are a beautiful touch to the video.

The filming is one video camera but Salih Dilovan has a good eye for balance and images. The video is a colourful and thrilling montage of Men of Kurdistan. Really Magic! Spras!

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Comic old Pakistani Punjabi film song love duet.

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Comic old Pakistani Punjabi film song love duet.

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PASHTO ACTRESS: MUSARRAT SHAHEEN in a 1980s LUSTY LOVE SONG with UNKNOWN PASHTO ACTOR - SHIRT RIPPED OFF and OUR DAMSEL GRAVITATING his HAIRY TORSO...

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PASHTO ACTRESS: MUSARRAT SHAHEEN in a 1980s LUSTY LOVE SONG with UNKNOWN PASHTO ACTOR - SHIRT RIPPED OFF and OUR DAMSEL GRAVITATING his HAIRY TORSO...

'TO THE PEOPLE STRUCK BY OUR BEAUTIFUL EYES' from 1960 film 'ONE RAINY NIGHT' represents a PEAK of BOMBAY'S LOVE AFFAIR with 'MUSLIM DRAMAS' of 1950-1970. It was also the LAST FILM of RECLUSIVE EPIC HEROINE: MUDHUBALA [1933-1969][Click 'SHOW MORE' for Analysis]

'BARSAAT KI RAAT' was FILM OF THE YEAR in 1960 with a CINEMA POPULARITY based upon, not just the STORYLINE, but also on the STUNNING SONG SCORE of SEMI-CLASSICAL QAWWALIS* and FOLK IDIOM SONGS focusing on NATURE and COUNTRYSIDE.

QAWWALI* is a TRADITIONAL SUFI SONG FORM that can be traced back to 8th Century PERSIA. It appears in FORMS across former NORTHERN INDIA from MODERN DAY SINDH, in PAKISTAN to BANGLADESH. The QAWWLI, known as 'SANA' is found in TURKEY and IRAN too. Most AUTHENTIC QAWWALIS are SUNG as 'QUAL' as 'TO GOD' in PARTICULAR STRUCTURES in songs anywhere from 15 to 115 minutes long. PAKISTANI SUFI: NUSRAT FATEH ALI KHAN [1948-1997] was the FIRST to OPEN QAWWALI to the WORLD in his INTERNATIONAL PERFORMANCES in FOLK FESTIVALS and on ALBUMS.

FILMI QAWWALIS, like 'NIGAH-E-NAZ' here is a totally RECONSTRUCTED GENRE of QAWWALI that has been HIJACKED for the CINEMA. This ADAPTATION has INVOLVED a CHANGE to WESTERN POP SONG FORM of VERSES and CHORUS. The 'ATTITUDE' of the QAWWALI has gone from SUFI MUSLIM DEVOTION to GOD, to SINGING COMPETITIONS between TEAMS of GIRLS and BOYS with TEASING ROMANTIC UNDERTONES in the LYRICS. The FILMI QAWWALI is nothing like the ORIGINAL QAWWALI apart from VOCAL PASTICHE and some uses of ALAAP [opening SUNG PASSAGE on VOWELS]. However, the QAWWALI was 'SIMPLIFIED' in the CINEMA thus making it more COMPREHEND-ABLE to a MASS AUDIENCE, rather than SPECIALISED to RELIGIOUS DEVOTION for the a DEVOUT AUDIENCE.

'ONE RAINY NIGHT' has a CURIOUS STORYLINE that EXPERIMENTS with IDEAS and BREAKS AWAY from some of the NORMS of HINDI CINEMA. The FILM CENTRES on LAHORIE ACTRESS: SHYMA [b.1935], although MADHUBALA is given TOP BILLING. The TWO CHARACTERS are, UNUSUALLY, SINGERS. It was RARE to have such a POSITIVE and FOCUS on FEMALE ENTERTAINERS on BOMBAY SCREEN as they were often PORTRAYED as 'FALLEN WOMEN'. What is STRANGE about 'BARSAAT KI RAAT' is that the typical PLAY of MEN and WOMEN who CANNOT MARRY is NOT CAUSED by the USUAL FAMILY DISAPPROVAL. The NARRATIVE is MORE COMPLEX and FOCUSES, both directly and indirectly, through BOYS vs GIRLS QAWWALI SINGING COMPETITIONS. It is the PHENOMENON of MALES and FEMALES SENDING MIXED and CONFUSING ROMANTIC MESSAGES to EACH OTHER and the CONFUSION and FRUSTRATION that can cause. The CHARACTERISATION of these LOVE SIGNAL FOGS is between the POET, who WRITES the VERSE to CRACK the COMPETITION in the QAWWALIS, and the SINGERS who SING the VERSES. The VERSES themselves are SYMBOLIC of the CHAOTIC INFORMATION that is LOVE, UNCERTAINTY, FLIRTING and HIDING between the MALES and FEMALES. So the STRONG and WINNING POETRY tells the 'STORY' of the LOVE, as does the POET'S FAIL VERSES that LOSE the QAWWALI CONTESTS.

