KHAARTOUM_EAST

'Dil Pyar Karnoon Karda' ['Love Has Filled The Heart'] is sung by PLAYBACK SINGER [a professional vocalist who records songs for actors who can't sing well enough to mime to in cinema] AZRA JEHAN in the 2002 Pakistani film 'Kaloo'.

SAIMA and SHAAN were both remodelled Punjabi Cinema Idols who took over from ANJUMAN and SULTAN RAHI, repectively.

SAIMA became 'Queen of the Punjab' from the late 1990s to the late 2000s following on from the previous Punjabi Queen, 'Anjuman' who had dominated the Lahorie Screen since the 1980s. Anjuman gained a lot of weight which was eventually to end her career. SAIMA was a 're-invented' HEER [Punjabi 'Juliet'] who was still tall, sturdy, heavily made up, excellent dancer and handy with a machine gun between songs, but she was just a more 'modern' version. The heavy 80s Anjuman eyebrows and black lip-liner had gone, as had the enormous Anjumanesque Earrings and bedecking Jewellery. SAIMA was still the Punjabi Folklore Princess but it was ligher, smaller more subtle jewellery, make up that looked less mask-like. SAIMA was also a product of PERVEZ MUSHARRAF's new regime which wanted to 'modernise' Pakistan by adopting some of The Turkish Republic's Reforms. Consequently, actresses of that era began to wear short sleeves, expose more flesh and dance more suggestively in line with MUSHARRAF'S new code for the cinema which translates something like: "Anyone can make a film and show it in the Cinema in Pakistan. No group in society shall stop any film from being shown. If you do not want to see a particular film, then don't go to see it"... However, this led Pakistan Cinema to ruin as producers and directors misjudged the mood of the people in the 'Modern Reforms' Pakistan...The perceived 'vulgarity' of new actresses like SAIMA turned the citizens away from the movies rather than attracting audiences through nudity and tantilizing dances. Although good as a dancer and charismatic star, SAIMA, was unwittingly part of the beginning of a drastic decline in Pakistani films.

SHAAN was a re-invention of Punjabi matinee idol SULTAN RAHI. RAHI is noted in the Guinness Book of Records as the actor with most films [700 Urdu and Punjabi]. SULTAN RAHI, a phemonenally popular cult figure planned to enter Pakistani Politics, which his popularity with the masses could have been devastatingly successful. RAHI was assassinated in 1996, his death seemed never properly investigated or concluded.

Some commentators claim that SULTAN RAHI was a manifestation of the 'ugly' ZIA -UL-HAQ government of the 1980s. However, when SHAAN arrived he was the 'beautiful' new face of the MUSHARRAF regime.

SHAAN certainly had youth and charm but was still the Punjabi Folklore 'Ranja' ['Romeo']. The poses, the 'Strong Silent Type', the machine gun and roars of "Oy!" fascinated the remaining audiences of Punjabi Films for a decade. Outer circles of Punjabi Society also respect SAIMA to an extent but SHAAN, definitely, because this seeming rural hero actually was educated at prestigious Aitchison College in Lahore and apparently studied literature. SHAAN speaks English well and has a lot of charm plus 'American Gym Muscles'...The curious thing about SHAAN and SAIMA is that they wear TRADITIONAL CLOTHES in Punjabi films. These clothes, especially the male and female Punjabi skirts 'Lachcha' are very seldom seen in The Punjab these days, mainly because of BHUTTO'S 1970s insistance that Punjabis wear SHALWAR-KAMEEZ [baggy trouser and tunic] that come from PATHAN side of Pakistan. The Punjabi 'Lachcha' was discouraged for the SHALWAR or the WESTERN TROUSER. So, SHAAN and SAIMA both appearing like SULTAN RAHI and ANJUMAN before them in Punjab garb is strange but also promotes traditional culture as a positive.

'KALOO' FILM SONG
'Dil Pyar Karnoon Karda' is a successful song from 2002. The Pakistani Film Industry began to face pressure from VHS and TV in the 1980s but by the 2000s ticket sales were extremely down. The Middle Class loathed the constant rural theme Punjabi films so stigmatised and avoided them. The increasing use of dance deemed as 'vulgar' was not new and can be traced back even to 1970s cinema like 'Banrasi Thug'...However, the nudity and directness of sensual dance was making it impossible for families to sit together and watch Punjabi films. Cinemas became run-down and full of gangs of young working-class men whistling and shouting.

Economising had to be done. Replacing orchestra and musicians with ELECTRONIC KEYBOARD was seen as a solution to saving money on composing, writing out parts and paying musicians. Replacing the orchestral VIOLINS with SYNTHESIZER 'STRINGS' saved money but, like this song with SAIMA, gives a 'cheap' sound that the audience realise, but don't know what is 'wrong' with the music. The film music became slowly debased in musical and aesthetic quality dropping audience numbers more.

'Dil Pyar Karnoon Karda' ['Love Has Filled The Heart'] is sung by PLAYBACK SINGER [a professional vocalist who records songs for actors who can't sing well enough to mime to in cinema] AZRA JEHAN in the 2002 Pakistani film 'Kaloo'.

SAIMA and SHAAN were both remodelled Punjabi Cinema Idols who took over from ANJUMAN and SULTAN RAHI, repectively.

