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2008-05-21T07:57:00.000-07:00

This blog has been permanently moved to:

http://bandbaji.wordpress.com/

see you there! :)

2008-01-12T22:57:00.000-08:00

Behind the scenes: Nabila

Stylist: Nabila

Photography: Amean J.

Hair & Make-up: Creative Team @ Nabila’s Karachi

Model: Veena Malik

On the day of the shoot, while waiting for Nabila and Veena to show up, one could see Amean, pacing down the studio, intent on starting the shoot, and anxiously peering out the window every time a car passed by to see whether it was them. Very few words were exchanged and in the post-shoot conversation, I asked him whether he had any apprehensions going into the shoot? “I did because I had never photographed Veena before, so I was not sure. Obviously I took Nabila’s word for it that she is fantastic once you pull out the camera”, he replied and paused for a moment, “and she was so right”.

Forget the voluptuous siren swinging her hips to cheesy filmi numbers, Veena — after she arrived — was completely unrecognisable and would not have been identified had she not been introduced. With hints of the black khol that rimmed her eyes visible underneath the bangs weaved artfully into her hair which framed and complemented her wide-set, strong jaw line, Veena looked like she had just stepped out of a magazine herself.

When shooting, one could clearly see that Veena took direction really well. Right down to the minutest adjustments, she did exactly what was asked of her. Amean would often show her a photograph he’d taken of her to show her exactly what he was wanted from her. Keeping an eye out for detail, under Nabila’s direction, every single stray hair was snipped perfectly out of place, and make-up re-touched wherever it was needed. “I’ve always enjoyed about Nabila because whenever she walks in a shoot, she knows exactly what she wants.

“There are no ifs and buts and it never takes that long to be honest, she is one person who never compromises”, said Amean after the shoot. Talking about what he had in mind for the layout, he said he was inspired by Leonardo da Vinci’s drawing of The Vitruvian Man, “Obviously, I didn’t want to copy exactly what was in Leonardo’s drawings, but just take it as a point. And it’s year 2008, we wanted it to be for the ‘tomorrow’ and not yesterday”.

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January 13, 2008

2008-01-12T22:28:00.000-08:00

Bigger and bolder

“We’re building a portfolio. It’s as simple as that”, Hassan Shehryar Yasin talks about what’s in store for HSY

“No time is a good time”, laughed Hassan Shehryar Yasin, the man behind the eponymous HSY designer label when asked whether he was in the mood for a little heart-to-heart. And no wonder because for the past year or so, Hassan has been working somewhat like a maniac, like a man on a mission to rule to world with scissors, sewing machine and sketch book in one hand and a keen sense of business acumen on the other. If there is one thing Hassan understands other than choreography and fashion design, it’s to ‘think’ big and how to ‘be’ big.

He immediately starts off by saying that “I know the country is going through mourning and I don’t want to be talking about my achievements – it sounds cocky. I was in Dubai when Benazir died, and I flew down the next day because I felt disconnected from everyone (at home). I wanted to spend time with my family and it’s a terrible thing that happened. But the Pakistani spirit is to go on despite whatever happens.” And going on is exactly what HSY the brand is doing. With a massive show scheduled sometime in early February in Masqat, on special invitation by the government and having launched several new lines in his recent fashion show, Hassan is sure to have his hands full.

With an eye focused firmly on the Middle East, and with plans underway to establish a large presence there complete with all of his sub-brands, Hassan is quick to state that “We’re building a portfolio it’s as simple as that. If a designer needs to cater to an international market, it needs to have a portfolio of products. It needs to show what it can give, and not just talk about it, but have a product handy”, he goes on to say that “the international market is not just looking for capacity but they’re also looking for diversity. Right now, I can go up to a large company and tell them that we can cater to their needs – good or bad we’ll get it done. We can build an image of more than just Pakistan, but of a brand with a Pakistani base in the global industry.”

He initially mentioned having plans to launch an abayya line, HSY Noir in the Middle East, when can we expect to see Hassan’s twist on Islamic fashion? “We’re still in prototyping the HSY Noir line in the HSY studio in GCC and we have a fantastic team coming in from London to do the interior” he goes on to mention that HSY is also currently in the process of “teeing up with one of the largest luxury brand promoter in the Middle East” as a partner and not as a client. The tone of his voice betrays the obvious excitement he’s feeling at the potential.

Expansion also translates into a bigger team for any fashion house and an armload of designers designing for that label. Even though HSY currently has one of the largest sources of manpower hired by a designer label currently in Pakistan, one couldn’t help but wonder where Hassan puts in his personal creativity at work. “One thing that I still do personally is my favorite: the bridal line. We have to, it’s our bread and butter and it’s essentially us,” he replied, “But the design team I work as a creative director. I tell them which colour, fabric, concept to use and ask them to design and show me the sketches. In fact I’m embarrassed when other people don’t do this as often. It’s happening all around the world”

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January 13, 2008

2008-01-12T00:12:00.000-08:00

Ali Azmat: second time round

You will either love the album or hate it. There are no grey areas where Ali’s upcoming album, Klashinfolk is concerned. Although this scribe heard this album right before it was sent for the final mix and master at Digital Fidelity Studios in Lahore and one couldn’t help but think how perfectly nice the raw, live sound that came through during the preview, sounded and discovered that not only had the album been recorded as if it had been performed live, but also that even after the final mix and master, the ‘live’ sound would remain.

Where Social Circus was significant in establishing Ali’s individual sound and in breaking him away from the Junoon-inspired cliché that he was being associated with, Klashinfolk is a completely different ball game altogether. Social Circus was a self-dialogue that Ali had with himself and the music, although rich, embodied an emotional moodiness that reflected the turmoil that was no doubt predominant when writing the material for the album. Klashinfolk, although just as rich, is on a completely different polar end because in this album, we see the lighter side of Ali – the side that wants to celebrate just ‘being’.

The first section of the album hits you with full force from the moment it begins. Ali has officially arrived and he has no qualms about letting anyone know. An eclectic mix of almost everything — think saxophone infused in the traditional rhythm and lead guitar playing and some very powerful drumming by Mr Pinto himself — the album swings off powerfully and has its own share of solos by the musicians who’ve played in it. Where Gumby ends the song by drumming in his own signature style, the second single has a very dominant guitar solo in it.

Interestingly enough the third song carries forward the music started off by the first two singles and is actually a hamd. The only difference is that it doesn’t come across as overtly pious and neither does it comes across as terribly preachy. If there was a song to which one could dance in celebration of God, this would be it.

