'QAYAMAT' or 'DOOMSDAY' is the FINALE HINDI LANGUAGE SONG in the 1980 INDIA-SOVIET FILM: 'ALI BABA AUR CHALIS CHOR' or 'ALI BABA AND THE FORTY THIEVES'. The SONG is an ORCHESTRAL MAJESTY of EASTERN DRUMMING with WESTERN VIOLINS and BRASS with the STARK VOCAL of INDIAN PLAYBACK SOPRANO: LATA MANGESHKAR. The STUDIO VIOLINS are STRIKING in their STRIDENCY and ARTIFICIAL STUDIO SOUND that is LOUD and THRILLING. The MUSIC was WRITTEN by R. D. BURMAN who PIONEERED MIXING INDIAN MUSIC with WESTERN MUSIC in INDIAN CINEMA. The SONG is PICTURISED in RUSSIA and MIMED by INDIAN ACTRESS: HEMA MALINI. MALINI is a SOUTH INDIAN BHARATA NATYAM DANCER. Her 'ORIENTAL' DANCE is EVIDENT of that.
More info:
https://en.wikipedia.org/wiki/Adventures_of_Ali-Baba_and_the_Forty_Thieves

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/

'QAYAMAT' or 'DOOMSDAY' is the FINALE HINDI LANGUAGE SONG in the 1980 INDIA-SOVIET FILM: 'ALI BABA AUR CHALIS CHOR' or 'ALI BABA AND THE FORTY THIEVES'. The SONG is an ORCHESTRAL MAJESTY of EASTERN DRUMMING with WESTERN VIOLINS and BRASS with the STARK VOCAL of INDIAN PLAYBACK SOPRANO: LATA MANGESHKAR. The STUDIO VIOLINS are STRIKING in their STRIDENCY and ARTIFICIAL STUDIO SOUND that is LOUD and THRILLING. The MUSIC was WRITTEN by R. D. BURMAN who PIONEERED MIXING INDIAN MUSIC with WESTERN MUSIC in INDIAN CINEMA. The SONG is PICTURISED in RUSSIA and MIMED by INDIAN ACTRESS: HEMA MALINI. MALINI is a SOUTH INDIAN BHARATA NATYAM DANCER. Her 'ORIENTAL' DANCE is EVIDENT of that.
More info:
https://en.wikipedia.org/wiki/Adventures_of_Ali-Baba_and_the_Forty_Thieves

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/

'QAYAMAT' or 'DOOMSDAY' is the FINALE HINDI LANGUAGE SONG in the 1980 INDIA-SOVIET FILM: 'ALI BABA AUR CHALIS CHOR' or 'ALI BABA AND THE FORTY THIEVES'. The SONG is an ORCHESTRAL MAJESTY of EASTERN DRUMMING with WESTERN VIOLINS and BRASS with the STARK VOCAL of INDIAN PLAYBACK SOPRANO: LATA MANGESHKAR. The STUDIO VIOLINS are STRIKING in their STRIDENCY and ARTIFICIAL STUDIO SOUND that is LOUD and THRILLING. The MUSIC was WRITTEN by R. D. BURMAN who PIONEERED MIXING INDIAN MUSIC with WESTERN MUSIC in INDIAN CINEMA. The SONG is PICTURISED in RUSSIA and MIMED by INDIAN ACTRESS: HEMA MALINI. MALINI is a SOUTH INDIAN BHARATA NATYAM DANCER. Her 'ORIENTAL' DANCE is EVIDENT of that.
More info:
https://en.wikipedia.org/wiki/Adventures_of_Ali-Baba_and_the_Forty_Thieves

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/

WILD PAKISTANI PUNJABI FILM SONG: 'SKILLS PROVIDED DAY BY DAY MY LOVE' or 'PA DE CHITTAY DIN MAHIYA HANER'. DANCER/ACTRESS: SAIMA KHAN teams up with EX-CRICKETER and PUNJABI FILM STAR: MOAMMAR RANA. It's a RIDE of a LIFE TIME SONG from 2005 FILM: 'IBBA GUJJAR' [name of Punjabi Clan Leader]. The SONG is a HOT SENSATION of SAIMA KHAN'S MUJRA DANCING with the ACTRESS MIMING to the VOICE of PUNJABI FILM SINGER: NASEEBO LAL. The COMPOSER and DRUMMING is by PAKISTANI COMPOSER: TAFOO.

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/

WILD PAKISTANI PUNJABI FILM SONG: 'SKILLS PROVIDED DAY BY DAY MY LOVE' or 'PA DE CHITTAY DIN MAHIYA HANER'. DANCER/ACTRESS: SAIMA KHAN teams up with EX-CRICKETER and PUNJABI FILM STAR: MOAMMAR RANA is a RIDE of a LIFE TIME SONG from 2005 FILM: 'IBBA GUJJAR' [name of Punjabi Clan Leader]. The SONG is a HOT SENSATION of SAIMA KHAN'S MUJRA DANCING with the ACTRESS MIMING to the VOICE of PUNJABI FILM SINGER: NASEEBO LAL. The COMPOSER and DRUMMING is by PAKISTANI COMPOSER: TAFOO.

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/

'MARKET PLACE' or 'MANDI' is DIRECTOR SHYAM BENEGAL'S 1983 REALISTIC and BEAUTIFUL PRESENTATION of a TRADITIONAL, or 'DESI' BROTHEL. The ART FILM shows, not the, FILMI GLAMOROUS COURTESANS, but UNEDUCATED LOW CLASS DANCING GIRLS with GAUDY COSTUMES and MAKE UP in a TIME WARP of a LONG FORGOTTEN INDIA. The DANCES, the SINGING, the POETRY, the MUSICAL INSTRUMENTS. 'MANDI' shows the COMMUNITY, the FUN, the CHEATING and the DARK SIDE of PEOPLE TRAFFICKING and SEXUAL ENSLAVEMENT. The TWIST of the FILM is the MIDDLE CLASSES who USE the DANCING GIRLS for WEDDINGS and the HUSBANDS for 'ENTERTIANMENT'. The sudden 'PRESENTATION' of the BROTHEL as an 'AFFRONT TO PUBLIC DECENCY' when the SAME FAMILIES USE the COURTESANS THEMSELVES...The 1980s NEOLIBERALISM is BUDDING...The PLAN to GET RID of the DANCING GIRLS is that their BROTHEL is on PRIME CITY LAND to BUILD a SHOPPING MALL... Starring BENGAL'S usual CAST....The PROFESSIONALLY COMPETITIVE ACTRESSES: SMITA PATIL and SHABANA AZMI are cast as MADAM and her 'LITTLE SPARROW UNFORTUNATE' who is UNDER HER WING with ACTOR NASEERUDIN SHAH as 'DHUNGROOS' the GO-FER...And COMPLICATIONS of the MIDDLE CLASS HUSBANDS that are OUT OF THE BLUE...

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/

Finally released from 2005 PAKISTANi CINEMA FILM: 'IBBA GUJJAR' [a feudal man's name] with PUNJABI ACTRESS: SAIMA and PUNJABI ACTOR: SHAAN mime 'DHOODH PEE KE BHOORI MAAJ DAYE' or 'MILK AND DRINK THE MILK OF THE BIG BUFFALO'. The SONG is a STUNNING COMPOSITION on a SHOE-STRING BUDGET by VETRAN DRUMMER and COMPOSER: TAFOO. The 2000s were a LEAN PERIOD for PUNJABI FILMS. TAFOO was really INGENIOUS in his ENCYLOPEDIC KNOWLEDGE of PAKISTANI DRUMMING plus his LEARNED DIGITAL STUDIO TECHNIQUES. The LAHORI VIOLINS have been REPLACED by ELECTRONIC KEYBOARD STRINGS that WORK quite well. And the PERCUSSION and ELECTRONIC DRUMMING are a TRIUMPH. The then new SINGING DIVA: NASEEBO LAL. The PUNJABI SOUND of NASEEBO LAL replicates the original PAKISTANI FILM SINGER: NOOR JEHAN. The BHANGRA DANCING in the FILM and TRADITIONAL 'HEER RANJHA' [Romeo and Juliet of Punjab] is TYPICAL of the 2000s PUNJABI FILMS.

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/

Finally released from 2005 PAKISTANi CINEMA FILM: 'IBBA GUJJAR' [a feudal man's name] with PUNJABI ACTRESS: SAIMA and PUNJABI ACTOR: SHAAN mime 'DHOODH PEE KE BHOORI MAAJ DAYE' or 'MILK AND DRINK THE MILK OF THE BIG BUFFALO'. The SONG is a STUNNING COMPOSITION on a SHOE-STRING BUDGET by VETRAN DRUMMER and COMPOSER: TAFOO. The 2000s were a LEAN PERIOD for PUNJABI FILMS. TAFOO was really INGENIOUS in his ENCYLOPEDIC KNOWLEDGE of PAKISTANI DRUMMING plus his LEARNED DIGITAL STUDIO TECHNIQUES. The LAHORI VIOLINS have been REPLACED by ELECTRONIC KEYBOARD STRINGS that WORK quite well. And the PERCUSSION and ELECTRONIC DRUMMING are a TRIUMPH. The then new SINGING DIVA: NASEEBO LAL. The PUNJABI SOUND of NASEEBO LAL replicates the original PAKISTANI FILM SINGER: NOOR JEHAN. The BHANGRA DANCING in the FILM and TRADITIONAL 'HEER RANJHA' [Romeo and Juliet of Punjab] is TYPICAL of the 2000s PUNJABI FILMS.