SAIMA became 'Queen of the Punjab' from the late 1990s to the late 2000s following on from the previous Punjabi Queen, 'Anjuman' who had dominated the Lahorie Screen since the 1980s. Anjuman gained a lot of weight which was eventually to end her career. SAIMA was a 're-invented' HEER [Punjabi 'Juliet'] who was still tall, sturdy, heavily made up, excellent dancer and handy with a machine gun between songs, but she was just a more 'modern' version. The heavy 80s Anjuman eyebrows and black lip-liner had gone, as had the enormous Anjumanesque Earrings and bedecking Jewellery. SAIMA was still the Punjabi Folklore Princess but it was ligher, smaller more subtle jewellery, make up that looked less mask-like. SAIMA was also a product of PERVEZ MUSHARRAF's new regime which wanted to 'modernise' Pakistan by adopting some of The Turkish Republic's Reforms. Consequently, actresses of that era began to wear short sleeves, expose more flesh and dance more suggestively in line with MUSHARRAF'S new code for the cinema which translates something like: "Anyone can make a film and show it in the Cinema in Pakistan. No group in society shall stop any film from being shown. If you do not want to see a particular film, then don't go to see it"... However, this led Pakistan Cinema to ruin as producers and directors misjudged the mood of the people in the 'Modern Reforms' Pakistan...The perceived 'vulgarity' of new actresses like SAIMA turned the citizens away from the movies rather than attracting audiences through nudity and tantilizing dances. Although good as a dancer and charismatic star, SAIMA, was unwittingly part of the beginning of a drastic decline in Pakistani films.

SHAAN was a re-invention of Punjabi matinee idol SULTAN RAHI. RAHI is noted in the Guinness Book of Records as the actor with most films [700 Urdu and Punjabi]. SULTAN RAHI, a phemonenally popular cult figure planned to enter Pakistani Politics, which his popularity with the masses could have been devastatingly successful. RAHI was assassinated in 1996, his death seemed never properly investigated or concluded.

Some commentators claim that SULTAN RAHI was a manifestation of the 'ugly' ZIA -UL-HAQ government of the 1980s. However, when SHAAN arrived he was the 'beautiful' new face of the MUSHARRAF regime.

SHAAN certainly had youth and charm but was still the Punjabi Folklore 'Ranja' ['Romeo']. The poses, the 'Strong Silent Type', the machine gun and roars of "Oy!" fascinated the remaining audiences of Punjabi Films for a decade. Outer circles of Punjabi Society also respect SAIMA to an extent but SHAAN, definitely, because this seeming rural hero actually was educated at prestigious Aitchison College in Lahore and apparently studied literature. SHAAN speaks English well and has a lot of charm plus 'American Gym Muscles'...The curious thing about SHAAN and SAIMA is that they wear TRADITIONAL CLOTHES in Punjabi films. These clothes, especially the male and female Punjabi skirts 'Lachcha' are very seldom seen in The Punjab these days, mainly because of BHUTTO'S 1970s insistance that Punjabis wear SHALWAR-KAMEEZ [baggy trouser and tunic] that come from PATHAN side of Pakistan. The Punjabi 'Lachcha' was discouraged for the SHALWAR or the WESTERN TROUSER. So, SHAAN and SAIMA both appearing like SULTAN RAHI and ANJUMAN before them in Punjab garb is strange but also promotes traditional culture as a positive.

'KALOO' FILM SONG
'Dil Pyar Karnoon Karda' is a successful song from 2002. The Pakistani Film Industry began to face pressure from VHS and TV in the 1980s but by the 2000s ticket sales were extremely down. The Middle Class loathed the constant rural theme Punjabi films so stigmatised and avoided them. The increasing use of dance deemed as 'vulgar' was not new and can be traced back even to 1970s cinema like 'Banrasi Thug'...However, the nudity and directness of sensual dance was making it impossible for families to sit together and watch Punjabi films. Cinemas became run-down and full of gangs of young working-class men whistling and shouting.

Economising had to be done. Replacing orchestra and musicians with ELECTRONIC KEYBOARD was seen as a solution to saving money on composing, writing out parts and paying musicians. Replacing the orchestral VIOLINS with SYNTHESIZER 'STRINGS' saved money but, like this song with SAIMA, gives a 'cheap' sound that the audience realise, but don't know what is 'wrong' with the music. The film music became slowly debased in musical and aesthetic quality dropping audience numbers more.

'VIZONTELE', made in 2001, was the most successful Turkish Film ever screen in the cinema. Why? Mainly, because it approached a lot of issues in the psyche of people in Turkey, namely: NOSTALGIA; CULTURE; TRADITIONAL DRESS; TRADITIONAL LIFE; LOSS OF TURKISH CULTURE; LOSS OF COMMUNITY; FAMILY LIFE; FEAR OF CONSCRIPTION; FEAR OF SEPARATION; GOVERNMENT CONTROL; ONE-UPMAN-SHIP; INSINCERITY; BETRAYAL; GOSSIP; DRESSING WESTERN; BEING 'FASHIONABLE; FALLING IN LOVE; LOSS OF LOVE; ARRANGED MARRIAGE; THE KURDISH WAR; CYPRUS; GREECE; REGRET; DEATH; SUPERSTITION; MELANCHOLIC; NAIVITY; KINDNESS; RELIGION; HOPE: CHANGE...All of these things make up People and Life in Turkey...

***SPOILER***[Don't read further if you do not want to spoil the film clip]

'VIZONTELE' was based upon writer, director, actor, producer Yılmaz Erdoğan's experience of growing up in the moutainous eastern extreme of Turkey's geography, Hakkâri, a predominantly Kurdish city on Iran's border.

The film is set in 1974 when electrification of East Turkey was complete and the govenment had a project to deliver a new television to the mayor of every city in Turkey to air Turkish Government Turkish Television Stations to the populous. However, the officials completing difficult drives to these remote places often were not keen to hang around. In the case of this television presented to the Mayor of Hakkâri, the government representatives only gave the mayor and villagers a quick description of this glass screened new machine that the people had never seen before..."Plug it in and set it up in a high place with the ariel plugged in"...Then they sped away into the hot distance in their dusty jeep...The locals were left with the...What?...What was it called?...The VIZONTELE? [Nobody remembered what it was called and they had never seen a maching like this one before that 'sent pictures' from an ariel]...