The fourth song becomes mellow but not just vocally, both musically as well. The only one so far which doesn’t make you dance — this song has a different mood altogether — whereas the previous songs sound completely different but this one has a slightly bluer (not to be confused with the music genre) feel to it. It reflects shades of black and blue as Ali takes you on yet another journey and is perhaps the only song that sounds remotely like local desi pop. The guitar, although also very dominant is used to provide or enhance the overall mood.

The album takes on a darker sound and the next song has a somewhat dramatic air to it. It finds Ali singing in a manner as if warning the listener of something to look out for, ahead and reminiscent of old, heavy rock songs. The sixth song is perhaps the only one that has managed to sound like a conventional rock song – a major step away from the overall sound – and stands out from the rest of the songs in the album. There are two moods very strongly predominant in the song. Oddly enough it is this duplicity in that which makes the song more intriguing. It is not enough that you listen to it once, there can be found something new in every listen, and listen to it again you want to, in order to find the multiple interpretations hidden in it.

Embodying lyrics that go on as ‘Ban Kay Dhuan Urta Raha… Teri Sansoon Mein Jo Aag Thi, Bujhti Rahi… Khud Say Bhi Mein Hairan Nahin, Rahein Yeh Dil Mera Veraan Nahin, Khud Say Bhi Mein Hairan Nahin’ and the chorus line as ‘Mein Jalta Raha, Tu Hasta Raha, Dil Nay Kaha Buhat Shukriya’ is a song titled Shukriya. Ali related that Zeeshan Parwez might direct the video for this song, and upon speaking to the director himself, Zeeshan said that “I’m looking forward to making a video but it is going to take a bit of time because the songs are designed in such a manner that it requires me to think more than I would in a normal manner” adding to it he said, “there are around two three songs from the album that I definitely want to make videos for but for now, I just want to concentrate on one.”

And yes, there is at least one English song in the Klashinfolk. Interestingly enough, a lyric from the album states that You are in me, growing like some disease – definitely romantic, but in a somewhat morbid kind of a way. Following this is a song which goes lyrically as 'Jeena hai kya marne hai kya, tujhay bhula nahin'. There is no noise by excessive instruments being played in the song — the concentration is solely on Azmat’s voice — or on the instrument being played (the lead, the bass guitar and the way, even the soft drumming that builds the crescendo of the song later on) the song ends with Ali crooning to ‘Socho Kabhi’.

The album is an eclectic mixture of all kinds of music – this kind of experiment could either have ended with wonderful results or could have crashed down on experimenter’s face - but has the energy that is characteristic of Ali’s personality. Klashinfolk is intense, but happy and takes you on a wild journey involving the intricate moods of simply being in a state of celebration. Yes, admittedly so, the sound is nothing like what has been done before and is a clear reflection of how sound, and most importantly music can mature if allowed to be. And Ali’s music is definitely a seasoned product of what desi pop-rock would have been today had it been allowed to flourish and continue with consistency when it first tried forming its roots in the local industry. Klashinfolk truly is Ali-en.

-- Photograph by Izdeyar Setna

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January 13, 2008

2008-01-06T11:16:00.000-08:00

Haute and happening
Winter is the season to celebrate. It is the season when budding socialites take out their best party wear gowns and/or schedule a meeting with their favourite designer and have their winter wardrobe redesigned. You never truly know what to wear for winter in Karachi, the night can go from being simply cool, not requiring any layering, to considerably chilly without a warning. In the middle of the sophisticated nightlife that this Metropolitan enjoys, a set of four designers teamed up to show their best for the season. What’s more is that the event launched a cellphone designed after a personality synonymous with the most elegant and sophisticated fashion itself: Georgio Armani.

There was an interesting mix of designers on the panel that was showing. It included up and coming designer Maheen Karim who has been wooing both members of the fashion fraternity and those interested in it for some time now. Ammar Belal of the infamous ABCD brand was another, showing off his journey into semi-casual menswear. It launched Khaadi Khas, an off-shoot of Khaadi where we see the popular fashion retail brand experiment into the realm of western wear and party dresses for women. And last, but definitely not least, it gave the audience the opportunity to experience the charms of Sonya Battla’s elegant designs and skillfully cut outfits.

The event was organised and choreographed by Catwalk, the attendees instructed to dress in either black or beige, with the main area showing a simple black runway with a grid of plasma screens in the background. With a song that pays tribute to fashion itself, Maheen Karim opened the show on a remixed version of Vogue by Madonna with Nadia Hussein modeling the cellphone while adorned in a white Kaftan from Maheen’s Bijoux (Jewel) collection. The opening model modeling the phone before each collection was shown was to become a recurring feature in the rest of the show. Interestingly though most of Maheens models wore leggings underneath the outfits. Maheen later explained that the models weren’t comfortable walking barelegged on the ramp. The black and gold version of the Kaftan was also modeled.

Fayezah followed in another knee-length white creation with large cicular rings filled with diamantes lining the neck. The black and flowered shift dress was also modeled as were some outfits from Maheen’s prior collections including a v-cut colourful hemline dress stitched into a black blouse cut in a similar manner. The thing about Maheen Karim’s designs is that every single outfit is a masterpiece and is worth keeping. The Bijoux collection on its own is chic and would make the wearer feel beautiful even if she wore it ten years from now. Maheen Karim is extremely talented and, provided she continues the quality and dedication evident in her work, will go far. However, the outfits shown in the collection, including Bijoux, have been seen time and time again some of which have been hanging on her rack in Labels for a couple of months now.

Ammar Belal’s ABCD brand is popular for its collection of casual wear for men. Ammar Belal the designer is a fashion accessory in himself: everything about his appearance is immaculate perfect. It would make sense for such an individual to delve into designing. However the opening section of his formal to semi-formal wear wasn’t anything special. There were the same old black pants and coat over a white shirt and grey suits with pink and mustard ties. The suits were cut in a less-than-perfect manner and weren’t anything out of the ordinary. According to one attendee the fact that one of his models was wearing black shoes under a brown suit was a fashion crime in itself. Such small details need tending to.

Following that we see his more ‘experimental’ side. Blue denim jeans (which he does best) under a white and black horizontally stripped shirt and white coat with maroon hanker-chief, or blue jeans with red shirt and white coat with blue trimming and a red and white polka-dotted hanker chief… sounds confusing? It was just as confusing seeing it. The outfits didn’t seem to be going in any concrete direction. Perhaps one outfit which was decent enough to mention was a brown coat worn with a brown, green and yellow striped tie on a white shirt and blue jeans. The outfit had been modeled by Anatoly but even then I simply failed to see the ‘creative design’ part of it. Ammar Belal should definitely go back to what he does best: casual to semi-casual. Or concentrate on the fine details regarding how a coat is cut so it doesn’t end up with little bumps showing as it did with his models. He’s better off hanging the different components of his outfits separately in his outlet than trying to bring them together himself.