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/

'SLEEPLESS NIGHTS'/‘سهر الليالي’/'SAHAR EL LAYALY' is a 2003 EGYPTIAN FILM set in CAIRO. It could be any set of couples in any country in the mordernised world. Male friends and female friends get coupled and married and the troubles facing young married and non-married couples.

The old friends are invited at Khaled's and Perry's daughter birthday. Moushira is married to Ali, Amr to Farah , and Sameh is having an affair with Inas. After the party all the problems explodes when Moushira tells Ali that he doesn't satisfy her sexually, Perry tells Amr about her discovery of his infidelity, Amr is jealous of Ali as Farah's ex-boyfriend and she is faces him with the fact that her rich family improved his standard. While Inas gives the choice to Sameh of either marrying or separating. Then everyone faces their problems trying to make decisions with the help of his/her friends

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/

WHAT no VIOLINS? WHAT no ORCHESTRA? WHAT just TECHNO KEYBOARD? Well...YES! YES! YES!!...However, this Punjabi film song, 'Maya Ve!'/'Such Luck!' actually works very well as you can listen for yourself! WHY DID THE PAKISTANI FILMS BEGIN TO REPLACE BEAUTIFUL ACCOUSTIC ORCHESTRA WITH KEYBOARD IN THE 1990s? Well, we need to take a step back first to 1979. Lahorie Cinema had a Punjabi absolute smash hit film called 'MAULA JAT'[the name of a local FEUDAL lord, FEUDALISM being part of Pakistans sociological make up]. 'MAULA JAT' was a FEUDAL [clans that occasionally fight each other for land or honour] story set in the COUNTRYSIDE with a stunning memorable dialogue, not unlike another highly successful INDIAN FILM 'SHOLAY'/'Flames' in 1977. 'MAULA JAT'' made so much money and ran for so long in Pakistani Cinemas that after that time every Punjabi Film was made in that FEUDAL RURAL style. Previously, Punjabi Movies had been in a variety of Urban, Rural and even International settings offering a choice to audiences. The 'MAULA JAT' model of film with PUNJABI FOLKLORE, FEUDALISM and MYTHOLOGY compounded by the Zia-ul-Haq Regime's Islamic CENSORSHIP meant that actresses had to be covered in long costumes and scarves. However, the effect was that the LONG clothes just became TIGHTER and the camera angles and dance routines became evermore EXTREME. By the mid-1980s Punjabi Cinema had aquired a tag of being 'PINDOO' rural theme [with some GREAT MUSIC, by the way] monotenous predictable FEUDAL stories with machine guns, axes, blood and a level of 'VULGARITY' that filled the increasingly dirty and delapodated cinema halls with gangs of young men screaming and whistling. The families and middle class began to shun the Punjabi Films and then the cinema altogether, so URDU [national languge] CINEMA also began to fail and stop production. Actors claim that the Haq Regime also began to make it seem that it was 'sinful' or 'dirty' to act in cinema and theatre. Also, the BBC puts forward some ideas that The Regime wished to promote piracy of VHS Indian Cinema to 'keep the people off the streets and at home'. Article: 'How Piracy is Entrenched in Pakistan'
http://news.bbc.co.uk/2/hi/south_asia/4523089.stm

A further shattering crisis hit the Punjabi Film Industry in 1996 when its biggest star SULTAN RAHI was murdered as he intended a new career to also enter politics in Pakistan. RAHI is in The Guiness Book of Records for appearing in the most films of any actor of the world: 805 films from 1971 to 1996. SULTAN RAHI was the achetypal FEUDAL HERO. The Punjabi Cinema in Pakistan ground to a halt, not knowing which direction to turn, what to produce or who to replace RAHI with. ANJUMAN, 'Queen of the Punjab' the darling of Punjabi Cinema with SULTAN was also floundering due to her age and seriously increasing weight.

SHAAN, son of Pakistani actress NEELO breahed life into the Punjabi 'Romeo'. SAIMA became ANJUMAN reborn as the mythological Punjabi 'Juliette' HEER. Pakistan, having its own style in being able to juxtoposition the modern and the tradtional made SAIMA and SHAAN a real modernisation on RAHI and ANJUMAN but WITHOUT any AMERICANISATION?

Punjabi Cinema of the 1990s continued with the FEUDAL themes and with the added pressure of VCDs of HINDI films and TELEVSION, the cinema audiences dwindled more and more.

FOUR THINGS INFLUENCED THE GRADUAL REMOVAL OF THE ACCOUSTIC ORCHESTRA FROM PAKISTANI FILM SONGS:

Firstly, there was just a need to find somewhere to record. EMI Lahore Studios had closed down in 1993 due to piracy so SMALL DIGITAL STUDIO was necessary.

Secondly, FINANCES. The producers had to find a way to reduce costs due to FALLING AUDIENCES due to the above problems of RURAL STYLE, 'VULGARITY', ROWDINESS and REPETITIVE STORIES so orchestra was cut to save money on musicians, avoid complicated recording sessions and make for quick and simple computer-generated recordings in cheap short sessions.

Thirdly, with the REINVENTION of SAIMA and SHAAN maybe came a desire for a MUSICAL REINVENTION of the PUNJABI FILM SONG. A new media with live drums but faster, sequenced melodic parts that were more TECHNO and a NEW STYLE, but quasi-orchestral.

Finally, the COMPOSERS CHANGED. The MELODIC and pensive music directors of the 1970s had retired or died. New composers like TAFO took over the leading role in Pakistani Film Composing and really did compose some amazing music on tiny budgets that are a new style. The compositional approach of TAFO is different because he is a PERCUSSIONIST. He is a DRUMMER and so his song compositions feature RHYTHMIC MELODIES over LYRICAL MELODIES and great BRIDGES where his superb knowledge of PUNJABI DRUMMING can be DISPLAYED and EXPERIMENTED with which also gives great VISUAL OPPORTUNITIES for ACTRESSES to DANCE BHANGRA! A lot of TAFO'S songs are also used in the MUJRA DANCE INDUSTRY.

AUDIENCES KNOW SOMETHING IS 'WRONG' WITH TODAY'S MUSIC BUT THEY DON'T KNOW 'WHAT'?

WHAT no VIOLINS? WHAT no ORCHESTRA? WHAT just TECHNO KEYBOARD? Well...YES! YES! YES!!...However, this Punjabi film song, 'Maya Ve!'/'Such Luck!' actually works very well as you can listen for yourself! WHY DID THE PAKISTANI FILMS BEGIN TO REPLACE BEAUTIFUL ACCOUSTIC ORCHESTRA WITH KEYBOARD IN THE 1990s? Well, we need to take a step back first to 1979. Lahorie Cinema had a Punjabi absolute smash hit film called 'MAULA JAT'[the name of a local FEUDAL lord, FEUDALISM being part of Pakistans sociological make up]. 'MAULA JAT' was a FEUDAL [clans that occasionally fight each other for land or honour] story set in the COUNTRYSIDE with a stunning memorable dialogue, not unlike another highly successful INDIAN FILM 'SHOLAY'/'Flames' in 1977. 'MAULA JAT'' made so much money and ran for so long in Pakistani Cinemas that after that time every Punjabi Film was made in that FEUDAL RURAL style. Previously, Punjabi Movies had been in a variety of Urban, Rural and even International settings offering a choice to audiences. The 'MAULA JAT' model of film with PUNJABI FOLKLORE, FEUDALISM and MYTHOLOGY compounded by the Zia-ul-Haq Regime's Islamic CENSORSHIP meant that actresses had to be covered in long costumes and scarves. However, the effect was that the LONG clothes just became TIGHTER and the camera angles and dance routines became evermore EXTREME. By the mid-1980s Punjabi Cinema had aquired a tag of being 'PINDOO' rural theme [with some GREAT MUSIC, by the way] monotenous predictable FEUDAL stories with machine guns, axes, blood and a level of 'VULGARITY' that filled the increasingly dirty and delapodated cinema halls with gangs of young men screaming and whistling. The families and middle class began to shun the Punjabi Films and then the cinema altogether, so URDU [national languge] CINEMA also began to fail and stop production. Actors claim that the Haq Regime also began to make it seem that it was 'sinful' or 'dirty' to act in cinema and theatre. Also, the BBC puts forward some ideas that The Regime wished to promote piracy of VHS Indian Cinema to 'keep the people off the streets and at home'. Article: 'How Piracy is Entrenched in Pakistan'
http://news.bbc.co.uk/2/hi/south_asia/4523089.stm

A further shattering crisis hit the Punjabi Film Industry in 1996 when its biggest star SULTAN RAHI was murdered as he intended a new career to also enter politics in Pakistan. RAHI is in The Guiness Book of Records for appearing in the most films of any actor of the world: 805 films from 1971 to 1996. SULTAN RAHI was the achetypal FEUDAL HERO. The Punjabi Cinema in Pakistan ground to a halt, not knowing which direction to turn, what to produce or who to replace RAHI with. ANJUMAN, 'Queen of the Punjab' the darling of Punjabi Cinema with SULTAN was also floundering due to her age and seriously increasing weight.

SHAAN, son of Pakistani actress NEELO breahed life into the Punjabi 'Romeo'. SAIMA became ANJUMAN reborn as the mythological Punjabi 'Juliette' HEER. Pakistan, having its own style in being able to juxtoposition the modern and the tradtional made SAIMA and SHAAN a real modernisation on RAHI and ANJUMAN but WITHOUT any AMERICANISATION?

Punjabi Cinema of the 1990s continued with the FEUDAL themes and with the added pressure of VCDs of HINDI films and TELEVSION, the cinema audiences dwindled more and more.