The suface story of the film is a bewildered Mayor and his staff's hilarious attempts and failures to demonstrate the working 'VIZONTELE' to the town, but not having any instructions or idea about how to get the machine to work.

The deeper symbolism of the television is the drastic changes that outside cultures have had on Turkish Life. Some good in terms of development and education, information and political change. But some bad, the erosion of Turkish Culture, the breakdown of family life, religion plus the imposition of a quickened pace of life that may not really suit the slower Middle Eastern nature of life in Turkey.

VIZONTELE CLIP
Our clip is the end section of the film...The bungling mayor and his companions have tried several times to publically demonstrate television to the townspeople and it has either not worked or generator burst into flames and so on, shaming the mayor. As the extract opens the mayor and co. have been up to the highest part of the town, i.e. the mountain, the television did actually work, however, it showed "Iranian VIZONTELE" not Turkish...So our would-be-TV-mechanics come down the mountain depressed...A local policeman fiddles with the television set on the back of the lorry and actually CHANGES CHANNEL, which nobody knew to do...Hey, presto, HARIKA! ...Black Sea Wedding Dances from Turkish Television...Suddenly, how to operate the VIZONTELE is understood.

The townsfolk gather at the mayor's house for an official first VIZONTELE evening...Latif, the local cinema owner is pessimistic about the television as his theatre is empty...Gathered together, the town watch the television news about War with Greece in Cyprus...A huge silence takes over the room as the mayor and his country bumpkin wife Siti realise that their worst fear has come true through dreaded CONSCRIPTION, their sun Rifat is pictured as one of three soldiers killed in Cyprus.

A dramatic scene shows the varying reactions to the deaths using a lot filming techniques like booms and sweeping shots that had rarely been seen in Turkish films before.

Siti then exposes SUPERSITION and evidence of the RELGIOUS vs SECULAR arguments of The Turkish Republic by taking the television, the last place she sees an image of her son Rifat's face, up to the mountain to bury it. Hence refering to some ceremonies and conventions of Islam and maybe some aspects of possibly SHAMANISM [ancient pre-Islamic religion of worshipping trees, wind, sun, etc.]...Siti sees the VIZONTELE as "the work of the devil" that "took her son"...The traditional vs the modern...

Rifat's fiance is then wed sadly in an arranged marriage...The television is then seen to be dominating life in the city, after only a short time...CHANGE and LOSS of CULTURE...

'VIZONTELE' was deeply successful because of its NOSTALGIA. A lost and lovely rural aspect, a slower life, a kinder gentler people.

SWEETNESS and VULGARITY make strange bedfellows with these two 'HINDUSTAN-HISTORICAL' theatrical bedfellows from the regal 1986 'NEW WAVE' film 'SINGHASAN'...namely, the ravishing 16 year old MANDAKINI and the 20-looking-but-45-year-old-bewigged-bemustachioed-hero JEETENDRA! The voices of then new PLAYBACK SINGERS: KAVITA KRISHNAMURTHY on MANDAKINI and NITIN MUKESH [a young voice that takes a few years off JEETENDRA!] make for a new sort of sound after decades of the same tryst of MANGESHKARS and KUMAR spiriting out of the mouths of 100s of film stars. These new recording artists did bust up the songbird 'cartel' that the MANGESHKAR SISTERS & CO. had gripped INDIAN CINEMA MUSIC with for forty years, however, these replacement voices are weak in comparison and represented the FATAL DILUTION of TALENT and AUTHENTICITY that has descended into the bland forgettable talentless mediocrity of PLAYBACK SINGING in INDIA CINEMA with the 'Bollywood' tag today.

MUSIC DIRECTOR BAPPI LAHIRI
BAPPI was a great composer - Inspired by WESTERN MUSIC and DISCO plus some INDIAN MAGIC of his own. This man was a legend and produced some rhythmic tinsel compositions that really are unique, catchy, simple, yet often murderously athletic for the ORCHESTRAL PLAYER to peform.

'NEW WAVE' TO GLOBAL GREED
'SINGHASAN' was possibly one of LAHIRI'S last really stunning 'NEW WAVE' film scores where nearly every song is musically and visually divine. By 1986 INDIAN CINEMA was changing...£$€£$€.. was 'on the Bombay horizon' in the shape of the $10 DUBAI/LONDON/NEW YORK cinema tickets...the domestic India movie house market at Rs.2 a seat had no chance...The CULTURAL TELESCOPE was turned back-to-front to catch the money-heist abroad...ORIENTAL 'NEW WAVE' films were just 'too Indian' for the exporting cash crop for Bombay overseas...BAPPI LAHIRI'S days of, "Dintara Dintara" and authentic theatrical INDIAN-LOOKING VISUALS would be sharply booted out to make way for..."Oh, Miss '86 Aaya Hai" in shorts and sunglasses with mediocre star sons and daughters..and 'HOLLYWOOD' deformed into 'BOLLYWOOD'...INDIAN CINEMA began to GLOBALISE to cash in abroad...Local interest in cinema began to wane...one man said of 'BOLLYWOOD' to me in Delhi in 2004, "We don't understand these new films. We don't like the songs. Also the vulgarity and nakedness make it impossible for me to take my family to the cinema. I would feel shame sitting with my relatives in such a film. We are good Hindu people, this vulgarity in India is not acceptable to us. We don't go to the cinema in India any more...".