As a label, Khaadi has always been associated with, well, Khaadi. And Khaadi is always something that has mostly been worn in the daytime, to lunches or work… in short, its forte has always been casual wear. With the buzz surrounding Khaadi Khas, it’s alternative, westernized, geared towards party-wear line, having been generated for several months now, one eagerly looked forward to what the Khaadi king had to offer.

Overall the concentration of Khaadi Khas, when it came to dresses has been on the waistline. Every outfit had a belt, but in contrast to the large bold belts dominating the global fashion scene currently, Khaadi Khas went small and sleek with them. The overall colours in the collection ranged from silver, black, white, golden, brown and a delightful red. Khas played with high necks, halter necks, frills at the hems of skirts, down the front-middle of a dress to dominating the entire skirt altogether (often threatening to make the model look somewhat like a plucked chicken).

A dress that stood out wonderfully was a black wrap around gown knotted by the same material at the waist and sleeves pulled up, worn by Fayezah. It stood out from the rest of the collection also because it didn’t seem to be connected to the rest in terms of fabric as well. In a post-show chat with Shamoon revealed that all of the fabrics in the collection have been woven at the Khaadi mills themselves.

Khaadi Khas seems to be developing an interesting philosophy. There is creativity evident in the deigns themselves but whether it will work or not, I’m not entirely sure. But one thing can be said for sure: any woman donning a Khaadi Khas outfit from this collection may easily be considered bold and seeking some attention because whether good or bad, none of the outfits are boring.

From the moment the music changed to a classic, slow, Elvis number, the Queen of Cuts, Sonya Battla enthralled all those present. Every single model transformed into an equestrian lady that didn’t walk, but glided on the ramp. If there is one thing that she understands, it’s the art of creating a presence without creating a hoopla.

The outfits were typically Battla, but definitely embodied a richness and maturity in design that brought finesse in garment and how they are designed to a completely new level. She was very European, very elegant and very flowy in her creations. In some there were layers that were masterfully cut to reveal them without making them look shabby, there were others, for example a white gown with a gold and red lined neck worn under a white chicken shift, where for a moment the model seem lost in the fabric itself but emerged with poise and just as fluidly as the outfit seemed to command from her. Every step of the way, Sonya enchanted and lived up to her reputation of being the Queen of Cuts.

What was interesting to note is that other than Maheen Karim, who is just beginning to establish herself and Sonya Battla, who enchanted with the depth of her maturity in design, the other two featured collections namely, Ammar Belal and Khaadi Khas, showed the two designers in a transitionary phase. Where one is of the opinion that Ammar Belal’s venture into formal menswear isn’t going to generate any credible waves, Khaadi Khas on the other hand, as crazy as some of the designs were, might just be on to something.

-- Photos by Fayyaz Ahmed

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January 6, 2008

2008-01-06T11:14:00.000-08:00

Penniless Paris

ParisAccording to the law of the nature, bad behaviour gets punished badly. In the world of the Hiltons’, it costs you most of your inheritance.

William Barron Hilton, grandfather of infamous socialite Paris Hilton, recently announced that he is donating 97 per cent of his 2.3 billion dollar fortune to charity. The money will be placed in a trust and will be used to benefit the Conrad N. Hilton Foundation. The foundation works towards education for blind children, shelter for the mentally unwell and clean water in Africa.

Paris Hilton hasn’t issued a statement yet, but according to Jerry Oppenheimer the author of the House of Hilton, Barron Hilton is “embarrassed by the behaviour of his socialite granddaughter, Paris, and believes it has sullied the family name”.

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January 6, 2008

2008-01-06T11:07:00.000-08:00

Madonna's debut

The directorial debut of Madonna will have its world premiere in the Berlin Film Festival next month. Titled Filth And Wisdom the film stars Eugene E. Grant, Stephen Graham and Eugene Hutz. Interestingly enough, the movie will be shown “out of competition” meaning that it wont be eligible for judging and receiving the festival’s awards.

The Pop Queen is also expected to be inducted into the US Rock and Roll Hall of Fame this year. Candidates are included, among other criteria, only if 25 years have passed since their first official recording. Madonna scored her first record deal in 1982.

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January 6, 2008

2007-12-30T07:48:00.000-08:00

Jay-Z parts with Def-Jam

It’s true: ace-rapper and one of the most sought-after producers in the American music industry, Jay-Z is stepping down from his post as President and Chief Executive Officer of Def Jam Records. And with everything that involves Jay-Z, this move also has its own share of controversies.

“It’s time for me to take on new challenges” said the rapper in an official statement. He has just recently released his tenth studio album, American Gangster, via Def Jam and according to a separate, long-term contract that Jay-Z held with the record label, as an artiste, and is to release two or three albums with the label. Jay-Z who came out of retirement in 2006 and released an album titled Kingdom Come, was often criticised for his seeming interest in promoting his own work than of the artistes signed up with the record label he was overseeing.

Despite the accusations, Jay-Z single-handedly raised Def-Jam Records back to its initial formidable height as one of the most powerful house in rap. During his tenure Kanye West released two highly-successful albums, Late Registration and Graduation, Fabolous with From Nothin’ to Somthin’, he signed on Ne-Yo and Rihanna, the latter who he converted into an international superstar. He helped bolster the careers of Rick Ross, Nas and Jadakiss and launched Young Jeezy’s career as well.

Although Jay-Z declines rumours circulating that he stepped down from the post on monetary terms, citing that he was looking for newer business models for selling records, an anonymous source from Universal – the company that owns Def-Jam – stated that the company was letting go of the Jigga Man because under a renewal of contract that Jay-Z was seeking required Universal to pay him, provided he met some financial goals, over 10 million dollars.

Some may argue that Jay deserves it, but an alternative argument could be that since the record label industry has been experiencing a radical decline in monetary benefits due to rampant piracy and stark declined in CD sales, and coupled with Jay’s own share of controversies, Universal may have decided that renewing his contract wasn’t a feasible option for them. It is unclear whether Jay-Z’s position will be filled immediately after his departure.

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December 30, 2007

2007-12-20T05:37:00.000-08:00

Kami in K-town

He was once quoted as saying that he’s dedicated to making everyone’s life “fabulous”. Kamiar Rokni is the fashion industry’s blue-eyed boy and favourite success story. His ‘divorce’ (as he likes to call it) from Karma, the label he helped set up and designed in for roughly around seven years, left no doubt in anyone’s mind that he would be able to make it on his own.