FOUR THINGS INFLUENCED THE GRADUAL REMOVAL OF THE ACCOUSTIC ORCHESTRA FROM PAKISTANI FILM SONGS:

Firstly, there was just a need to find somewhere to record. EMI Lahore Studios had closed down in 1993 due to piracy so SMALL DIGITAL STUDIO was necessary.

Secondly, FINANCES. The producers had to find a way to reduce costs due to FALLING AUDIENCES due to the above problems of RURAL STYLE, 'VULGARITY', ROWDINESS and REPETITIVE STORIES so orchestra was cut to save money on musicians, avoid complicated recording sessions and make for quick and simple computer-generated recordings in cheap short sessions.

Thirdly, with the REINVENTION of SAIMA and SHAAN maybe came a desire for a MUSICAL REINVENTION of the PUNJABI FILM SONG. A new media with live drums but faster, sequenced melodic parts that were more TECHNO and a NEW STYLE, but quasi-orchestral.

Finally, the COMPOSERS CHANGED. The MELODIC and pensive music directors of the 1970s had retired or died. New composers like TAFO took over the leading role in Pakistani Film Composing and really did compose some amazing music on tiny budgets that are a new style. The compositional approach of TAFO is different because he is a PERCUSSIONIST. He is a DRUMMER and so his song compositions feature RHYTHMIC MELODIES over LYRICAL MELODIES and great BRIDGES where his superb knowledge of PUNJABI DRUMMING can be DISPLAYED and EXPERIMENTED with which also gives great VISUAL OPPORTUNITIES for ACTRESSES to DANCE BHANGRA! A lot of TAFO'S songs are also used in the MUJRA DANCE INDUSTRY.

AUDIENCES KNOW SOMETHING IS 'WRONG' WITH TODAY'S MUSIC BUT THEY DON'T KNOW 'WHAT'?

COMEDY SONG with HILARIOUS INDIAN COMEDY ACTRESS: ARUNA IRANI as the 'DELICIOUS ONE' between two MEN, one being COMEDY ACTOR: ASRANI...The two men FIGHT over the 'DELICIOUS ONE'. One MAN is DANCING and DRESSED as SOUTH INDIAN BHARATA NATYAM DANCE. ASRANI is DRESSED and DANCES as NORTH INDIAN KATHAK DANCE.

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/

COMEDY SONG with HILARIOUS INDIAN COMEDY ACTRESS: ARUNA IRANI as the 'DELICIOUS ONE' between two MEN, one being COMEDY ACTOR: ASRANI...The two men FIGHT over the 'DELICIOUS ONE'. One MAN is DANCING and DRESSED as SOUTH INDIAN BHARATA NATYAM DANCE. ASRANI is DRESSED and DANCES as NORTH INDIAN KATHAK DANCE.

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/

Pakistan's Mujra may date back to Moghul Empire. Mujra [Entertainment Dance] could be a throw back to the palace dancers of the earlier history of the northern region of The Subcontinent.

In this lovely video we have wonderful Pakistani actress Khushboo [Beautiful Smell] with her duo of dancing gentlemen performing a modern mujra piece on a lovely studio set for a DVD Mujra collection for Time Video. 'Gal Sun Dholna' is a Pakistani film song by playback singer Humera Arshad from the film Punjabi movie Sangram.

ORCHESTRATION
'Gal Sun Dholna' is a really well-crafted Punjabi commercial song. The FORM [sections over time] is a variation on Western Pop Song: Intro - Chorus - Bridge [mainly for dancing] - Verse - Chorus - Intro Variation as Bridge - Verse - Chorus - Intro second Variation as Bridge - Verse - Chorus - No CODA [end section].

The ENSEMBLE [group of instruments/singers] is ACCOUSTIC [live] traditional Punjabi PERCUSSION [instruments you hit]. There are is quite a large "ensemble" [probably been re-recorded on multi-track for economic reasons] of various drums from the large Punjabi drum struck with a hard stick for a high REGISTER [high, middle, low pitch of musical sounds]. There are also DHOLAKs [Punjabi double-headed floor drums played at weddings]. Also TABLA [Tuned Indian floor drums] play some MOTIFS [short rhythms or tunes] in the bridges for variety and supporting dance opportunities.

Drumming is one of The Punjab's greatest talents. In 'Gal Sun Dholna' there is a really imaginative plan employing the PERCUSSION ENSEMBLE. The composer has clearly thought out the combination and rotating of the various PERCUSSION TIMBRES [different tonal sounds of various drums]. The PERCUSSION here is a ever-changing delight of skillfully chosen TEXTURES [thickness and thinness of total music sound]. The PERCUSSION performers are of a very high standard and clearly understand their instruments and the sound possiblities required of the instruments.

The PERCUSSION not only adds fountains of tone colour but also works in ANTIPHONY [question and answer patterns] between differing drums, plus answering the vocals and melodic instrument parts. There is a lot of use of SYNCOPATION [off beat] patterns to counter the on-beat bass line.

GHUNGROOS [small bells used for dancing] give high metallic sound that provide the high REGISTER [high or low pitch] needed to complete the TEXTURE.

The PERCUSSION is supported by a programmed keyboard that is providing an underlying basic drum beat and electronic PERCUSSION effects. The METRE [number of beats per bar] is Western in a count of four.

The melody is provided by Humera Arshad mainly. The voice is typical Punjabi film style. The tightened throat and nasal twang forcing life into a melody that is repetitive and limited in RANGE [span of notes in the melody]. The song sounds easy to 'get across' but they take a lot of skill to keep variety for the audience.

There are no ACCOUSTIC melody insturments. An electronic keyboard provides a high REGISTER on-beat pulse to counter the drumming SYNCOTATION. There are occasional CADENCES [musical full stops] at the ends of sung phrases or sections in a 'vibraphone sound'. A synthetic brass figure takes the bridges at a low REGISTER. The song is extraodinarily MONODIC [singing and drums]. It is curious that these songs 'work' but they do!

VIDEO
The set is wonderful. The indoor inexpenisve sets with painted backdrop harks back to the 1970s Pakistani films. This is iconic of this set of artists. The set theatrical, cheap and very effective for escape into the created world of Pakistan's mysterious film artists. They have their own way of doing things, they hold onto traditional culture in the age of globalisation splendidly.

Khushboo is dressed in a modern version of Punjabi 'lachcha' skirt with traditional jewellery. The dance is somewhere between Kathak, Bhangra, Cabaret and Pushto Film-style Belly
Dance.

Khushboo and the male dancers know the genre well and transfer a lot of Punjabi film song to theatre.

The performances are fresh and lively. The culture is purely Pakistani.

Khushboo mimes to recorded music. This miming may go back to travelling theatres 'Tamasha' or even earlier 'BharataNatyam' Dance where singers sat at the edge of the stage and dancers danced.

Pakistan's Mujra may date back to Moghul Empire. Mujra [Entertainment Dance] could be a throw back to the palace dancers of the earlier history of the northern region of The Subcontinent.

In this lovely video we have wonderful Pakistani actress Khushboo [Beautiful Smell] with her duo of dancing gentlemen performing a modern mujra piece on a lovely studio set for a DVD Mujra collection for Time Video. 'Gal Sun Dholna' is a Pakistani film song by playback singer Humera Arshad from the film Punjabi movie Sangram.

ORCHESTRATION
'Gal Sun Dholna' is a really well-crafted Punjabi commercial song. The FORM [sections over time] is a variation on Western Pop Song: Intro - Chorus - Bridge [mainly for dancing] - Verse - Chorus - Intro Variation as Bridge - Verse - Chorus - Intro second Variation as Bridge - Verse - Chorus - No CODA [end section].

The ENSEMBLE [group of instruments/singers] is ACCOUSTIC [live] traditional Punjabi PERCUSSION [instruments you hit]. There are is quite a large "ensemble" [probably been re-recorded on multi-track for economic reasons] of various drums from the large Punjabi drum struck with a hard stick for a high REGISTER [high, middle, low pitch of musical sounds]. There are also DHOLAKs [Punjabi double-headed floor drums played at weddings]. Also TABLA [Tuned Indian floor drums] play some MOTIFS [short rhythms or tunes] in the bridges for variety and supporting dance opportunities.

Drumming is one of The Punjab's greatest talents. In 'Gal Sun Dholna' there is a really imaginative plan employing the PERCUSSION ENSEMBLE. The composer has clearly thought out the combination and rotating of the various PERCUSSION TIMBRES [different tonal sounds of various drums]. The PERCUSSION here is a ever-changing delight of skillfully chosen TEXTURES [thickness and thinness of total music sound]. The PERCUSSION performers are of a very high standard and clearly understand their instruments and the sound possiblities required of the instruments.

The PERCUSSION not only adds fountains of tone colour but also works in ANTIPHONY [question and answer patterns] between differing drums, plus answering the vocals and melodic instrument parts. There is a lot of use of SYNCOPATION [off beat] patterns to counter the on-beat bass line.

GHUNGROOS [small bells used for dancing] give high metallic sound that provide the high REGISTER [high or low pitch] needed to complete the TEXTURE.

The PERCUSSION is supported by a programmed keyboard that is providing an underlying basic drum beat and electronic PERCUSSION effects. The METRE [number of beats per bar] is Western in a count of four.

The melody is provided by Humera Arshad mainly. The voice is typical Punjabi film style. The tightened throat and nasal twang forcing life into a melody that is repetitive and limited in RANGE [span of notes in the melody]. The song sounds easy to 'get across' but they take a lot of skill to keep variety for the audience.