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'Nefsi Ya Ma'alem' ['I wish For You Sire'] is an outrageous wedding song at a marriage party as part of the storyline. The Lebanese actress Nicol Saba plays the part of the aspiring belly dancer hired to entertain at the celebrations. This is an archive video song from the wonderful Egyptian comedy film 'Keset El Hai El Sha3bi' ['Inner City Story']. The film is an absurd implausible hilarious colourful wonderous adventure of belly dancing and rickshaws across Egypt to win a belly dance competition in Alexandria.

ORCHESTRATION
This is an arrangement of a traditional Egyptian wedding song. The melody has been fortified for contemporary cinema by an arrangement as 'Sha'abi'. [A variety of spellings in English for this Arabic word: Sha3bi, Sh3bi and Chaabi]. Sha'abi means 'music of the people' and is a form of Urban Popular Folk from Egypt that became popular with Ahmed Adeweyah in the 1970s. Sha'abi is like a kind of Oriental Rap style similar in political, social and performance styles with Western Rap - Protest Music of the poor and oppressed with no hope that winds the people into a closed circle with no exit. However, Egyptians may be said to enjoy comedy and laughing, so Sha'abi dismisses grievances through sharp satire [making criticism of society through comedy] and even orchestral lines that sound like they are 'laughing'.

The song form is Western Intro-Verse-Chorus-Bridge...

The Ensemble is mostly electronic keyboard [dictated by economics mainly] and some western brass. Sha'abi removed Egypt from the string sections of earlier Turkish style music replacing with brass - also smaller musician fees for a few soloists against 12 string players, although some cinema Sha'abi has string section due to bigger budget and creating a more lush and sophisticated sound. The percussion is traditional hand drums like darbuka, frame drums and sagat or zills, small finger cymbals that play a constant fast rhythm and offer high metalic sounds of the sonic gambit for the listener.

The western accordian is used as it is a 'detuned' instrument with two octaves out of tune. It adds a 'thick' melody sound and also provides a comical sound in Arabic Scale [often a set of song notes where the second note is a half tone above the keynote giving an 'oriental' or 'melancholic' sound]. The accordian plays tunes during the bridges and small cadence [end of phrase musical full stops] figures under the singing. The accordian is played humorously hitting the high and low registers aiding the ridiculous dance routines and comical faces of the actors. The parts often sound like they are 'laughing' in the accordian as they

The singing is typical Egyptian Sha'abi. The voice is quite low for a woman, full throated, rural inflection with pronuncation of working class Arabic. The singing style calls back to the countryside roots of the city poor. The singing is in direct opposition to the smoothed out pop.

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Famous Pashto dancer and actress: MUSARRAT SHAHEEN performs and extraordinary MUJRA entertainment dance in an 80s film. Dance in Western Pakistan is less India and more Arabic/Persian dance. Shaheen takes on two roles as both the man and the woman in the clip.
MUSARRAT SHAHEEN BIOGRAPHY - https://en.wikipedia.org/wiki/Musarrat_Shaheen
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

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'Aagaya Dil Par Rach Rach Ki' - A classic Anjuman and Sultan Rahi Punjabi film song sung by Nahid Akhtar in the 1985 film 'Shah Bereham' - 'Cruel King'.
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

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'Aagaya Dil Par Rach Rach Ki' - A classic Anjuman and Sultan Rahi Punjabi film song sung by Nahid Akhtar in the 1985 film 'Shah Bereham' - 'Cruel King'.
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