Since the breakup, Kamiar’s individual line has been eagerly awaited by almost everyone in or remotely interested in the fashion industry. No one could truly predict what it would be like, but the general consensus was that it would be “utterly fabulous”.k2.jpg

The one thing that is immediately noticeable about Kamiar is that he tends to dress conservatively but with a flair (think black-and-white pant suit with bright red shoes) — he embodies the chic-yet-funky ’70s glamour, brings it to the current decade and makes it his own. Armed with a charismatic smile and devil-may-care attitude, this fashion magician launched his collection at the recently established Ensemble in Karachis Old Clifton district.

Kamiar was originally supposed to launch himself via the indefinitely postponed Pakistan Fashion Week, but has decided to start small by stocking in multiplexes, first at The Boulevard in Lahore. He is perhaps testing the ground and working on the feedback before arriving with the proverbial big bang. Kamiar confirmed this by saying: “With Ensemble I will be providing my ready-to-wear line on a regular basis and in the spring (2008), sometime in late March, I will be coming out with a couture collection. And hopefully I’ll back that up with a show as well.”

k3.jpgStanding side-by-side, with collections by fashion icons in the subcontinent — from India there is Tarun Tahiliani, Sumar Dugar, Rohit Bal and Ritu Kumar; and from Pakistan there is Faiza Samee, Umar Sayeed, the recently relaunched Shamael Ansari and fashion talent Sadaf Malaterre — is now Kamiar Rokni’s prêt-a-porter collection and couture line. Keeping it simple for the winter party season, Kamiar plays with bold motifs, appliqués and mesh embroidery on colours ranging from deep turquoise, mustard, hot pink, white, beige and black. The cuts are straight and simple and nothing is over-the-top. An outfit that stood out was a black ‘tuxedo dress’, longer on the backside and relatively short in the front, no doubt meant to be worn with pants, and with a simple white checkered neckline.

k4.jpg

“I was thinking in terms of re-thinking,” said Kamiar when asked about his inspiration for the line. “The inspiration was to re-think silhouette, embellishment, form and colour, and so I’ve done a lot of things I’ve never done before: a lot of appliqué, large motifs and a lot of graphic stuff. I also haven’t done that much of beading and crystals. The inspiration really was rebirth, a rethinking my design philosophy.” About whether he has a favourite piece from the collection, Kamiar says, “I do, actually. It’s sold. It’s called the Mod Squad outfit which is this A-line shift with black-and-white trim at the hem, that’s one of my favorites from the collection. Also, I love my warp and weft embellished tops from the same line.”

k5.jpgThe launch saw the likes of Safinaz, Umar Sayeed, Rizwan Beyg, Nomi Ansari, Deepak Perwani, Faiza Samee, Sadaf Malaterre, and also brought out the shy Iman Ahmed (formerly Imranna Ahmed, of Body Focus) and model Nausheen Shah.

When asked how they felt about Kamiar’s collection, they were full of praise. “Kami’s clothes are very well-cut, the choice of fabric is excellent and perfect for the Karachi weather. The colour coordination, piping, the little details and the finishing is very nicely neatly stitched. I think Kami will do very well in Karachi,” said Nomi Ansari.

Despite having a stock in Ensemble herself, Sadaf Malaterre enthused: “I picked up one of the shift tops myself. I like the simplicity in them and I adore him.”

Zeba Hussain of the Teachers’ Resource Centre and whose daughters are managing Ensemble was of the opinion: “I think Kamiar’s taken Karachi by storm. I’ve always admired his work and I’m really happy that he’s here with us. I’m looking forward to working with him.”k6.jpg

According to Deepak Perwani, Kamiar’s collection contains “beautiful stuff. I love the kaam as it’s quintessentially Kamiar: It’s playful, it’s fun and the embroidery is beautiful. I’ve always thought that Kami has a very strong sense of design, in terms of how he sees his women. And he definitely sees his women beautifully.”

Judging by the response the launch generated, Kami may well be on his way to replace the ‘K’ in Karachi by that in Kamiar.

Photos:

1. Model, Nausheen Shah going through the collection

2. A view from outside

3. Kamiar with Iman Ahmed (formerly Imrana Ahmed of Body Focus) and his publicist, Selina Rashid

4. Kamiar walks Freiha Altaf through his collection

5. Batul Rizvi, Omar Sayeed, Kamiar Rokni, Faiza Samee and Zeba Hussain

6. Rizwan Beyg and Faiza Samee examining Kamiar’s work

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December 20, 2007

2007-12-17T11:15:00.000-08:00

DJ Sheru on the move

Hasan Shehryar Yasin is working on expanding his empire, with plans to establish the “largest Pakistani presence” in fashion design in the UAE by opening up an outlet in Dubai in March next year. It will feature a diverse range of HSY originals from his prêt a porter, couture, denim (HSY Denim) and sportswear (HSY Active) collections. He also plans to introduce a new line, HSY Noir through the launch as well which sees him feature his abayya collection. HSY Denim and Active will also be shown at a show in Lahore today, from a collection he had previously shown in the Dubai. For those who may have missed his last performance, DJ HSY is expected to be found working his turntables after the show.

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December 16, 2007

2007-12-17T11:10:00.000-08:00

Dream with in a dream...

Entering the Commune Artiste Colony sometime last week, I was surprised to see a larger-than-life-sized brown wooden stool near the entrance. Upon peeking inside one could see that there was a massive video shoot taking place inside.

Parts of the gallery space had been converted into a set with screens and the occasional sofa and soon enough, one caught the haggard and weary-looking Umar Anwar directing some of his crew to making small changes in the set.

One also saw Haroon sitting on one of the chairs watching everything as it progressed, waiting for ‘shooting’ to resume. This writer immediately caught up with what the prolific music video director was up to.

Taking a break from directing commerials, Umar Anwar is back in the realm of making music videos with Haroon’s Nahin Hai Yeh Pyar. Tired of doing commercials, Umar was eager to get into something that would exercise his creative side.

Shot as a “dream within a dream within a dream”, according to Umar, the video is about a person who “is in denial. When someone lives in denial, he tends to create his own fantasy world around him.”

The video of Nahin Hai Yeh Pyar featuring Haroon is expected to hit the airwaves sometime later this month.

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December 16, 2007

2007-12-08T22:26:00.000-08:00

An Ali-en concept

One of the first things you will notice about Ali Azmat is that not only is he a wonderful entertainer, he is a very gracious host and makes sure everyone around him is fully tended to. The second thing you’ll notice is that despite the entertaining he does off-stage, cracking jokes and striking up conversations with those in his presence, he is always watching and observing everyone and everything around him. You can run, you can hide, but his quietly inquisitive eyes will find you wherever you are.

In the mid-afternoon that this interview took place; however, we see a different side of Ali. He is still the gracious host but is somewhat quiet and almost lazy – a trait he repeatedly identifies himself with. His second album, titled Klashinfolk, which has been generating a buzz for over a year now is in its final mixing stage before being complete for a commercial release. He’s also recently come back from a trip to India where he’s considering working on a couple of projects.