There are no ACCOUSTIC melody insturments. An electronic keyboard provides a high REGISTER on-beat pulse to counter the drumming SYNCOTATION. There are occasional CADENCES [musical full stops] at the ends of sung phrases or sections in a 'vibraphone sound'. A synthetic brass figure takes the bridges at a low REGISTER. The song is extraodinarily MONODIC [singing and drums]. It is curious that these songs 'work' but they do!

VIDEO
The set is wonderful. The indoor inexpenisve sets with painted backdrop harks back to the 1970s Pakistani films. This is iconic of this set of artists. The set theatrical, cheap and very effective for escape into the created world of Pakistan's mysterious film artists. They have their own way of doing things, they hold onto traditional culture in the age of globalisation splendidly.

Khushboo is dressed in a modern version of Punjabi 'lachcha' skirt with traditional jewellery. The dance is somewhere between Kathak, Bhangra, Cabaret and Pushto Film-style Belly
Dance.

Khushboo and the male dancers know the genre well and transfer a lot of Punjabi film song to theatre.

The performances are fresh and lively. The culture is purely Pakistani.

Khushboo mimes to recorded music. This miming may go back to travelling theatres 'Tamasha' or even earlier 'BharataNatyam' Dance where singers sat at the edge of the stage and dancers danced.

'AL MASAREEN' or 'THE EGYPTIANS' SONG is a CELEBRATION of a GREAT PEOPLE who have LIVED by the NILE RIVER for over 3000 YEARS and have seen PHARONIC; CHRISTIAN; MUSLIM; TURKISH; GREEK; FRENCH; BRITISH; AMERICAN CULTURES sweep EGYPT...MANY MANY thanks to ASHRAF helping for my ENGLISH SUBTITLING!

GLOBALISATION of the EGYPTIANS is the THEME of the SONG. EGYPT has been the CENTRE of MODERNISM in the ARAB WORLD since the 19th CENTURY. INDEED CAIRO was the FIRST ARAB CAPITAL CITY to have INFRASTRUCTURE built by the COLONIAL POWERS of FRENCH STREETS with SQUARES and HIGH RISE VILLAS [cheaply copied in the then 'new' concrete methods that were tried out in EGYPT].

The INSTALLATION of ELECTICITY made for the ESTABLISHMENT of BANKS and BUSINESSES and of course CAIRO became the HOME of ARABIC CINEMA and the ARABIC MUSIC and RADIO INDUSTRY due to its ADVANCED URBANISATION in ARABIA. By the 1930s, having copied both AMERICAN and INDIAN CINEMA, EGYPT was PRODUCING HUNDREDS of films in EGYPTIAN ARABIC and EXPORTING them across the whole of the ARABIC-SPEAKING REGIONS.

EGYPT had been COLONISED by the OTTOMANS for CENTURIES followed by the BRITISH. So the INFLUENCE of THE NEW TURKISH SECULAR REPUBLIC and BRITISH CULTURE were INEVITABLE. The EGYPTIAN CINEMA took on all of TURKEY'S MODERNISM of promoting ATATÜRK'S WESTERN DRESS and EUROPEAN CULTURE of INDIVIDUALISM and a move AWAY from RURAL and TRADITIONAL CULTURE through FASHION and PERSUASION through the MEDIA.

'THE EGYPTIANS!' SONG from film 'SILENCE...WE'RE ROLLING' (2001)
Well, actually, it is 'The Egyptian!' singular, but it seems 'better' in English as plural! Anyway, 'AL MISEREE/N!' is a WONDERFUL song that CHRONICLES the PAST and PRESENT CULTURAL INVASIONS of EGYPT and the EGYPTIAN NATURE in living with those INVADERS. How the EGYPTIANS RETAIN their CULTURE of being able to 'SMELL THE VILLAGE ROSE' as a METAPHOR for keeping their RURAL SWEETNESS and KIND NATURE but STILL, 'LIVING THE DREAM' in terms of MODERNISATION, EDUCATION, SPEAKING ENGLISH, etc.

One funny line about the EGYPTIANS from a HISTORIAN was, "During the centuries of The Ottoman Empire, the Egyptians never learned Turkish, indeed it was Turkish that became overrun with Arabic grammar and vocabulary!"...The EGYPTIANS are good at WINNING by IGNORING the OPPOSITION and continuing their own ways but absorbing a little of the colonisers.

FILM MAKER: YOUSSEF CHAHINE [1926-2008]
CHAHINE was the DIRECTOR of 'SKOOT HANSAWWAR' or 'SILENCE, WE'RE ROLLING' and 'AL MISAREEN' is a TYPICAL type of STATEMENT of YOUSSEF CHAHINE about the INVASION of EGYPTIAN CULTURE with GLOBALISING and COLONIALS and the EGYPTIAN WRESTLING to AVOID such a CULTURAL WIPE.

YOUSEFF CHAHINE was born in LEBANON which , like EGYPT was another LIBERAL COUNTRY that LEAD the ARAB WORLD in MUSIC and CULTURE until the 1975 LEBANESE CIVIL WAR destroyed the country. CHAHINE was born CHRISTIAN but DISLIKED ORGANISED RELIGION and if asked his FAITH, he would say, "Egyptian".

YOUSSEF began mixing with FILM FOLK in CAIRO and in the 1950s made his first film about the OVERTHROW of the EGYPTIAN MONARCHY for the GAMAL ABDEL NASSER REPUBLIC in the 1950s.

All of CHAHINE'S FILMS were ADVANCED and CONTROVERSIAL covering topics of GLOBALISATION, NATIONALISM, HOMOSEXUALITY, CORRUPTION, THE MONARCHY...Eventually, his project in 1994 of 'THE EMIGRANT' depicted BIBLICAL CHARACTERS. YOUSSEF CHAHINE became entrenched in OPPOSITION from FUNDEMENTALISTS and THE GOVERNMENT. His films were often MISUNDERSTOOD as they were 'before their time' for the often ILLITERATE ARAB AUDIENCES who were used to EMPTY MELODRAMAS that usually made up the bread and butter of EGYPTIAN CINEMA.

YOUSEFF CHAHINE was BETTER UNDERSTOOD in his later years as EGYPTIAN FILMS began to CHANGE toward BITING SATIRE like the MOHAMMED SA'AD FILMS and more SERIOUS FILMS like 'AL RAQASA WE AL SIYASI' ['THE BELLY DANCER and the POLITICIAN (which is the more corrupt!)]. As an early PIONEER of these INTELLECTUAL FILMS he had some BITTER CONFLICT.

The SONG is a WONDERFUL CELEBRATION of ALL THINGS EGYPTIAN by, IRONICALLY, a TUNISIAN SINGER called LATIFA [b.1968]. LATIFA studied in TUNISIA and then MUSIC in CAIRO. She was discovered by MUSIC DIRECTORS in the CITY who wanted her to sing LONG 'TARAB' SONGS but LATIFA wanted to focus on a NEW STYLES that EVENTUALLY SOLD ABROAD.

'AL MISAREEN!'
It has a FULL WESTERN ORCHESTRA which is CURIOUS PARADOX for a SONG that CELEBRATES EGYPT but that is the NATURE of EGYPT that it is so INTERNATIONAL yet so TRADITIONAL! This is SHOWCASED in the WESTERN STYLE THEATRE and EASTERN STYLE REFERENCES and FAMILY TOGETHERNESS in HARMONY.

EGYPTIAN CULTURAL FIGURES in the LYRICS
- NAGUIB MAHFOUZ [1911-2006] Superb novelist
- AHMED ZAWEIL [b. 1946] Scientist discovered Atom Speed
- OUM KHALTHOUM [1904-1975] The First Lady of Arabic Music
- ABDEL HALIM HAFEZ [1929-1977] Classic Egyptian Tenor

'AL MASAREEN' or 'THE EGYPTIANS' SONG is a CELEBRATION of a GREAT PEOPLE who have LIVED by the NILE RIVER for over 3000 YEARS and have seen PHARONIC; CHRISTIAN; MUSLIM; TURKISH; GREEK; FRENCH; BRITISH; AMERICAN CULTURES sweep EGYPT...MANY MANY thanks to ASHRAF helping for my ENGLISH SUBTITLING!

GLOBALISATION of the EGYPTIANS is the THEME of the SONG. EGYPT has been the CENTRE of MODERNISM in the ARAB WORLD since the 19th CENTURY. INDEED CAIRO was the FIRST ARAB CAPITAL CITY to have INFRASTRUCTURE built by the COLONIAL POWERS of FRENCH STREETS with SQUARES and HIGH RISE VILLAS [cheaply copied in the then 'new' concrete methods that were tried out in EGYPT].

The INSTALLATION of ELECTICITY made for the ESTABLISHMENT of BANKS and BUSINESSES and of course CAIRO became the HOME of ARABIC CINEMA and the ARABIC MUSIC and RADIO INDUSTRY due to its ADVANCED URBANISATION in ARABIA. By the 1930s, having copied both AMERICAN and INDIAN CINEMA, EGYPT was PRODUCING HUNDREDS of films in EGYPTIAN ARABIC and EXPORTING them across the whole of the ARABIC-SPEAKING REGIONS.

EGYPT had been COLONISED by the OTTOMANS for CENTURIES followed by the BRITISH. So the INFLUENCE of THE NEW TURKISH SECULAR REPUBLIC and BRITISH CULTURE were INEVITABLE. The EGYPTIAN CINEMA took on all of TURKEY'S MODERNISM of promoting ATATÜRK'S WESTERN DRESS and EUROPEAN CULTURE of INDIVIDUALISM and a move AWAY from RURAL and TRADITIONAL CULTURE through FASHION and PERSUASION through the MEDIA.