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'THE SOUND OF SHAKING BANGLES' or 'DA BANGRO SHOR JOR DA' is a SHATTERING SOUND and SIGHT of PUSHTO-PUNJABI-ARAB SYNTHESIZERED SYNTHESIS with ACTRESSES and ACTORS diverting attention as they INFILTRATE and EXPOSE the HIDDEN UNDERWORLD FACE and MAFIA of DUBAI. The project is ACTOR/DIRECTOR: ARBAZ KHAN'S 2007 'TIGER' PUSHTO FILM. 'TIGER' is a STYLISH CLUMSY AMATEURISH PESHWAR INDUSTRY FILM that DELIVERS a BREATH-TAKING SWORD of TRUTH that CUTS through the DELIGHTFUL Pakistani LAHORIE MOVIE of 1979: 'DUBAI CHALO'/'LET'S GO TO DUBAI' that PROMISED HAPPY LIFE and RICHES to MIGRANT PAKISTANIS doing a STINT in the UAE...'TIGER' shows a DUBAI of 2000s... A BRUTAL, CORRUPT, SLEAZE-BALL COUNTRY where EMIRATIS treat MIGRANTS, including FILIPINOS and even FELLOW MUSLIMS, as WHORES and DOGS to be OVERWORKED, UNDERPAID, INSULTED, PIMPED, IMPRISONED, RAPED and MURDERED without any RECOURSE to the LAW of the POLICE, LAW of ISLAM, or even to be in FREE POSSESSION of their own PASSPORT to CHOOSE to LEAVE UAE as they wish, i.e. ENSLAVED PARALYSED VICTIMS. WHAT A DIFFERENCE two DECADES MAKE in the MIDDLE EAST.

The SONG is an INCREDIBLE and UNIQUE NUMBER as PAKISTANI CREATION of SONGS often are. The FRAMEWORK is a PATHAN sort of TURKIC 'ROCKING' RHYTHM PATTERN, but with "Hey! Hey!" PUNJABI SHOUTS from a CHORUS. The MUSIC and WHOLE SOUND PORTFOLIO of 'TIGER' are this FIXED-PITCHED WESTERN SOUND and SYNTHESIZER that is somewhat 'OVER-RIDDEN' [like RAP COMPOSERS also do!] to CREATE an AWKWARD 'MEDIEVAL' SOUND of 'ARID' and 'UN-MUSICAL' SOUNDS in a SKELETON of MUSIC that is so AWKWARD in SHAPES and EDGES!?!? The SCORE is really something EXPERIMENTAL in its LAHORE-PUNJAB-WEST-ARAB mix...However, when I saw this in the CINEMA one time in PESHAWAR, people said they DIDN'T LIKE IT!?!?! Oh!

The SONG is one of NINE. Some PUSHTO FILMS have as many as 12 SONGS in 150 minutes! The ACTOR is PUSHTO HERO ACTOR and RELENTLESS PUSHTO FILM DIRECTOR: ARBAZ KHAN and he acts with PUNJABI ACTRESS, SIDRA NOOR [dark hair], a REGULAR for SEVERAL YEARS in PUSHTO CINEMA. However, ARBAZ KHAN [not slimmest himself!] made a STATEMENT that SIDRANOOR would DROPPED from his FILMS as her WEIGHT BALLOONED in the late 2000s, so she was RELPLACED. Most ACTRESSES in PESHAWAR FILMS are PUNJABI DANCING GIRLS who have VOICE DUB ACTRESSES for the PUSHTO SONG and DIALOGUE recorded afterwards. SEHER KHAN [lighter hair] is an actual PATHAN ACTRESS who DANCES PATHAN and SPEAKS PUSHTO. She is a RARITY to take the 'SHAME'. But SEHER is CANADIAN-PAKISTANI who GREW UP ABROAD and says she LIKES DANCING and BEING an ACTRESS...Known as 'THE BARBIE DOLL OF PESHAWAR'

'TIGER' is a STARTLING FILM with and ART FILM POLITICAL MESSAGE DEMONSTRATING and WARNING PAKISTANIS AGAINST going to the UAE to WORK. Many PAKISTANIS now have TASTED the MALTREATMENT of these places and now UNDERSTAND.