In an exclusive heart-to-heart with Images, Ali talks about what all he’s been up to, how is album is coming out and on him as a producer.

Word has it that you’ve recently agreed to produce a couple of songs for Indian films. What specifically are you working on?

AA: I’m producing a couple of songs for them. I did one for a movie called Tera Kya Hoga Johnny which is my friend’s Sudhir Mishra who has also made Hazaron Khuahishain, Chambeli, etc and is a very good director. I did two songs for a movie called Mumbai 11. It’s basically 11 directors shooting 10-minute movies. I also did a soundtrack for Rahul Dholakia, who actually won the Indian National Award last year for Parzania, the movie it stars Naseeruddin Shah among others. And I’m doing another movie for Akash Ghutnaam and there are numerous other projects.

They are basically independent film-makers, who are away from the pressures of Bollywood or of casting the ‘right’ actors.

Now that you’re a supporter of independent cinema, does that mean you won’t be producing music for commercial films?

AA: No, actually I spoke with powerhouse directors such as Nadiawala. I’m in touch with everybody but it really depends on the kind of projects I should take, because I’m not going to write dhoom dhamaka music, that’s not what I do. Around five of the songs from my new album are already being used as soundtracks to Indian films. I’ve shot around two music videos in Bombay and one in Goa.

Why shoot them in India?

AA: Because cheaper to do it there and you get all sorts of facilities like cheaper film, cheaper cameras, and developing is not a problem. So from that point of view, it’s a little more convenient, rather than in Pakistan where, when you shoot a video, you have to worry about sending a guy to Thailand or Dubai to finish it. It sort of works out, if your already going to be there.

But you do plan to make music videos in Pakistan as well?

AA: I’m planning to make a lot of videos this time around. I did four videos last time and I was on my fifth video, but I realised that my new album is ready and I was shooting songs from the old album, it doesn't make any sense. I might as well spend some money on the new one.

With you having directed one of your videos so far (Mein Challa), will you be directing any more on your own?

AA: I’m doing all of them on my own. I directed one video, and the whole thing is about getting an idea right. And I’m not much of a visual artist which is why I rely on people like Zeeshan (Parwez) and Saqib (Malik), etc. It has to be visually relevant for them for them to come up with something. I can write concepts. But I’m not a visual artist and I don’t know anything about shooting/camera/lights etc.

Why call the new album Klashinfolk?

AA: I thought it was perfect for the kind of culture we indulge ourselves in. We’re all about guns and bombs and we're totally desensitised to the AK47 culture. Kalashnikov to humarey culture ka ek hissa hai. Agar aap kay pas Kalashnikov nahin hai to phir aap mard nahin hain.

So I got myself a Klashinfolk, to shoot people around with the music.

What does the new album sound like?

AA: I really can’t explain what it is. For me, the musical genre is Ali-en (alien), it sounds cheeky but that's my genre. But it still sounds like rock and roll. In this album we’ve tried, stuff like country jazz and reggae and a sort of rock and roll thumris.

What are the songs in the album predominantly written about this time around?

AA: It’s about everything and nothing. It’s not really a conceptual album; it’s a record and a labour of love. It’s coming from the point of view of the kind of person I was a few years ago when I wrote Social Circus and this is the kind of person I am now. The music I’m writing is about the kind of state of mind that I’m in currently.

Songs are songs, at the end of the day you have to treat them as songs. You can’t state a song in a certain way; it will kill the listeners’perception of what that song is about. This is the lesson I learnt when I used to listen to Pink Floyd. Because you believe for years a certain song means something and then you find out what it was actually about… it kills it. As artistes we leave that area open for interpretation.

Also the kind of music you listen to is what’s going to inspire you to come out with. Like Social Circus was an inspiration from a band called Live. It goes from dark tones — with no extra guitar solos — to simple song-writing and it sort of worked out for that point in time. The album survives on itself on different levels. Social Circus was a dialogue with oneself. Most of the album was written in a very depressive state-of-mind because I was out of a relationship, I was out of a band, I was falling out with my parents and friends and so there was a whole phase where I was by myself and basically At war with the world.

But Klashinfolk is not like that. It is coming from a different state of mind. It’s varied and it’s perky and it’s not depressive.

You had fun making the album?

AA: Yes, and I had around 48 songs out which I only recorded 11.

And did they come out the way you expected?

AA: More so than I expected them to be. This also moves up my confidence as a producer because I never produced before Social Circus and I’ve won awards for that. I’m loving it because I can produce and I have an ear for that. I’m going after it like nobody's businesses.

But I’m enjoying producing my own records; the sound, the guitar parts, the vocal harmonies, drum sound, guitar sound etc. You’re producing on top of everything else, right from the beginning.

So you’re enjoying the control you have over the album?

AA: It’s not even about control, it’s about pushing into the deeper end. What’s the other choice: whose going to produce it? If I don’t make a decision then nobody else is going to do it. In Junoon there was a power struggle and those guys thought that they were much better musicians so they would do what they thought was right. But what they didn't have was an ear for production.

When you listen to the album you'll understand what I’m talking about because the sound-scapes, they (Salman Ahmed and Brian O’Connell) couldn't create it. Salman Ahmed is a good songwriter but he was not a good producer. I don't own any Junoon music, I can't relate to it. From a production's stand-point, that is not what I want to hear.

Because you’re individual sound is very different?

AA: Yes. And I want to make it more different.

You’re not interested in developing a signature sound?

AA: Not at all. I don’t want to be stuck in a rut and make a parody of myself. Junoon was basically caricatures of themselves and it sort of irritated me. I don't want to be stuck as a sufi soul singer. I’m not sufi, I’m just goofy. Because your growth needs to be documented and this is my growth (as a musician) being documented.

-- Photography: Amean J.

First Published:
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December 9, 2007

2007-12-08T22:17:00.000-08:00

Behind the shoot: Maheen Karim

Designer: Maheen Karim
Photography: Rizwan-Ul-Haq
Hair&make-up: Fouzia Ahmed @ Mubashir Khan's salon
Model: Nausheen Shah
Fashion Editor: Madeeha Syed

You can never be absolutely sure how a concept for a shoot will turn out till it actually happens. The concept itself was inspired by the understated glamour and sophistication embodied by the classic sensation, Twiggy. Keeping that in mind, the idea was to shoot a model in her natural environment, at work, literally ‘acting’ as a model. As it would turn out, it’s much easier for someone in front of the camera to assume a character than ‘act’ natural — with the exception of reality TV stars.