'TAKATU TAKA TAI'
The LYRICS to BAPPI LAHIRI'S 'NEW WAVE' films were brilliant and memorable but never terribly poetic...This one means nothing in particular in English! It is just a set of RHYTHMIC SYLLABLES with some vague connections to TABLA BOLES - Indian hand floor TABLA drums have names areas to hit called 'BOLES'/'SPEAKS', e.g. 'Ta' [edge area], 'Tin' [middle area] ... The areas and pattern to be played is often relayed to the player by speaking the BOLES then the pattern is played. The title comes from this and to do with SENSUAL DRUM PLAY ON THE BODY OF THE LOVED ONE! The other main line of the song is, "Pyar ki pehli raat aayee"/"The first night of love has come" which is more lyrical with gliding violin runs whisking us up to 'heaven' [I presume!]...
The simplicity of the LYRICS and REPETITION did make LAHIRI'S songs really memorable and unique but blasted by the critics and 'the educated classes' [who were also astonished at the increasing nudity..of a non-Western INDIAN TRADITIONAL kind...].

ORCHESTRATION
BAPPI LAHIRI'S ORCHESTRATION [plan organised music parts for an orchestra] was attacked in the 1980s by RELIGIOUS SCHOLARS in INDIA on the grounds that, "It is obscene and subconsciously promotes illicit sex that corrupts youth through constant violin scale runs and other effects that aurally simulate orgasm and sexual arousal in songs. We are aware of the agenda of this orchestration in the cinema". It was the PROGRAMMATIC [music which supports dramatic themes rather than just being purely music] elements that were objected to in BAPPI'S music. Whether these effects were for sexual titilation, pop song energy or just orchestration that provided visual cues is not clear. The accusations are hilarious and typical of slurs on BAPPI LAHIRI'S films which were hated by the critics but a smash at the box office.

ARRANGEMENT
The odd new voices are fresh, if not weak, but are wrapped in a delicate quite 'WESTERN' and contrasted ORCHESTRATION but the song is quite definitely INDIAN.

The FORM [sections over time] is quite disjointed by theatrical brass and string 'film music' bridges, possibly for two reasons. Firstly, the sung parts of the song are repetitive and a little fragile. Secondly, the visuals of the song maybe required the 'dashing' ORCHESTRAL BRIDGES.

SWEETNESS and VULGARITY make strange bedfellows with these two 'HINDUSTAN-HISTORICAL' theatrical bedfellows from the regal 1986 'NEW WAVE' film 'SINGHASAN'...namely, the ravishing 16 year old MANDAKINI and the 20-looking-but-45-year-old-bewigged-bemustachioed-hero JEETENDRA! The voices of then new PLAYBACK SINGERS: KAVITA KRISHNAMURTHY on MANDAKINI and NITIN MUKESH [a young voice that takes a few years off JEETENDRA!] make for a new sort of sound after decades of the same tryst of MANGESHKARS and KUMAR spiriting out of the mouths of 100s of film stars. These new recording artists did bust up the songbird 'cartel' that the MANGESHKAR SISTERS & CO. had gripped INDIAN CINEMA MUSIC with for forty years, however, these replacement voices are weak in comparison and represented the FATAL DILUTION of TALENT and AUTHENTICITY that has descended into the bland forgettable talentless mediocrity of PLAYBACK SINGING in INDIA CINEMA with the 'Bollywood' tag today.

MUSIC DIRECTOR BAPPI LAHIRI
BAPPI was a great composer - Inspired by WESTERN MUSIC and DISCO plus some INDIAN MAGIC of his own. This man was a legend and produced some rhythmic tinsel compositions that really are unique, catchy, simple, yet often murderously athletic for the ORCHESTRAL PLAYER to peform.

'NEW WAVE' TO GLOBAL GREED
'SINGHASAN' was possibly one of LAHIRI'S last really stunning 'NEW WAVE' film scores where nearly every song is musically and visually divine. By 1986 INDIAN CINEMA was changing...£$€£$€.. was 'on the Bombay horizon' in the shape of the $10 DUBAI/LONDON/NEW YORK cinema tickets...the domestic India movie house market at Rs.2 a seat had no chance...The CULTURAL TELESCOPE was turned back-to-front to catch the money-heist abroad...ORIENTAL 'NEW WAVE' films were just 'too Indian' for the exporting cash crop for Bombay overseas...BAPPI LAHIRI'S days of, "Dintara Dintara" and authentic theatrical INDIAN-LOOKING VISUALS would be sharply booted out to make way for..."Oh, Miss '86 Aaya Hai" in shorts and sunglasses with mediocre star sons and daughters..and 'HOLLYWOOD' deformed into 'BOLLYWOOD'...INDIAN CINEMA began to GLOBALISE to cash in abroad...Local interest in cinema began to wane...one man said of 'BOLLYWOOD' to me in Delhi in 2004, "We don't understand these new films. We don't like the songs. Also the vulgarity and nakedness make it impossible for me to take my family to the cinema. I would feel shame sitting with my relatives in such a film. We are good Hindu people, this vulgarity in India is not acceptable to us. We don't go to the cinema in India any more...".

'TAKATU TAKA TAI'
The LYRICS to BAPPI LAHIRI'S 'NEW WAVE' films were brilliant and memorable but never terribly poetic...This one means nothing in particular in English! It is just a set of RHYTHMIC SYLLABLES with some vague connections to TABLA BOLES - Indian hand floor TABLA drums have names areas to hit called 'BOLES'/'SPEAKS', e.g. 'Ta' [edge area], 'Tin' [middle area] ... The areas and pattern to be played is often relayed to the player by speaking the BOLES then the pattern is played. The title comes from this and to do with SENSUAL DRUM PLAY ON THE BODY OF THE LOVED ONE! The other main line of the song is, "Pyar ki pehli raat aayee"/"The first night of love has come" which is more lyrical with gliding violin runs whisking us up to 'heaven' [I presume!]...
The simplicity of the LYRICS and REPETITION did make LAHIRI'S songs really memorable and unique but blasted by the critics and 'the educated classes' [who were also astonished at the increasing nudity..of a non-Western INDIAN TRADITIONAL kind...].