'THE EGYPTIANS!' SONG from film 'SILENCE...WE'RE ROLLING' (2001)
Well, actually, it is 'The Egyptian!' singular, but it seems 'better' in English as plural! Anyway, 'AL MISEREE/N!' is a WONDERFUL song that CHRONICLES the PAST and PRESENT CULTURAL INVASIONS of EGYPT and the EGYPTIAN NATURE in living with those INVADERS. How the EGYPTIANS RETAIN their CULTURE of being able to 'SMELL THE VILLAGE ROSE' as a METAPHOR for keeping their RURAL SWEETNESS and KIND NATURE but STILL, 'LIVING THE DREAM' in terms of MODERNISATION, EDUCATION, SPEAKING ENGLISH, etc.

One funny line about the EGYPTIANS from a HISTORIAN was, "During the centuries of The Ottoman Empire, the Egyptians never learned Turkish, indeed it was Turkish that became overrun with Arabic grammar and vocabulary!"...The EGYPTIANS are good at WINNING by IGNORING the OPPOSITION and continuing their own ways but absorbing a little of the colonisers.

FILM MAKER: YOUSSEF CHAHINE [1926-2008]
CHAHINE was the DIRECTOR of 'SKOOT HANSAWWAR' or 'SILENCE, WE'RE ROLLING' and 'AL MISAREEN' is a TYPICAL type of STATEMENT of YOUSSEF CHAHINE about the INVASION of EGYPTIAN CULTURE with GLOBALISING and COLONIALS and the EGYPTIAN WRESTLING to AVOID such a CULTURAL WIPE.

YOUSEFF CHAHINE was born in LEBANON which , like EGYPT was another LIBERAL COUNTRY that LEAD the ARAB WORLD in MUSIC and CULTURE until the 1975 LEBANESE CIVIL WAR destroyed the country. CHAHINE was born CHRISTIAN but DISLIKED ORGANISED RELIGION and if asked his FAITH, he would say, "Egyptian".

YOUSSEF began mixing with FILM FOLK in CAIRO and in the 1950s made his first film about the OVERTHROW of the EGYPTIAN MONARCHY for the GAMAL ABDEL NASSER REPUBLIC in the 1950s.

All of CHAHINE'S FILMS were ADVANCED and CONTROVERSIAL covering topics of GLOBALISATION, NATIONALISM, HOMOSEXUALITY, CORRUPTION, THE MONARCHY...Eventually, his project in 1994 of 'THE EMIGRANT' depicted BIBLICAL CHARACTERS. YOUSSEF CHAHINE became entrenched in OPPOSITION from FUNDEMENTALISTS and THE GOVERNMENT. His films were often MISUNDERSTOOD as they were 'before their time' for the often ILLITERATE ARAB AUDIENCES who were used to EMPTY MELODRAMAS that usually made up the bread and butter of EGYPTIAN CINEMA.

YOUSEFF CHAHINE was BETTER UNDERSTOOD in his later years as EGYPTIAN FILMS began to CHANGE toward BITING SATIRE like the MOHAMMED SA'AD FILMS and more SERIOUS FILMS like 'AL RAQASA WE AL SIYASI' ['THE BELLY DANCER and the POLITICIAN (which is the more corrupt!)]. As an early PIONEER of these INTELLECTUAL FILMS he had some BITTER CONFLICT.

The SONG is a WONDERFUL CELEBRATION of ALL THINGS EGYPTIAN by, IRONICALLY, a TUNISIAN SINGER called LATIFA [b.1968]. LATIFA studied in TUNISIA and then MUSIC in CAIRO. She was discovered by MUSIC DIRECTORS in the CITY who wanted her to sing LONG 'TARAB' SONGS but LATIFA wanted to focus on a NEW STYLES that EVENTUALLY SOLD ABROAD.

'AL MISAREEN!'
It has a FULL WESTERN ORCHESTRA which is CURIOUS PARADOX for a SONG that CELEBRATES EGYPT but that is the NATURE of EGYPT that it is so INTERNATIONAL yet so TRADITIONAL! This is SHOWCASED in the WESTERN STYLE THEATRE and EASTERN STYLE REFERENCES and FAMILY TOGETHERNESS in HARMONY.

EGYPTIAN CULTURAL FIGURES in the LYRICS
- NAGUIB MAHFOUZ [1911-2006] Superb novelist
- AHMED ZAWEIL [b. 1946] Scientist discovered Atom Speed
- OUM KHALTHOUM [1904-1975] The First Lady of Arabic Music
- ABDEL HALIM HAFEZ [1929-1977] Classic Egyptian Tenor

'Dilruba' or 'Disco Dilruba' is from Anil Films 1982 'Partner' starring Deepti Naval and Kanwaljeet with Kalpana Iyer. The story is romance and somehow, this wonderful hybrid East-West disco song threads the story along in the movie.

ORCHESTRATION
The song is a pastiche [piece in the style of] on Boney M.s 1981 disco song 'One Way Ticket To The Moon' by Indian Music Director Vijay Singh, but totally 'Indian-ised' in the process to become something completely new and fresh. The singer is Sharon Prabakhar and she gives a new lower pitched 'disco' sound to the 80s song that was uncommon at the time. The voice is quite 'raunchy' and fun. The English, "Ooh My Heart is Burning" and "Baby let your love light shine" are quite cheesy but make the song very memorable at the same time. The lyrics are quite empty about "Dilruba" but make a great dancing tune for the scene.

There is a western song form [Verse-Chorus-Bridges etc.] and a lot of repetition of lines.
The treatment of 'disco' by Indian monody-based [melody] composers is very interesting.
The ensemble includes a typical MIDI keyboard driven by an early MIDI sequencer. This makes only occasional ostinatos [repeated figures played in bass and treble over and over] - but the ostinatos disappear and reappear and are too fast to be played by a human player, thus unnatural. The bass ostinato is quite quite high in pitch and only sprinkled over the piece periodically but not constantly as would be found in a harmonic western song.

The texture is mostly thin and curiously uses real drum kit and accoustic [non-electric] percussion [instruments you hit]. This sound cuts a fresh biting sound through the heavily reverb [electronic echo] of Prabakhar's voice. There use of a treble electric guitar but it is a soloist giving an eccentric spattering of syncopated [off-beat] patterns under the singing.

The most wonderful and memorable part of 'Dilruba' is the antiphonal [interaction between two parts] low electric guitar single note on-beat tune then 'answered' by the repeated figure in doubled tablas. Sheer genius and a great motif [recognisable little bit] of this great song!

The female backing vocals give the listener a break from the soloist's singing and express great fun of the performers and composers working with a foreign music form that they are exploring and not too sure of how to pull off.

VIDEO
This is the most iconic visualisation. Every single shot of this song is identifiable as this 'Dilruba' song. The costume of Kalpna Iyer is fashioned a little on Middle Eastern Belly Dance, but still Indian film 'carbaret' style. The girls in shorts and severe brushed back hair seems inconguous with Kalpana yet this is very memorable.

Kalpana Iyer is very un-selfconscious and the cabaret dance is just superb. Kalpana's make up is heavy 80s style mixed with a little Indian traditional ideas of make up. The eyebrows are so heavy, the lips to red. She is a chocolate box to the eye.

The filming works extremely well. Strangely, like many 80s films, the song shots do not match up or have much 'continuity' of scene but that only thrills more. A lot of experimenting with the camera with close ups, underneath shots [Kalpana belly dance shot from underneath 'sailing backwards' is fabulous on the big screen!]. The eye is awash with lots of varied and unpredictable shots that unfold in an interesting way right up to the end of the song and engage the audience. The monotony of the lyrics is offset by clever filming.

The use of the lovely big bearded customer brings a sort of 'normalising' to the strange 'out of this world' scene we are presented in an imaginary nightclub and the whole fun interaction between Kalpana Iyer and the gentleman are charming and fun.

'Dilruba' or 'Disco Dilruba' is from Anil Films 1982 'Partner' starring Deepti Naval and Kanwaljeet with Kalpana Iyer. The story is romance and somehow, this wonderful hybrid East-West disco song threads the story along in the movie.

ORCHESTRATION
The song is a pastiche [piece in the style of] on Boney M.s 1981 disco song 'One Way Ticket To The Moon' by Indian Music Director Vijay Singh, but totally 'Indian-ised' in the process to become something completely new and fresh. The singer is Sharon Prabakhar and she gives a new lower pitched 'disco' sound to the 80s song that was uncommon at the time. The voice is quite 'raunchy' and fun. The English, "Ooh My Heart is Burning" and "Baby let your love light shine" are quite cheesy but make the song very memorable at the same time. The lyrics are quite empty about "Dilruba" but make a great dancing tune for the scene.

There is a western song form [Verse-Chorus-Bridges etc.] and a lot of repetition of lines.
The treatment of 'disco' by Indian monody-based [melody] composers is very interesting.
The ensemble includes a typical MIDI keyboard driven by an early MIDI sequencer. This makes only occasional ostinatos [repeated figures played in bass and treble over and over] - but the ostinatos disappear and reappear and are too fast to be played by a human player, thus unnatural. The bass ostinato is quite quite high in pitch and only sprinkled over the piece periodically but not constantly as would be found in a harmonic western song.

The texture is mostly thin and curiously uses real drum kit and accoustic [non-electric] percussion [instruments you hit]. This sound cuts a fresh biting sound through the heavily reverb [electronic echo] of Prabakhar's voice. There use of a treble electric guitar but it is a soloist giving an eccentric spattering of syncopated [off-beat] patterns under the singing.

The most wonderful and memorable part of 'Dilruba' is the antiphonal [interaction between two parts] low electric guitar single note on-beat tune then 'answered' by the repeated figure in doubled tablas. Sheer genius and a great motif [recognisable little bit] of this great song!