The hair and make-up, directed by Mubashir Khan was kept very simple with no added glitter anywhere. What was interesting to note was that when ever the model, Nausheen, did not intentionally pose was when she fit perfectly into the character that we were trying to portray. There were moments when she took a small break and casually sat down on the couch we’d asked her to freeze for a frame or to improvise on what she was already doing.

Almost every single person participated, including Maheen, the designer (who at one point, instructed a somewhat brilliant pose to the model — something which the model couldn't quite catch on to) and the hair and make-up artist who along with Maheen helped contribute as extras in some of the frames. Despite getting into it not knowing fully what to expect, at the end of it all, with the collective efforts of working with everyone involved, it turned out just as well, if not better, than what we had expected.
First Published:
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December 9, 2007

2007-12-02T11:59:00.000-08:00

The understated bride

Hajra Hayat isn’t out there to create a bang or hoopla. She isn’t one of those to stick out a feather, expose a leg or come up with crazy colour combinations just to attract attention and establish herself as a fashion “visionary” simply because she’s also not a fortune teller — she is a designer who designs for the ‘now’.

Hajra Hayat is known to design outfits that are “wearable” as her outfits are always aesthetically pragmatic. Despite several innovations, in a show this Lahore-based designer held in Karachi recently, it was evident that she hasn’t deviated much from her design philosophy.

Rang De, the official title of the Hajra Hayat Winter 2008 bridal wear collection was shown, at the onset of the wedding season, in collaboration with Shehzad Roy’s Zindagi Trust. After speeches relating the objective and ideology of the Trust, including one by Roy himself, those present were treated to a performance by him to three songs, two of which were performed live with his guitarist Imran Akhund.

Of these, one was a cover of a Beegees classic re-made by an equally popular cover by Boyzone, Words. As much as this scribe appreciates Roy’s inherent love for the song, covering a classic and performing it is an intimidating feat in itself and unfortunately, Roy simply lacked the ‘soul’ needed to make his cover of it his own. He then performed his most popular song to date, Sali, disappointingly on DAT. Thankfully, it was the last song performed by him and the Hajra Hayat Rang De fashion show finally kicked off.

The opening segment showed a white, western-inspired collection. There was no over-the-top embroidery or embellishments; the line was simple, with elegantly cut shirts over straight-pants or capris. For a moment it seemed as though Hajra had toned down for her showing in the city but not for long. The embroidery and bling increased as the show advanced. The predominant colours Hajra has played with in the collection are white, pink, red and blue. Most of the saris that were shown carried deep-cut blouses at the back with intricate embroidery done around the borders and across the back as well.

An interesting combination was a red and blue bridal outfit, a combination which has been a tad overdone but was manageable in this case. What stood out from the bridal section was a simple white, lightly embellished, long-skirted outfit worn by model Faiza Ansari with an equally simple dupatta over her head. The outfit was perfect for the more untraditional bride looking to separate herself from the norm. Another eye-catching outfit was a pink-bloused red ghaghra worn by Sunita Marshall with a pink border towards the hemline of the ghaghra with circular mirrored-disks bordering it.

At this point one has to mention that out of all the models Faiza Ansari seemed to be having fun. She swirled her pink sari when walking the ramp adding a little bit of extra ‘oomph’ to it. On the other hand, despite having seen Nadya Hussain several times on the runway, and despite being tall and beautiful to look at, she unfortunately does not understand the importance of a good posture or timing when strutting down the ramp. She walks while leaning oddly backwards, resulting in her lower body leading the way with her upper body following. She also tends to walk painfully slow, disregarding the pace that the other models were keeping or even the overall beat of the song being played. Despite having been around for quite some time, Nadya is desperately in need of lessons on how to walk on the runway.

Another interesting thing to note was that most of the people attending were not from the local fashion fraternity, they were socialites and individuals from the corporate sector, people who are genuine buyers of designer-wear outfits.

Overall, the collection wasn’t over-the-top or a work of a creative genius. It was, however, creatively done with outfits which people could actually wear (as opposed to ‘just see’). The western-inspired line was a welcome addition and since it seemed to be fused with certain eastern cuts as well, one can be sure these would be ideally suited for the youth of today – the ‘Minglish’ speaking crowd. If simplicity in design is the hardest thing to carry, then Hajra Hayat carries it really well.

First Published:
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December 2, 2007

2007-12-02T11:54:00.000-08:00

The next Lennon?

More news on the Ali Zafar front is that this crooner has released a song titled, Those for Truth, on his official website, www.alizafar.net. Unlike any other song Ali Zafar has released, this song is soft, mellow, with a simple piano progression playing along to him singing the lyrics in a slightly higher pitch, than what we are accustomed to listening from him.

When questioned, Ali said that he wrote the song keeping in mind everything that was happening to us (mankind) around the world and the times that we’re living in. He is yet unsure whether the song will be included in any upcoming album and would like to welcome feedback in the form of videos being made by his fans and interested individuals.

“Even if it’s a simple video made on a mobile phone,” he said, adding that there would be a bit of a surprise for the best one selected, showing his interest in increasing interaction between him and his fans.

First Published:
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December 2, 2007

2007-12-02T11:49:00.000-08:00

The Rogue bride

Designing under the label of Rougue, with Mamoona Mannan's bridal wear collection already a success in Lahore, the Rogue bride will be unveiling herself in Karachi along with bridal wear collections by HSY, Karma, Sublime and Maysoon at The Designers outlet this weekend.

This will be the first time that Mamoona Mannan will be showing her collection in Karachi. The showing will display a whopping 40 bridal-wear outfits for this season by the mentioned designers.

First Published:
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December 2, 2007

2007-11-25T22:35:00.000-08:00

Minority report: Ramchand Pakistani

Mehreen Jabbar, not an unknown figure in the Pakistani entertainment industry, is a storyteller at heart. Currently living in between New York and Pakistan, this film-maker has to her credit over 10 years of experience in the local industry, a certificate in Film, Television and Video from the University of Southern California, a series of independent and made-for-television films some of which have also been shown in various film festivals around the world and is one of the original founding members of the KaraFilm Festival. Her work is often recognised as being based on the lives and dilemmas of the ordinary Pakistani woman, and she is often quoted as having a fresh, original style of film-making. With all of that safely tucked under her belt, it made sense that this bundle of talent would eventually release her own full-length feature film — or at least attempt to.

Written and produced by her father, Javed Jabbar, Ramchand Pakistani, expected to be released sometime early next year, is Mehreen’s first full-length feature film. What’s more is that the film has already been generating a buzz, locally and internationally, several months prior to its release. Images caught up with the new-wave film-maker in an exclusive heart-to-heart on Ramchand Pakistani and more.

“Well, I have wanted to make a feature film for as long as I remember wanting to hold a camera, so it’s been a while. Over the years, I dappled with a couple of stories and ideas but as you know it takes some effort putting together a feature, no matter where you are,” she says about delving into making a feature film.