ORCHESTRATION
BAPPI LAHIRI'S ORCHESTRATION [plan organised music parts for an orchestra] was attacked in the 1980s by RELIGIOUS SCHOLARS in INDIA on the grounds that, "It is obscene and subconsciously promotes illicit sex that corrupts youth through constant violin scale runs and other effects that aurally simulate orgasm and sexual arousal in songs. We are aware of the agenda of this orchestration in the cinema". It was the PROGRAMMATIC [music which supports dramatic themes rather than just being purely music] elements that were objected to in BAPPI'S music. Whether these effects were for sexual titilation, pop song energy or just orchestration that provided visual cues is not clear. The accusations are hilarious and typical of slurs on BAPPI LAHIRI'S films which were hated by the critics but a smash at the box office.

ARRANGEMENT
The odd new voices are fresh, if not weak, but are wrapped in a delicate quite 'WESTERN' and contrasted ORCHESTRATION but the song is quite definitely INDIAN.

The FORM [sections over time] is quite disjointed by theatrical brass and string 'film music' bridges, possibly for two reasons. Firstly, the sung parts of the song are repetitive and a little fragile. Secondly, the visuals of the song maybe required the 'dashing' ORCHESTRAL BRIDGES.

'I'M NOT SORRY FOR THIS RIOT OF FLIRTING' offers an IDIOSYNCRATIC, 'LOCAL' or 'DESI' Peshwari MUJRA DANCE...However, the 'bump and grind' 'VULGARITY' [controversial and disputed word often used to describe Pakistani Cinema] and PUNJABI FACES of DANCERS who DO NOT KNOW the LANGUAGE they are SINGING reveals a LAHORIE HAND in this PRODUCTION. The PATHAN people are rather QUIET and RESERVED. This MUJRA has a SCREAMING WILDNESS that SHOUTS 'PUNJABIS'!!! The PUNJAB and its CENTURIES of ABUNDANT HARVESTS and the CELEBRATION of LIFE that goes with that. By the late 1970s, LAHORE was STARTING to PRODUCE some of the PUSHTO FILMS. This was PROBABLY because the FILM MAKING EQUIPMENT and STUDIOS were SPARSE and in LAHORE like SHAHNOOR STUDIOS [now demolished and gone] and EVERNEW STUDIOS [now called BALI STUDIOS]. The CROSS-POLLINATION of PUNJAB on PATHAN CINEMA obviously grew from the SKETCHY LOW BUDGET PUSHTO flicks being made in the DOWNTIME of the LAHORI STUDIOS.

The BLACK and WHITE MONTAGE continued in PAKISTAN up to even ANJUMAN'S first film in 1979. There was just not technology or money to start COLOUR PROCESS in the country up to that time. So the MONOCROME CAPTURING of a COLOURFUL MUJRA like this is such a PECULIAR and QUITE SURREAL EXPERIENCE. These FADED IMAGES CAPTURED in this CHROMATIC accentuates an even more ARCHAIC and from 'FROM OUTER SPACE' quality which is PRECIOUS and GLORIOUS.

The SONG is REMARKABLY 'FEEL GOOD'. It is really UP BEAT in its WEST PAKISTAN mixed with NORTH INDIAN DRUMMING in ALTERNATE. The PERCUSSION is ENTERTAINING in itself and is VARIED in PATTERNS to KEEP it INTERESTING. TYPICAL to PUSHTO FILM SONGS, the NORTH INDIAN lilt of the INTRO DRUMS takes a SWERVE GEAR-CHANGE SLOWING MOVE and the PUSHTO VOCAL LINE comes in on a DIFFERENT and PESHWARI RHYTHM. In this way the PUSHTO FILM SONG can be SEEN as a FRAGMENTED MISH-MASH of NORTHERN INDIA and TURKISTAN between DANCE and VOCAL which is a HALLMARK of PESHWARI CINEMA, particularly these MUJRAS as the HINDUSTAN RHYTHMS furnish the SECTION with a more DANCEABLE BEAT. The ASYMMETRIC ROCKING RHYTHM of WESTERN PAKISTAN then gives the FLAVOUR of the PATHANS for the SUNG parts.

Like LAHORI FILMS, the PLAYBACK SINGER, PASHTOON DIVA: GULNAR BEGUM [1935-1995] sings the VOCAL for BOTH ACTRESSES. This QUIRK just adds even more BIZARRE MAGIC to these FLICKERING SILHOUETTES - That they HAVE the 'SAME VOICE'! The GULNAR BEGUM voice has a SIMILARITY to the NOOR JEHAN sound. They are both LEGENDS and VOCALS that are PHENOMENON. They are RELICS of the OLD WORD that have been MOULDED ROUND the WESTERN TECHNOLOGY and COME OUT the OTHER END as something so HARSH and GLITTERING and COLOURFUL. A sound really, that we will never hear again. So we are lucky these recordings were preserved on the GRAINY MAGNETIC FOIL of VHS.

The DRUMMING and VOCALS have a kind of EXPRESSION, a kind of RAWNESS that we seem to have LOST ability to CREATE, and also that we have LOST the HUMAN CONNECTION to be able to APPRECIATE in these days...

The DANCING is totally OUTRAGEOUS - Like everyone is STONED! There is a WILDNESS, again, of the SUFI, a LACK of INHIBITION and SIMPLE EXPRESSION of LIFE that is TRULY RARE. The GIRLS are obviously PUNJABIS as PATHAN gals would not go on CAMERA by the later 70s. So the DANCE is very ROBUST and RAMBUNCTIOUS 'BHANGRA' and MUJRA rather than the GRACEFUL GLIDING ARMS, SWAYS and TURNS of PATHAN DANCES.