The female backing vocals give the listener a break from the soloist's singing and express great fun of the performers and composers working with a foreign music form that they are exploring and not too sure of how to pull off.

VIDEO
This is the most iconic visualisation. Every single shot of this song is identifiable as this 'Dilruba' song. The costume of Kalpna Iyer is fashioned a little on Middle Eastern Belly Dance, but still Indian film 'carbaret' style. The girls in shorts and severe brushed back hair seems inconguous with Kalpana yet this is very memorable.

Kalpana Iyer is very un-selfconscious and the cabaret dance is just superb. Kalpana's make up is heavy 80s style mixed with a little Indian traditional ideas of make up. The eyebrows are so heavy, the lips to red. She is a chocolate box to the eye.

The filming works extremely well. Strangely, like many 80s films, the song shots do not match up or have much 'continuity' of scene but that only thrills more. A lot of experimenting with the camera with close ups, underneath shots [Kalpana belly dance shot from underneath 'sailing backwards' is fabulous on the big screen!]. The eye is awash with lots of varied and unpredictable shots that unfold in an interesting way right up to the end of the song and engage the audience. The monotony of the lyrics is offset by clever filming.

The use of the lovely big bearded customer brings a sort of 'normalising' to the strange 'out of this world' scene we are presented in an imaginary nightclub and the whole fun interaction between Kalpana Iyer and the gentleman are charming and fun.

PUNJABI CINEMA'S actress: ANJUMAN at her MOST STUNNING in her UNIQUE ICON of 'QUEEN OF THE PUNJAB' in this 1986 BHANGRA CLASSIC: 'Akheiyan De Pawn De Tikili'. ANJUMAN alongside 'KING of the PUNJAB': SULTAN RAHI and his BANDIT RIVAL: MUSTAFA QURESHI ruled LAHORIE CINEMA for a DECADE in the 80s. The EARTH-SHATTERING VOCAL of NOOR JEHAN with HUGE PERCUSSION and VIOLIN ORCHESTRA courtesy of EMI MALL ROAD STUDIOS added to a VISUAL, CULTURAL and AURAL EXPLOSION that really has no RIVAL on the face of the earth. These FILMS and their SONGS are TOTALLY UNIQUE. The AUTHOR of the book, 'PAKISTAN CINEMA', MUSHTAQ GAZDAR states, "The iconography, particularly of 1980s Pakistani Cinema has the most unique images in the world". 

The absolute THRILL of this SONG that is SCREAMING ONTO every SENSE of the VIEWER is just UNEARTHLY JOY and CELEBRATION of being PUNJABI! 

In the SCHEME of THINGS...ANJUMAN is 'HEER', the PUNJAB MYTHOLOGY HEROINE, nothing to do with HINDUISM, but of FEUDAL PUNJAB. And SULTAN RAHI, is 'RANJHA', or the PUNJAB'S MYTHOLOGICAL HERO, again not a BHARAT thing but a PUNJAB or 'PAANCH AB' phenomenon. PAANCH being FIVE and AB being WATER...The PUNJAB is the meeting of FIVE RIVERS and all of the LUSH FARMLAND of PLENTY. That ABUNDANCE of WATER and FOOD makes for the LOUD and COLOURFUL PERSONALITY of the PUNJABI with HEARTY APPETITE and FOLK DANCE BHANGRA that CELEBRATES the BUMPER CROPS of the REGION.

PUNJAB is COLOUR and NOISE. And BIG PERSONALITIES of COLOUR and NOISE. ANJUMAN in her CINEMA-CREATED 'lachcha' skirts that have been scarce in PAKISTAN since the 1970s MANDATE of BHUTTO to STOP WEARING LACHCHA for the PATHAN/TURKIC clothes of SHALWAR TROUSER for a more 'CIVILISED' COUNTRY. Yet LACHCHA is ENSHRINED in the PUNJABI MYTHOLOGY of LAHORIE CINEMA, even though, apart from ME, occasionally, NOBODY ever WEARS the TIED MALE and FEMALE FLOOR-LENGTH SKIRT. I must say that my EXPERIENCE of LACHCHA in LAHORE myself does BEAR OUT the ADVICE of LOCALS that "Be careful, lachcha is dangerous to wear!"...As mischievous chaps on motorbikes do try to GRAB THE WAIST KNOT of the LACHCHA as they PASS to PULL IT OFF for a LAUGH! Or, the TWO FRIENDS who COME and ENGAGE one in CONVERSATION while the THIRD FRIEND GOES BEHIND ONE and GRABBING the LACHCHA by the BOTTOM HEM, PULLS IT UP to ONE'S THIGHS...For a laugh! Crazy times with the PUNJABIS! But the IMMORTALISING of PUNJABI MYTHOLOGY, DANCE, CLOTHING and CULTURE in LAHORE'S CINEMA is very NOBLE and COURAGEOUS as the ONSLAUGHT of WESTERN DUMBING DOWN and WESTERN OBEDIENCE and CRITICISM for REFUSING to COMPLY rains down on LAHORE SCREEN. But the PAKISTANIS are very MODERN and very CULTURAL at the SAME TIME. They have their OWN WAY of DOING THINGS and WILL NOT be COLONISED... ; )

It is difficult to say what is more WILD in this SONG, the VOICES of the VIOLINS or the VOCAL of the SINGER: NOOR JEHAN. Really, the PAKISTANI FILM SONG 'SONIC' is something of a 'AIRLINER SKY BOOM'! The CLOSE-MIC MAGNIFICATION of TINY SOUNDS and TURBO BOOSTING in the MIX AWASH with ELECTRIC ECHO...SUCH a SERRATED SHRIEK of COLOUR in a WORLD of MUTED DUMBED-DOWN, COLONIALISED RECORDINGS that MAKE UP the MODERN WORLD...These LAHORIE STUDIO SONGS are something of a WHOLE WORLD EARTHQUAKE to the EARS.

NOOR JEHAN was in her 60s when she SANG these SONGS. They are TIGHT THROAT EXTREME SONGS of the RECORDING STUDIO that seem to have DAMAGED the SINGER'S THROAT permanently judging by SPOKEN INTERVIEWS she did in the 1990s. But in the 80s PUNJABI EXPLOSION when the SEDATE MODERATED TONES of 70s URBAN URDU CINEMA had FADED OUT OF FASHION...NOOR JEHAN was the ONLY VOCALIST who could BELT these NUMBERS OUT with such FORCE, or APPARENT FORCE, as her VOICE was QUIET and AMPLIFIED in the MIX GREATLY. Many of the earlier singers like NAHID AKHTAR, MEHNAZ, RUNA LAILA and even RAUCOUS: AFSHAAN, could not COMPETE with that BOMB of a VOCAL that was NOOR JEHAN. There is a PARALLEL to EGYPT'S OUM KHALTOUM and NOOR JEHAN as 'NATIONAL SINGERS' who SANG for DIFFERENT LEADERS and POLITICS but whose FORCEFUL and quite MASCULINE VOICES MOVE the NATION. Even BEYOND the GRAVE, NOOR and OUM are BIZARRE MANLIKE FEMALE NATIONALISTIC CHANTS that FILL the EVENING AIR FOREVER and EVER.

The VIOLINS are PLAYED HILARIOUSLY UNWESTERN. The SOUND of the AGGRESSIVE PERCUSSIVE SCRAPES in MONODIC ARCHITECTURES compared to the POLITE SQUEAKS of EUROPEAN MOZART is a HUMOROUS PARODY of the INSTRUMENT and its 'DELIGHTFUL' ROLE in POLITE FIRST WORLD CONCERT MUZAK. The VIOLIN WRITING is UNIDIOMATIC, created, ironically, on WESTERN TEMPERED HARMONIUM under the FINGERS. Then TRANSFERRED to these AWKWARD SHAPES of RASPING PUNJABI THRILLS of SHRIEKING NOISE and RAW COLOUR! The CLOSE MIC, HARD BOWING, CHEAP CHINESE VIOLINS and LASHINGS of REVERB make for a DISCORDANT STRING CHOIR!

The SET is DIVINE. A totally ARTIFICIAL EDIFICE with RESEMBLANCE to a SUFI SHRINE [?] where the DREAM OF BLUE GODDESS ANJUMAN wakes SLUMBERING SULTAN w

PUNJABI CINEMA'S actress: ANJUMAN at her MOST STUNNING in her UNIQUE ICON of 'QUEEN OF THE PUNJAB' in this 1986 BHANGRA CLASSIC: 'Akheiyan De Pawn De Tikili'. ANJUMAN alongside 'KING of the PUNJAB': SULTAN RAHI and his BANDIT RIVAL: MUSTAFA QURESHI ruled LAHORIE CINEMA for a DECADE in the 80s. The EARTH-SHATTERING VOCAL of NOOR JEHAN with HUGE PERCUSSION and VIOLIN ORCHESTRA courtesy of EMI MALL ROAD STUDIOS added to a VISUAL, CULTURAL and AURAL EXPLOSION that really has no RIVAL on the face of the earth. These FILMS and their SONGS are TOTALLY UNIQUE. The AUTHOR of the book, 'PAKISTAN CINEMA', MUSHTAQ GAZDAR states, "The iconography, particularly of 1980s Pakistani Cinema has the most unique images in the world". 

The absolute THRILL of this SONG that is SCREAMING ONTO every SENSE of the VIEWER is just UNEARTHLY JOY and CELEBRATION of being PUNJABI! 