“My father had mentioned to me that he had a story based on real-life events that he thought would make a compelling feature. On one of my visits to Pakistan last year, he gave me the synopsis of the story. I loved it from the moment I read it and from then on it’s been a non-stop process of having this film come together.”

Continuing she said, “Mohammad Ahmed came on board last year in May and the script-writing process started. As the executive producer of Ramchand Pakistani, my dad went and raised money for the venture from some very unexpected sources. I think for the first time in our history, a film has been financed by a group of people who just believe in the project and in cinema, and have donated various amounts to get it made. It is so tough to get individuals who are not from the industry to believe in cinema again that I’m indebted and grateful to all of them who actually did.”

Ramchand Pakistani is based on the real-life story of a Pakistani Hindu boy who accidentally strays across the border and he, along with his father, are put behind bars after being labelled as spies. The film reflects the emotional turmoil the wife-mother goes through and is a depiction of what families living near the Pakistan-India border continue to go through, especially when tensions between the two countries are running high.

Mehreen’s film also features a set of collaborations between Indian and Pakistani artistes. The soundtrack composed by Indian composer Debojyoti Mishra is a collaboration between India's Shobha Mudgal and our very own Shafqat Amanat Ali. The lead role of the mother is played by well-known Indian actress Nandita Das of Fire (1996) and Earth (1998) fame.

“I’ve worked with Nandita before on a short film and I’ve known her for some years. I felt that she would be just right for the particular role and wanted to work with her,” said Mehreen about the cast. “We were very clear though that the rest of the cast would be from Pakistan and so the film features many prominent Pakistani actors such as Rashid Farooqi, Noman Ijaz, Maria Wasti, Shahood Alvi, Tipu, Adarsh Ayaz, Saleem Mairaj, and of course the our little star, Syed Fazal Hussain who plays Ramchand. Our production crew is also a mix. The director of photography is Sofian Khan, who I’ve worked with in New York.

“We developed a great connection working on TV films over there and I felt that we would be on the same page with this film since we share similar tastes in film. Our chief gaffer, sound engineer and HD technician are also from NY. Apart from that, the rest of the 65-plus crew are all Pakistanis — from the associate producer, the assistant directors, the production managers, the lighting crew, etc. I think it was an incredible experience for everyone involved. It was gruelling and challenging, but at the same time there was always an undercurrent of excitement that made us look forward to every day.”

The story about the selection of the music composer goes something like this: Mehreen wanted the soundtrack composed by whoever had done the outstanding solo, Mathura Nagarpati Kahe Tum, from the Indian film Raincoat. “I found that music so haunting, I could think of no other music director other than Mishra,” says Mehreen. “I was a big fan of the song which has been sung by Shobha Mudgal. So I got in touch with the composer and his enthusiasm for the Ramchand Pakistani project from day one told me that he was the right man for the job. I think he’s done a wonderful job with it because he understood the tone of the film. We recorded the vocals of the two songs in Karachi at Rohail (Hyatt)’s studio.”

With an eye for detail and in an attempt to stay completely true to the story, some of locations at which it was shot were also where the original incident took place. “We shot in Nagarparkar and Islamkot, which are in Tharparkar, close to the Indian border. Also, the boy and his father hail from the village Bhimra in Nagarparkar where we shot a couple of scenes.”

However, working in the open wild wasn’t easy as Mehreen said that “it was very tough, no doubt about that: just the logistics of hosting and caring for 75 people in the middle of nowhere, where very few amenities, let alone roads, exist was in itself a feat for the production dept, but I think it all came together very well because everyone worked as a team. One of the blessings of working there was that there was no cellphone coverage.”

Relating an amusing anecdote about shooting on-location she said, “We built two bathrooms in a truck that were used by all the cast and crew and the facility travelled with us wherever we went. There was an ‘American’ and an ‘Indian’ toilet to cover both preferences and it had a name I can’t divulge!”

Ramchand Pakistani has recently been awarded the Global Film Initiative (GFI) Grant — an initiative to support films which promote ‘cross-cultural understanding’ and which consist of some of the best in global cinema. It was one of the five films selected to receive the grant this year. “The GFI grant was an affirmation to the story of the film and its screenplay and we are very honoured to receive it. I think we found out about it during or right after filming had stopped,” recalls Mehreen. “The film will first do its festival rounds over the course of the year and eventually we are hoping for an international release.”

About her own plans, she says that “making a feature takes a lot out of everyone concerned. Ideally, of course, I would love to work on the next feature immediately because I can’t wait to put into use what I’ve learnt from this one. I will continue to work in TV till the dream of the second one materializes. However, I do plan to start working on a script right away.”

Having worked in the local entertainment industry for a considerable period of time, one couldn’t help but wonder whether the current state of the Pakistan film industry had anything to do with her decision of going into the realm of film-making? “The current state of the Pakistan film industry has been the same as far back as I can remember, if not, it’s much worse now. I don’t know if that played a part in my desire to make a film. I think a film is more a storyteller’s dream and the obvious next step from TV,” she says.

With the tag as “Two nations poised for war. One family torn apart,” Ramchand Pakistani examines the repercussions that political relations between two countries have on the common man. With characters in the film speaking in both Urdu and Hindi, the fact that the film is also a collaborative effort by individuals from diverse geographical and cultural backgrounds, is testament to the unifying spirit that Ramchand Pakistani is hoping to evoke, from a perspective that otherwise hasn’t received much attention from individuals working in the local or global entertainment industry.

-- Photo by Kohi Marri

First Published:
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November 25, 2007

2007-11-25T11:55:00.000-08:00

Passing on the fashion torch

It’s heartwarming to see individuals working in the fashion industry come together to nurture budding talent. In a fashion charity event titled Nine Women hosted by the Depilex Smile Again Foundation at the Lahore Grammar School, the event was themed to show the different faces of the Pakistani woman.

Over a period of time the participants who were all students, were taught how to design, cut, silhouette, colour, manufacture and retail their creations by fashion industry individuals. Coming together in a showing choreographed by HSY, the participants’ performance was judged by a panel of jurors which consisted of Ather Shahzad, Maria B. and Yasir Waheed.

Nickie Nina, one of the designers who helped instruct the students, had their creations based around the theme of Motherhood. With three of the outfits created by their students, this segment also included one original piece by them as well. Based on the theme of the Artiste and The Prom Queen, Kamiar Rokni was called to unveil two of his original outfits which were modelled by his muse, Maliha Naipaul.

More on Nickie Nina is that they are planning a massive 80-piece showing of their collections at New York, Chicago and Washington before the year ends.