The one PUKHTOON lady that WOULD GO ON CAMERA was MUSSARAT SHAHEEN [b. 1954]. In this song, we see her in the AUDIENCE of the MEHFIL in DRAG as a MAN, as she OFTEN PORTRAYED as either COMEDY or DISGUISE. In this song it is the latter. She sees a DACOIT or BANDIT that has HARMED her FAMILY, but she BIDES her TIME and OBSERVES the MUJRA and BANDITS while ENGAGING in 'LEWD' BEHAVIOUR with the DANCERS. Because SHAHEEN is a WOMAN, she can KISS the ENTERTAINERS on the LIPS and have them GYRATING and THRUSTING on top of HER whereas the REAL MALES on CAMERA are having to be more [slightly!] RESTRAINED with the COURTESANS. However, there is a HILARIOUSNESS here that MUSSARAT in DRAG is OFFERING a CONVINCING PATHAN MALE in APPEARANCE and 'SWAGGER' with LURID BEHAVIOUR that is CONVINCING and SENSUALLY 'EROTIC'! But also she is DEMONSTRATING LESBIANISM of WOMAN on WOMAN action, but DRESSED as MEN and WHORES! Whoa! What a way of GETTING PAST the SCISSORS of the ISLAMIC CENSORS and making FIRST CLASS RUSTIC EARTH BRILLIANT DANCE and MUSIC!

'I'M NOT SORRY FOR THIS RIOT OF FLIRTING' offers an IDIOSYNCRATIC, 'LOCAL' or 'DESI' Peshwari MUJRA DANCE...However, the 'bump and grind' 'VULGARITY' [controversial and disputed word often used to describe Pakistani Cinema] and PUNJABI FACES of DANCERS who DO NOT KNOW the LANGUAGE they are SINGING reveals a LAHORIE HAND in this PRODUCTION. The PATHAN people are rather QUIET and RESERVED. This MUJRA has a SCREAMING WILDNESS that SHOUTS 'PUNJABIS'!!! The PUNJAB and its CENTURIES of ABUNDANT HARVESTS and the CELEBRATION of LIFE that goes with that. By the late 1970s, LAHORE was STARTING to PRODUCE some of the PUSHTO FILMS. This was PROBABLY because the FILM MAKING EQUIPMENT and STUDIOS were SPARSE and in LAHORE like SHAHNOOR STUDIOS [now demolished and gone] and EVERNEW STUDIOS [now called BALI STUDIOS]. The CROSS-POLLINATION of PUNJAB on PATHAN CINEMA obviously grew from the SKETCHY LOW BUDGET PUSHTO flicks being made in the DOWNTIME of the LAHORI STUDIOS.

The BLACK and WHITE MONTAGE continued in PAKISTAN up to even ANJUMAN'S first film in 1979. There was just not technology or money to start COLOUR PROCESS in the country up to that time. So the MONOCROME CAPTURING of a COLOURFUL MUJRA like this is such a PECULIAR and QUITE SURREAL EXPERIENCE. These FADED IMAGES CAPTURED in this CHROMATIC accentuates an even more ARCHAIC and from 'FROM OUTER SPACE' quality which is PRECIOUS and GLORIOUS.

The SONG is REMARKABLY 'FEEL GOOD'. It is really UP BEAT in its WEST PAKISTAN mixed with NORTH INDIAN DRUMMING in ALTERNATE. The PERCUSSION is ENTERTAINING in itself and is VARIED in PATTERNS to KEEP it INTERESTING. TYPICAL to PUSHTO FILM SONGS, the NORTH INDIAN lilt of the INTRO DRUMS takes a SWERVE GEAR-CHANGE SLOWING MOVE and the PUSHTO VOCAL LINE comes in on a DIFFERENT and PESHWARI RHYTHM. In this way the PUSHTO FILM SONG can be SEEN as a FRAGMENTED MISH-MASH of NORTHERN INDIA and TURKISTAN between DANCE and VOCAL which is a HALLMARK of PESHWARI CINEMA, particularly these MUJRAS as the HINDUSTAN RHYTHMS furnish the SECTION with a more DANCEABLE BEAT. The ASYMMETRIC ROCKING RHYTHM of WESTERN PAKISTAN then gives the FLAVOUR of the PATHANS for the SUNG parts.

Like LAHORI FILMS, the PLAYBACK SINGER, PASHTOON DIVA: GULNAR BEGUM [1935-1995] sings the VOCAL for BOTH ACTRESSES. This QUIRK just adds even more BIZARRE MAGIC to these FLICKERING SILHOUETTES - That they HAVE the 'SAME VOICE'! The GULNAR BEGUM voice has a SIMILARITY to the NOOR JEHAN sound. They are both LEGENDS and VOCALS that are PHENOMENON. They are RELICS of the OLD WORD that have been MOULDED ROUND the WESTERN TECHNOLOGY and COME OUT the OTHER END as something so HARSH and GLITTERING and COLOURFUL. A sound really, that we will never hear again. So we are lucky these recordings were preserved on the GRAINY MAGNETIC FOIL of VHS.

The DRUMMING and VOCALS have a kind of EXPRESSION, a kind of RAWNESS that we seem to have LOST ability to CREATE, and also that we have LOST the HUMAN CONNECTION to be able to APPRECIATE in these days...

The DANCING is totally OUTRAGEOUS - Like everyone is STONED! There is a WILDNESS, again, of the SUFI, a LACK of INHIBITION and SIMPLE EXPRESSION of LIFE that is TRULY RARE. The GIRLS are obviously PUNJABIS as PATHAN gals would not go on CAMERA by the later 70s. So the DANCE is very ROBUST and RAMBUNCTIOUS 'BHANGRA' and MUJRA rather than the GRACEFUL GLIDING ARMS, SWAYS and TURNS of PATHAN DANCES.