In the SCHEME of THINGS...ANJUMAN is 'HEER', the PUNJAB MYTHOLOGY HEROINE, nothing to do with HINDUISM, but of FEUDAL PUNJAB. And SULTAN RAHI, is 'RANJHA', or the PUNJAB'S MYTHOLOGICAL HERO, again not a BHARAT thing but a PUNJAB or 'PAANCH AB' phenomenon. PAANCH being FIVE and AB being WATER...The PUNJAB is the meeting of FIVE RIVERS and all of the LUSH FARMLAND of PLENTY. That ABUNDANCE of WATER and FOOD makes for the LOUD and COLOURFUL PERSONALITY of the PUNJABI with HEARTY APPETITE and FOLK DANCE BHANGRA that CELEBRATES the BUMPER CROPS of the REGION.

PUNJAB is COLOUR and NOISE. And BIG PERSONALITIES of COLOUR and NOISE. ANJUMAN in her CINEMA-CREATED 'lachcha' skirts that have been scarce in PAKISTAN since the 1970s MANDATE of BHUTTO to STOP WEARING LACHCHA for the PATHAN/TURKIC clothes of SHALWAR TROUSER for a more 'CIVILISED' COUNTRY. Yet LACHCHA is ENSHRINED in the PUNJABI MYTHOLOGY of LAHORIE CINEMA, even though, apart from ME, occasionally, NOBODY ever WEARS the TIED MALE and FEMALE FLOOR-LENGTH SKIRT. I must say that my EXPERIENCE of LACHCHA in LAHORE myself does BEAR OUT the ADVICE of LOCALS that "Be careful, lachcha is dangerous to wear!"...As mischievous chaps on motorbikes do try to GRAB THE WAIST KNOT of the LACHCHA as they PASS to PULL IT OFF for a LAUGH! Or, the TWO FRIENDS who COME and ENGAGE one in CONVERSATION while the THIRD FRIEND GOES BEHIND ONE and GRABBING the LACHCHA by the BOTTOM HEM, PULLS IT UP to ONE'S THIGHS...For a laugh! Crazy times with the PUNJABIS! But the IMMORTALISING of PUNJABI MYTHOLOGY, DANCE, CLOTHING and CULTURE in LAHORE'S CINEMA is very NOBLE and COURAGEOUS as the ONSLAUGHT of WESTERN DUMBING DOWN and WESTERN OBEDIENCE and CRITICISM for REFUSING to COMPLY rains down on LAHORE SCREEN. But the PAKISTANIS are very MODERN and very CULTURAL at the SAME TIME. They have their OWN WAY of DOING THINGS and WILL NOT be COLONISED... ; )

It is difficult to say what is more WILD in this SONG, the VOICES of the VIOLINS or the VOCAL of the SINGER: NOOR JEHAN. Really, the PAKISTANI FILM SONG 'SONIC' is something of a 'AIRLINER SKY BOOM'! The CLOSE-MIC MAGNIFICATION of TINY SOUNDS and TURBO BOOSTING in the MIX AWASH with ELECTRIC ECHO...SUCH a SERRATED SHRIEK of COLOUR in a WORLD of MUTED DUMBED-DOWN, COLONIALISED RECORDINGS that MAKE UP the MODERN WORLD...These LAHORIE STUDIO SONGS are something of a WHOLE WORLD EARTHQUAKE to the EARS.

NOOR JEHAN was in her 60s when she SANG these SONGS. They are TIGHT THROAT EXTREME SONGS of the RECORDING STUDIO that seem to have DAMAGED the SINGER'S THROAT permanently judging by SPOKEN INTERVIEWS she did in the 1990s. But in the 80s PUNJABI EXPLOSION when the SEDATE MODERATED TONES of 70s URBAN URDU CINEMA had FADED OUT OF FASHION...NOOR JEHAN was the ONLY VOCALIST who could BELT these NUMBERS OUT with such FORCE, or APPARENT FORCE, as her VOICE was QUIET and AMPLIFIED in the MIX GREATLY. Many of the earlier singers like NAHID AKHTAR, MEHNAZ, RUNA LAILA and even RAUCOUS: AFSHAAN, could not COMPETE with that BOMB of a VOCAL that was NOOR JEHAN. There is a PARALLEL to EGYPT'S OUM KHALTOUM and NOOR JEHAN as 'NATIONAL SINGERS' who SANG for DIFFERENT LEADERS and POLITICS but whose FORCEFUL and quite MASCULINE VOICES MOVE the NATION. Even BEYOND the GRAVE, NOOR and OUM are BIZARRE MANLIKE FEMALE NATIONALISTIC CHANTS that FILL the EVENING AIR FOREVER and EVER.

The VIOLINS are PLAYED HILARIOUSLY UNWESTERN. The SOUND of the AGGRESSIVE PERCUSSIVE SCRAPES in MONODIC ARCHITECTURES compared to the POLITE SQUEAKS of EUROPEAN MOZART is a HUMOROUS PARODY of the INSTRUMENT and its 'DELIGHTFUL' ROLE in POLITE FIRST WORLD CONCERT MUZAK. The VIOLIN WRITING is UNIDIOMATIC, created, ironically, on WESTERN TEMPERED HARMONIUM under the FINGERS. Then TRANSFERRED to these AWKWARD SHAPES of RASPING PUNJABI THRILLS of SHRIEKING NOISE and RAW COLOUR! The CLOSE MIC, HARD BOWING, CHEAP CHINESE VIOLINS and LASHINGS of REVERB make for a DISCORDANT STRING CHOIR!

The SET is DIVINE. A totally ARTIFICIAL EDIFICE with RESEMBLANCE to a SUFI SHRINE [?] where the DREAM OF BLUE GODDESS ANJUMAN wakes SLUMBERING SULTAN w

Mohammed Sa'ad's fourth SHA'ABI film sees him as 'Booha' in 2005. Booha, a butcher, migrating from the countryside to Cairo to find a man who has his inheritance money. He meets and falls in love with Kouta [Mai Ezzidine] but then is exploited in the big city by Farag [vetran comedy actor Hassan Hosny]...

Sa'ad's films pave an interesting set of Sign Posts through the last years of the ruling regime. The 2000s were characterised in Egypt by political, social and financial frustration. It seemed the greater the population's angst, the increasingly strident and manic Mohammed Sa'ad's films became year on year.

The films were a kind of SHA'ABI film. SHA'ABI [a variety of spellings in Roman Script exist] is actually the genre of a kind of music with similarities and motivations to Rap Music. It is protest music and it is SATIRE [criticising society through comedy] but in Egypt SHA'ABI extends its influence into cinema - The brutal SATIRE wrapped in maniac comedy is a way of bringing issues in Arab Society into focus indirectly but succinctly! People and wrong-doings from every walk of Egyptian life are shown in SHA'ABI Cinema making for hilarious enjoyment and bringing breakdown of society into question.

Mohammed Sa'ad's films are a kind of SHA'ABI and in some ways they are a unique entity of SOCIAL SATIRE. He is a unique force in Egyptian media which is exported to Arabic speaking countries. Some say that Sa'ad and SHA'ABI Cinema and Music have moved the people for a decade to 'The Arab Spring'...Who knows?

The critics and locals who see themselves as 'City Folk' tend to strongly dislike SHA'AB due to its links to migrant workers from the countryside. Similarly, Sa'ad's films pose embarrassing questions like, "Where do this small number of rich get their money from?". However, Mohammed Sa'ad's films do well in the cinemas each summer and as mentioned before, could have assisted in some small way to motivating and shaping revolution in the region?

ORCHESTRATION
The 'Booha' Song actually is more of a 'musical interlude' to break up the dialogue and comedy rather than a full-scale song. The premise of the song is silliness and a celebration of low-class bad manners!

The FORM [sections over time ] is Western Pop Song: Intro [drums + electronic BRASS] + Chorus(I)*[backing singers] + Verse(V)**[Sa'ad] + Bridge [drums + flutes] + Verse(V)**[x2] + Chorus(I)* [shortened][Sa'ad shouts last note to signal the end CADENCE(musical full stop)].

* TONIC (I) 'home' note 'doh' melody area
** DOMINANT (V) fifth note 'soh' melody area

The ENSEMBLE is typical for SHA'ABI MUSIC: Electronic Keyboard driving the track and supplying a BRASS sample sound. BRASS began to be used in ACCOUSTIC [live] SHA'ABI with Ahmed Adeweyah in the 1970s. BRASS and Electronic BRASS has replaced VIOLINS. This may be to do with removing OTTOMAN [Turkish] MUSIC from Egypt? The strings were part of the previous more Turkic sound. Similarly, in Turkey a DE-ARABICISING process happened in both the language and more recently, music - Both cultures freeing themselves from the earlier era. In addition, a string section is expensive to hire, whereas a couple of BRASS instruments is cheaper.

The PERCUSSION [instruments you hit] is DARBOUKA [vase drum] and ZILLS [small finger metal discs giving high pitches to the song]. Electronic PERCUSSION drive the song forward.

The backing choir is typical in Arabic Music. They are often used in ANTIPHONY [question and answer] or IMITATION [repeating the same melody in a different instrument for variety]. Here, for variety, the choir sings the chorus and Sa'ad solos the verse. It works well for both comedy and keeping the audience interested.

The flutes play VARIATIONS [same tune with changed rhythm or note values] of the chorus in the bridges. The TIMBRE [tone colour which identifies a particular instrument] is fresh and adds a 'rural' traditional sound to the electronics.

Sa'ad's voice is a dreadful parody of SHA'ABI singing but is really funny and memorable!

VIDEO
Sa'ad's characters always dance and sing, Booha is no exception! The video is quite extraordinary in context of everyday Cairo where religion and Americana heavily influence daily life. The idea of Egyptian dance, of an unmarried man and woman singing and wiggling together is really outrageous but that is why it is funny. The Belly Dance is much more part of Egypt's Turkish History. Oriental Dance is out of fashion in Egypt so nice to see.