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The rich velvet voice of Yesudas sings in the South Indian language: Malalayam.
Yesudas is a Christian South Indian singer. His Christian father was an expert on HIndu scripture. Yesudas is an expert of Hindu Kanartik singing which is strange as he is not a Hindu. Yesudas sang a lot of songs, some for actors to mime to in Indian films.
**Since this video was made, Yesudas biography changed. Originally it was said he was an orphan. It is now said that he isn't.
https://en.wikipedia.org/wiki/K._J._Yesudas
https://en.wikipedia.org/wiki/Malayalam
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

[Wait Up To 10 Seconds For Start - Slow Bit-Chute Buffering]
The rich velvet voice of Yesudas sings in the South Indian language: Malalayam.
Yesudas is a Christian South Indian singer. His Christian father was an expert on HIndu scripture. Yesudas is an expert of Hindu Kanartik singing which is strange as he is not a Hindu. Yesudas sang a lot of songs, some for actors to mime to in Indian films.
**Since this video was made, Yesudas biography changed. Originally it was said he was an orphan. It is now said that he isn't.
https://en.wikipedia.org/wiki/K._J._Yesudas
https://en.wikipedia.org/wiki/Malayalam
KHAARTOUM_LETS_TALK - POLITICS and DAFTNESS
https://www.bitchute.com/channel/khaartoum_lets_talk/

KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
https://www.bitchute.com/channel/ujvtp7SxRKJr/

KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
https://www.bitchute.com/channel/akjupya3Auqo/

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Turkish Director: Derviş Zaim's tense dark masterpiece of the underworld of Istanbul's mafia, police, prostitutes, drugs trade and corrupt politians. Six seemingly unconnected characters connected are by coincidence. Havva is an athlete getting ready for the marathon to find money to look after her brother disabled in the Kurdish war. Havva works in a five hotel part time where drug mafia boss Sabit tries to buy out the hotel and casino from owner Mr. Ali and his son Devrim who starts to work with political organisations to fend off the mafia. Sabit works with hitman Camoka who is also connected to a corrupt government minister who 'disappears' Camoka in a fake death after an assassination for the government and double crossing on a drugs run. A man looking similar to Camoka is executed by the government for the funeral. Camoka murders Sabit over the drugs and other corrupt projects' disagreement. It all gets into the media and smears the politician. Devrim gets into trouble as he imagines all is over because the political organisation linked to Kurdistan blow up a cafe with Turkish soldiers as customers but the bombing goes wrong and a miliant woman is killed. Devrim is terrified of being implicated and goes to Havvas house to hide out. But she and her brother are arrested in connection to the bombing at the hotel. Her brother dies from his disabilities when Havva is in police custody then she is strangely released to run the marathon. Camoka runs away abroad and has cocaine parties. Havva runs the marathon and the police chief investigating the execution of innocent men and all of the tangle of drug and government corruption begins ringing random telephone numbers telling random citizens that the country is filled with evil and he knows just enough to be killed.

Elephants and Grass is a telling portrait of Turkey in 2000.

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Turkish Director: Derviş Zaim's tense dark masterpiece of the underworld of Istanbul's mafia, police, prostitutes, drugs trade and corrupt politians. Six seemingly unconnected characters connected are by coincidence. Havva is an athlete getting ready for the marathon to find money to look after her brother disabled in the Kurdish war. Havva works in a five hotel part time where drug mafia boss Sabit tries to buy out the hotel and casino from owner Mr. Ali and his son Devrim who starts to work with political organisations to fend off the mafia. Sabit works with hitman Camoka who is also connected to a corrupt government minister who 'disappears' Camoka in a fake death after an assassination for the government and double crossing on a drugs run. A man looking similar to Camoka is executed by the government for the funeral. Camoka murders Sabit over the drugs and other corrupt projects' disagreement. It all gets into the media and smears the politician. Devrim gets into trouble as he imagines all is over because the political organisation linked to Kurdistan blow up a cafe with Turkish soldiers as customers but the bombing goes wrong and a miliant woman is killed. Devrim is terrified of being implicated and goes to Havvas house to hide out. But she and her brother are arrested in connection to the bombing at the hotel. Her brother dies from his disabilities when Havva is in police custody then she is strangely released to run the marathon. Camoka runs away abroad and has cocaine parties. Havva runs the marathon and the police chief investigating the execution of innocent men and all of the tangle of drug and government corruption begins ringing random telephone numbers telling random citizens that the country is filled with evil and he knows just enough to be killed.

Elephants and Grass is a telling portrait of Turkey in 2000.