The one PUKHTOON lady that WOULD GO ON CAMERA was MUSSARAT SHAHEEN [b. 1954]. In this song, we see her in the AUDIENCE of the MEHFIL in DRAG as a MAN, as she OFTEN PORTRAYED as either COMEDY or DISGUISE. In this song it is the latter. She sees a DACOIT or BANDIT that has HARMED her FAMILY, but she BIDES her TIME and OBSERVES the MUJRA and BANDITS while ENGAGING in 'LEWD' BEHAVIOUR with the DANCERS. Because SHAHEEN is a WOMAN, she can KISS the ENTERTAINERS on the LIPS and have them GYRATING and THRUSTING on top of HER whereas the REAL MALES on CAMERA are having to be more [slightly!] RESTRAINED with the COURTESANS. However, there is a HILARIOUSNESS here that MUSSARAT in DRAG is OFFERING a CONVINCING PATHAN MALE in APPEARANCE and 'SWAGGER' with LURID BEHAVIOUR that is CONVINCING and SENSUALLY 'EROTIC'! But also she is DEMONSTRATING LESBIANISM of WOMAN on WOMAN action, but DRESSED as MEN and WHORES! Whoa! What a way of GETTING PAST the SCISSORS of the ISLAMIC CENSORS and making FIRST CLASS RUSTIC EARTH BRILLIANT DANCE and MUSIC!

TWO ZANY COMEDY SCENES in ONE with COMEDY ACTOR: AHMED HELMY [b. 1969] and ACTRESS: YASEMIN ABDULAZIZ [b.1980] recreating a COMMON CAIRO SCENE of STREET TRADERS being ROUNDED UP by the POLICE. The DIALOGUE is TYPICAL 'AMMAYA' or 'DIALECT ARABIC' with its LOUD and MELODRAMATIC ARTICULATIONS of SOFT INSULTS meant to AMUSE and EXPRESS FRUSTRATION plus IMPLY INDIRECT POLITICAL SOCIETY IN-JOKES, but not to HURT the OTHER PERSON. The BEHAVIOUR is TYPICAL EGYPT WORKING CLASS with its EXAGGERATION, HINTS of ORIENTALISM and HEAVY CAMP LOCOMOTION! Eventually, HELMY is SAVED by his 'CHARM' from the POLICE through the LOUD SWAGGERING overbearing ABDULAZIZ character....That suddenly MELTS to REVEAL a SWEET SHY YOUNG GIRL as her HIJAB CATCHES on something and is MOMENTARILY PULLED OFF in a MOMENT of SLOW MOTION GLOSSY TRESSES...LOVE STRIKES BOTH of the CHARACTERS...

2004 'SAYE'A BAHR' or 'BEACH BUM' FILM is a REMARKABLE, MAGICAL, COLOURFUL and CHARMING and HILARIOUS LOCAL COMEDY showing POOR LIFE in CAIRO. 'SAYE'A BAHR' is one of those films one can WATCH AGAIN an AGAIN and never TIRE of its MAGIC or STOP LAUGHING at its JOKES or HAVE a TEAR in the EYE at the SADNESS but also the GRIT that the POOR have in EGYPT and ALL OVER THE WORLD.

AHMED HELMY came to FAME in the HYSTERICAL COMEDY of the Late comic actor ALAA WALEY EL DIN [1963-2003] comedy 'ABOOD ALA AL HADOOD', or 'ABOOD NEAR THE BORDER' [1999]. HELMY has gone on to GREAT SUCCESSES of CINEMA. He has a PARTICULAR FLAIR for COMEDY, both OVERT and more CLEVERLY, SUBTLE. AHMED HELMY is an UNLIKEY SUPER STAR of ARABIC CINEMA but he is! HELMY is MARRIED to DRAMATIC CINEMA ACTRESS: MONA ZAKI who shares the same birthday with him.

YASEMIN ABDULAZIZ is STUNNINGLY FUNNY and CHARMING in 'SAYE'A BAHR'. It is the character NEMA who is so ROUGH and LOUD and AGGRESSIVE but with such a CUTE, SHY LITTLE GIRL that HIDES BEHIND the SHARP-TONGUED ACT that ALLOWS her to WORK alongside a MARKET of MEN TRADERS and AWKWARD SHOP CUSTOMERS of EVERY DESCRIPTION.

The SCENE has some CRACKING and quite CONTROVERSIAL LINES like:

"You cover your hair and bare your tongue!"

"Now continue your prayer outside!"

"It would have been better if you had been ugly with a pretty tongue!"

The ACTORS SPARK OFF EACH OTHER WELL and MAKE for a REALISTIC TASTE of CAIRO WORKING CLASS LIVE but with just a bit of EGYPTIAN CINEMA 'MAGIC' that takes the EDGE off the SADNESS and MAKES the AUDIENCE ROAR with LAUGHTER...Not really at the COMEDY, but the REFERENCE of PEOPLE in CAIRO STREETS who BEHAVE and BARK and SHRIEK at EACH OTHER as the TWO CHARACTERS EVERYDAY!

The FILM, like a lot of EGYPTIAN FILMS before the CURRENT CINEMA CENSORSHIP of the SISI REGIME were CREATIVE and INDIRECTLY POLITICAL through COMEDY and ENCOURAGING types of EGYPTIANS BEHAVING BADLY to IMPROVE THEMSELVES.