Egyptian comedy actor, Mohammed Sa'ad's fourth SHA'ABI film sees him as 'Booha' in 2005. Booha, a butcher, migrating from the countryside to Cairo to find a man who has his inheritance money. He meets and falls in love with Kouta [Mai Ezzidine] but then is exploited in the big city by Farag [vetran comedy actor Hassan Hosny]...

Sa'ad's films pave an interesting set of Sign Posts through the last years of the ruling regime. The 2000s were characterised in Egypt by political, social and financial frustration. It seemed the greater the population's angst, the increasingly strident and manic Mohammed Sa'ad's films became year on year.

The films were a kind of SHA'ABI film. SHA'ABI [a variety of spellings in Roman Script exist] is actually the genre of a kind of music with similarities and motivations to Rap Music. It is protest music and it is SATIRE [criticising society through comedy] but in Egypt SHA'ABI extends its influence into cinema - The brutal SATIRE wrapped in maniac comedy is a way of bringing issues in Arab Society into focus indirectly but succinctly! People and wrong-doings from every walk of Egyptian life are shown in SHA'ABI Cinema making for hilarious enjoyment and bringing breakdown of society into question.

Mohammed Sa'ad's films are a kind of SHA'ABI and in some ways they are a unique entity of SOCIAL SATIRE. He is a unique force in Egyptian media which is exported to Arabic speaking countries. Some say that Sa'ad and SHA'ABI Cinema and Music have moved the people for a decade to 'The Arab Spring'...Who knows?

The critics and locals who see themselves as 'City Folk' tend to strongly dislike SHA'AB due to its links to migrant workers from the countryside. Similarly, Sa'ad's films pose embarrassing questions like, "Where do this small number of rich get their money from?". However, Mohammed Sa'ad's films do well in the cinemas each summer and as mentioned before, could have assisted in some small way to motivating and shaping revolution in the region?

ORCHESTRATION
The 'Booha' Song actually is more of a 'musical interlude' to break up the dialogue and comedy rather than a full-scale song. The premise of the song is silliness and a celebration of low-class bad manners!

The FORM [sections over time ] is Western Pop Song: Intro [drums + electronic BRASS] + Chorus(I)*[backing singers] + Verse(V)**[Sa'ad] + Bridge [drums + flutes] + Verse(V)**[x2] + Chorus(I)* [shortened][Sa'ad shouts last note to signal the end CADENCE(musical full stop)].

* TONIC (I) 'home' note 'doh' melody area
** DOMINANT (V) fifth note 'soh' melody area

The ENSEMBLE is typical for SHA'ABI MUSIC: Electronic Keyboard driving the track and supplying a BRASS sample sound. BRASS began to be used in ACCOUSTIC [live] SHA'ABI with Ahmed Adeweyah in the 1970s. BRASS and Electronic BRASS has replaced VIOLINS. This may be to do with removing OTTOMAN [Turkish] MUSIC from Egypt? The strings were part of the previous more Turkic sound. Similarly, in Turkey a DE-ARABICISING process happened in both the language and more recently, music - Both cultures freeing themselves from the earlier era. In addition, a string section is expensive to hire, whereas a couple of BRASS instruments is cheaper.

The PERCUSSION [instruments you hit] is DARBOUKA [vase drum] and ZILLS [small finger metal discs giving high pitches to the song]. Electronic PERCUSSION drive the song forward.

The backing choir is typical in Arabic Music. They are often used in ANTIPHONY [question and answer] or IMITATION [repeating the same melody in a different instrument for variety]. Here, for variety, the choir sings the chorus and Sa'ad solos the verse. It works well for both comedy and keeping the audience interested.

The flutes play VARIATIONS [same tune with changed rhythm or note values] of the chorus in the bridges. The TIMBRE [tone colour which identifies a particular instrument] is fresh and adds a 'rural' traditional sound to the electronics.

Sa'ad's voice is a dreadful parody of SHA'ABI singing but is really funny and memorable!

VIDEO
Sa'ad's characters always dance and sing, Booha is no exception! The video is quite extraordinary in context of everyday Cairo where religion and Americana heavily influence daily life. The idea of Egyptian dance, of an unmarried man and woman singing and wiggling together is really outrageous but that is why it is funny. The Belly Dance is much more part of Egypt's Turkish History. Oriental Dance is out of fashion in Egypt so nice to see.

[NO ENGLISH SUBTITLES - SORRY] The 1980 INDIAN FILM: 'NISHANA' or 'TARGET' is the CHILDHOOD FILM of a lot of NON-SUBCONTINENT PEOPLE. 'NISHANA' was SHOWN in CINEMAS ALL OVER THE WORLD in 1980 in EUROPE, MIDDLE EAST, ASIA and TRANSATLANTIC. The FILM has a STRANGE MIX of MODERNITY and FAIRYTALE LOST PEOPLE with POP and INDIAN CLASSICAL DANCE mixed together by COMPOSERS: LAXMIKANT-PYARALEL. The FILM STARS ACTOR JEETENDRA and ACTRESS POONAM DHILLON being LOVERS of a LOST GENERATIONS of LOVERS of the SAME DYNASTY of LOST PEOPLE. The FILM is NOT AVAILABLE ONLINE and yet is SO POPULAR. This is and EAGLE VCD TRANSFER, the QUALITY is not GREAT.

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/

Murja is an fascinating part of the heritage of the northern Subcontinent. This Nida Chowdry performance of 'Seene Nal' song by Naseebolal from the Pakistani film 'Papu Lahoria' film is a mix of Mughal tradition, Punjabi Theatre and Pushto Belly Dance. This show is a VCD of Nida Chowdry which is part of the wide selection of modern studio or stage show MUJRA [entertainment dance] videos on the market in Pakistan. ORCHESTRATION The backing song is from the sucessful Punjabi movie 'Papu Lahoria' [clan master's name] from 2003. It is based on Western Pop Song FORM [sections over time]: Intro + Chorus (I)* + Bridge 01 + Verse (V)** + Chorus (I)* + Bridge 02 + Verse (V)** + Chorus (I)*. No CODA [ending section - just a repeat of the chorus]. The intro and bridges are long to facilitate dancing. * The chorus is on the TONIC or (I) 'home' note area - 'doh'/'sa'. ** The verse is on the DOMINANT or (V) fifth note 'away' area 'doh'/'pa'. These MODULATIONS [movement of tonal area in a piece to give variety and sense of 'movement'] are typical of Subcontinent film song form. Tafo is the composer of the piece. He is an outstanding PERCUSSIONIST [plays intruments you hit]. Mr. Tafo's composing style thus springs from PERCUSSION rather than melody. He produces some talented rhythmic songs that are quite 'suggestive' [or seen as 'vulgar' by some]. The songs are often not strong in melody or lyrical value, but they have great rhythm for Punjabi dance and they are a lot of fun in cinema songs and mujra stage shows. The ENSEMBLE is shaped mainly by economics. In the earlier days all of the instruments were ACCOUSITC [live]. But by the 1990s the cinema attendances began to fail, like everywhere. Music directors in Pakistan began to replace the ACCOUSTIC orchestra with electronic keyboard samples. This works in terms of cutting costs but may have damaged cinema by making the film songs sound 'wrong' but the audience doesn't know what is 'wrong' - there are no instruments, just harsh electronic samples. On the positive side, some good songs like 'Seene Nal' have been produced in a new style that is different from the 1980s or 1970s. The only live instruments in 'Seene Nal' is some of the PERCUSSION. There are TABLA [Indian hand floor drums tuned to (I) + (V)]; DHOLAK [Punjabi double-headed floor drums tuned to (I) + (V)]; plus some other traditional Punjabi PERCUSSION to add some ACCOUSTIC ambience to the electronics and local character. There is also a lot of interaction between electronic drum machine and traditional PERCUSSION. The melody instruments are all electronic sounds of strings, flutes, reed instruments to imitate SHEHNAI [traditional OBOE] and a sound like a SANTOOR [strings over a box played with small hammers]. The electronic 'orchestra' just follows the same orchestration ideas as decades before with strings playing CADENCES [musical full stops] to signal the end of sections and beginning of sung phrases, plus strings running up and down scales for CADENCES plus for excitement and a sense that there is 'movement' pushing the song on. The bridges are extended with a lot of non-organic material which is IDIOSYNCRATIC [a feature particular to] Pakistani film song composing. The drum parts and melody parts do not 'go together' and are just there to 'fill in' between the singing sections. Naseebolal's voice may be 'The Last Great Voice of the Subcontinent'. The voice is raw and unsupressed of an energy and life that is rare in today's homogenous singers. The nasal RESONANCE [vibration giving tone colour] is typical of Pakistani Punjabi singers and may come from Punjabi pronunciation linguistics. Naseebolal can really project these songs which sound so 'simple' but take a lot of throat tightening, energy and subtle variation of tone on the repetition to 'get the song across'. VIDEO This is a typical Punjabi Pakistani Stage Show. This is live Mujra on the stage by dancing girls. The dancing itself is much less based on KATHAK [Indian court dance] as before and more influenced by Pushto Cinema, Bhangra and Belly Dance. The changing politics in Pakistan are reflected in such a 'liberal' dance routine and costume. The costume is a more brief version of typical Punjabi actress garb of Lachcha skirt and kameez shirt. The jewellery and embroidery are typically Lahorie. Modern Pakistani Mujra is a big industry, full of the life of the old Punjabi travelling theatres with a twist of belly dance and Pathan culture.