'SAYE'A BAHR' has one very BEAUTIFUL and TOUCHING SCENE where NEMA goes to a COPTIC CHRISTIAN FRIEND'S WEDDING. She sits in the CHURCH in her HIJAB and is ENTHRALLED by her CHRISTIAN FRIENDS and the BEAUTIFUL COPTIC HYMNS and WEDDING CEREMONY. HELMY, not to be OUTDONE, BRINGS his ARABIC BAND ALONG and when the PARTY LEAVE the CHURCH, a MUSLIM WEDDING BAND PLAYS, LEAD by AHMED HELMY wishing the NEWLY WEDS all the luck! It is a WONDERFUL SCENE of a UNIFIED EGYPT.

TWO ZANY COMEDY SCENES in ONE with COMEDY ACTOR: AHMED HELMY [b. 1969] and ACTRESS: YASEMIN ABDULAZIZ [b.1980] recreating a COMMON CAIRO SCENE of STREET TRADERS being ROUNDED UP by the POLICE. The DIALOGUE is TYPICAL 'AMMAYA' or 'DIALECT ARABIC' with its LOUD and MELODRAMATIC ARTICULATIONS of SOFT INSULTS meant to AMUSE and EXPRESS FRUSTRATION plus IMPLY INDIRECT POLITICAL SOCIETY IN-JOKES, but not to HURT the OTHER PERSON. The BEHAVIOUR is TYPICAL EGYPT WORKING CLASS with its EXAGGERATION, HINTS of ORIENTALISM and HEAVY CAMP LOCOMOTION! Eventually, HELMY is SAVED by his 'CHARM' from the POLICE through the LOUD SWAGGERING overbearing ABDULAZIZ character....That suddenly MELTS to REVEAL a SWEET SHY YOUNG GIRL as her HIJAB CATCHES on something and is MOMENTARILY PULLED OFF in a MOMENT of SLOW MOTION GLOSSY TRESSES...LOVE STRIKES BOTH of the CHARACTERS...

2004 'SAYE'A BAHR' or 'BEACH BUM' FILM is a REMARKABLE, MAGICAL, COLOURFUL and CHARMING and HILARIOUS LOCAL COMEDY showing POOR LIFE in CAIRO. 'SAYE'A BAHR' is one of those films one can WATCH AGAIN an AGAIN and never TIRE of its MAGIC or STOP LAUGHING at its JOKES or HAVE a TEAR in the EYE at the SADNESS but also the GRIT that the POOR have in EGYPT and ALL OVER THE WORLD.

AHMED HELMY came to FAME in the HYSTERICAL COMEDY of the Late comic actor ALAA WALEY EL DIN [1963-2003] comedy 'ABOOD ALA AL HADOOD', or 'ABOOD NEAR THE BORDER' [1999]. HELMY has gone on to GREAT SUCCESSES of CINEMA. He has a PARTICULAR FLAIR for COMEDY, both OVERT and more CLEVERLY, SUBTLE. AHMED HELMY is an UNLIKEY SUPER STAR of ARABIC CINEMA but he is! HELMY is MARRIED to DRAMATIC CINEMA ACTRESS: MONA ZAKI who shares the same birthday with him.

YASEMIN ABDULAZIZ is STUNNINGLY FUNNY and CHARMING in 'SAYE'A BAHR'. It is the character NEMA who is so ROUGH and LOUD and AGGRESSIVE but with such a CUTE, SHY LITTLE GIRL that HIDES BEHIND the SHARP-TONGUED ACT that ALLOWS her to WORK alongside a MARKET of MEN TRADERS and AWKWARD SHOP CUSTOMERS of EVERY DESCRIPTION.

The SCENE has some CRACKING and quite CONTROVERSIAL LINES like:

"You cover your hair and bare your tongue!"

"Now continue your prayer outside!"

"It would have been better if you had been ugly with a pretty tongue!"

The ACTORS SPARK OFF EACH OTHER WELL and MAKE for a REALISTIC TASTE of CAIRO WORKING CLASS LIVE but with just a bit of EGYPTIAN CINEMA 'MAGIC' that takes the EDGE off the SADNESS and MAKES the AUDIENCE ROAR with LAUGHTER...Not really at the COMEDY, but the REFERENCE of PEOPLE in CAIRO STREETS who BEHAVE and BARK and SHRIEK at EACH OTHER as the TWO CHARACTERS EVERYDAY!

The FILM, like a lot of EGYPTIAN FILMS before the CURRENT CINEMA CENSORSHIP of the SISI REGIME were CREATIVE and INDIRECTLY POLITICAL through COMEDY and ENCOURAGING types of EGYPTIANS BEHAVING BADLY to IMPROVE THEMSELVES.

'SAYE'A BAHR' has one very BEAUTIFUL and TOUCHING SCENE where NEMA goes to a COPTIC CHRISTIAN FRIEND'S WEDDING. She sits in the CHURCH in her HIJAB and is ENTHRALLED by her CHRISTIAN FRIENDS and the BEAUTIFUL COPTIC HYMNS and WEDDING CEREMONY. HELMY, not to be OUTDONE, BRINGS his ARABIC BAND ALONG and when the PARTY LEAVE the CHURCH, a MUSLIM WEDDING BAND PLAYS, LEAD by AHMED HELMY wishing the NEWLY WEDS all the luck! It is a WONDERFUL SCENE of a UNIFIED EGYPT.

'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
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KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
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'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
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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
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'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
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KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
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KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
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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
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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
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KHAARTOUM_EAST - COMMERCIAL EASTERN MEDIA with ENGLISH LANGUAGE ETHNOMUSICOLOGICAL ARTICLES
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'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
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KHAARTOUM_SINGS - COVER SONGS and ORIGINAL SONGS
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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

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Created 3 years, 12 months ago.

59 videos

Category Education

KHAARTOUM_EAST an ETHNOMUSICOLOGICAL [study of music in time, space, politic, language, culture] PROJECT documenting EASTERN COMMERCIAL MUSICS in ENGLISH to SHARE* with the WORLD ; ) * Videos used as Fair Use for Educational Purposes