Photo:
— Kamiar Rokni with Maliha Naipaul
— Iffat Omar with Nina

First Published:
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November 25, 2007

2007-11-25T00:31:00.000-08:00

Behind the scenes: Depilex

Hair & Makeup: Nighat Misbah @ Depilex
Photography: Rizwan Ul Haq
Model: Neera Mansoor
Art direction: Light & Shade

This was a shoot that spanned over four days simply because each make up set took around three to four hours to do. According to Nighat Misbah, the inspiration for the shoot came from a yearning to do something other than the norm and by the works of hair and make up shoots by foreign artistes.

For this shoot, they also wanted to feature somebody who hadn’t been photographed very much before and owing to her beautiful, graceful bone structure as well, Neera Mansoor seemed like a viable model. “We also wanted to feature her in a way that she hasn’t been featured before”, added Nighat Misbah about Neera.

“For the hair and makeup we literally treated the face as a blank canvas and used the makeup to paint over it”, she said, “and because attention was paid to every single detail, the make up took several hours and by the end of it, I was exhausted. I couldn’t do another set the same day which is why Neera had to come over several days in a row. And she was very nice and cooperative and was always on time”.

The hair and makeup coupled with the shoot wasn’t a one-man show as Nighat clearly pointed out that “this isn’t the kind of work one can do on their own. Normally when you do shoots like these, the hair and makeup can come out looking very bad if the light and shade along with the angles at which the photograph is taken isn’t taken care of and Rizwan has done an amazing job at that. Along with that, I am grateful to Kamran Khairi who constantly guided us with the concept of the shoot”.

2007-11-25T00:18:00.000-08:00

With or without a record label
He is a part of the dying breed that pioneered underground music in Pakistan, before it became what it is today — a platform through which local artistes hope to launch themselves into mainstream television. Shahzad Hameed is a guitar maestro who’s been in the Lahore underground circuit for over a decade. And for the past year or so, he’s been trying to get his album released.

The latest is that his album, Songs from the Nowhere Land, has been released via a distributor without the involvement of a record label. Carrying the “if you’re not going to do it for me, I’ll do it myself” attitude, this version of the album is slightly different from the original in that it contains additional material.

With one video from the album, Fish Out of Water, previously released to critical acclaim, the latest video from the album, Fear — a collaborative piece of work between Shahzad and other artistes — is currently making the rounds on the tube, the album will also subsequently be available online on www.shahzadhameed.com for download.

First Published:
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November 25, 2007

2007-11-25T00:06:00.000-08:00

Stocking Kamiar

A product of one of the most competitive classes of Pakistan Institute of Fashion Design, Kamiar Rokni is one designer who is expected to redefine Pakistani fashion as we know it. And that same expectation has been keeping interested fashionistas constantly on the lookout for any sign of him making his outfits available.

The wait is finally over. Kamiar Rokni’s select haute couture pieces along with his prêt-a-porter line will be made available at The Boulevard in Lahore. K-town wasn’t left out of consideration either: his prêt line will also be available in December at the recently launched Ensemble in Karachi.

“It’s bold, vibrant, efficient and sophisticated. I haven’t concentrated too much on embroidery, on bling, but more on the texture of the fabric. It’s what can be worn everyday, for lunch and for dinner,” says Kamiar about his ready-to-wear collection, “I’m also experimenting with newer silhouettes in this and the overall line has a touch of elegance to it.”
First Published:
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November 25, 2007

2007-11-17T07:57:00.000-08:00

Going Datch

What do you do when you bring together casual, sportswear and accentuate it boots, bling, crazy hair and makeup and a whole new attitude? You get the Italian sportswear brand, Datch. And Datch came to town last weekend in a fashion show that was an eclectic mixture of both day-wear and evening-wear and was a tad too short. Although the invitation card dictated that the dress code for the evening was “smart casual”, the attendees were anything but, and seemed to fodsc_0032.jpgllow the “it’s better to be overdressed than underdressed” notion.

Starting around an hour and a half too late, normal by local standards, the opening section of the show was a flurry of colours and at the most, interesting combinations of them. With most models sporting capris that ranged from white to black and blue, the tops ranged from large kaftan-inspired creations to button-down shirts. The combinations were loud, colourful and at times, over-the-top. An outfit that stood out was a large, black and white zebra print shirt worn by Rubya Chaudry, over orange pants – a blend that was oddly reminiscent of the glam rock element predominant eighties. With hair and makeup courtesy of Nabila’s salon, the models in the first segment sported almost identical hair with light-brown, almost blonde buns on top of their heads ending up with spiked hair falling over on one side. Rumor has it that the wigs the models sported were flown in especially for the event. Although not brining anything drastically new, this section brought the glam rock element symbolic of the eighties and customized it to the current decade.

Coming towards the darker side, but in terms of colour only, the second section could have been categorized as formal evening wear had every outfit not been flavored with a little bit of silver and gold here and there. The outfits were simple and ranged from dsc_0072.jpgblack to dark brown in the colour. The models were accessorized with chains as necklaces and belts that flashed slightly on the runway. One of the knee-length dresses on the runway carried pockets near the hem (ala 70s style), following the international fashion trend for 2008 towards having pockets on dresses. There was one outfit, however, that was somewhat ghastly: a silver, backless bathing suit worn over black tights. It had a very Vegas showgirl (without the feathers) costume-gone-bad look to it. The outfit itself was an eyesore and stood out painfully compared to the rest of the outfits in the set.

The final set was when things became really interesting. Almost monochromatic, this section carried the most attitude, in terms of overall look, as well. The lights were dimmed with the only the one at the entrance, at the beginning of the ramp lit. The models began by posing against the light and the silhouettes that their outfits and most importantly, their hair made against the light were interesting to watch. The make up for this segment was dark, especially below the eyebrow and the hair was shorter and spikier – oddly reminiscent of the type being sported in the current Japanese pop culture (without the coloured hair). The predominant look for this section was definitely biker chic: complete with knee-length, high-heeled boots to long coats worn alone or over short black dresses. Definitely made for the winter seasondsc_0077.jpg, the coats, boots and the length of the dresses was perfect in keeping its occupier fashionably warm without toasting them entirely.

Interestingly though, for the final showing, the lights were dimmed again and the models took their positions on the runway. When the lights came on, one could see Vinnie (the only model for whom there would be some applause every time she’d appear on the runway) on the forefront, with a fierce almost scary expression locked on her face. She was almost statuesque in her appearance and exuded a cold confidence that sealed the event as well.

A sports brand in the loosest sense of the world, Datch by its own definition, stands for “freedom of expression, determination, music and sport”. The outfits themselves, although not radically different from what is currently available for any Pakistani woman looking to wear something to the next socialite event, did bring a touch of more sophisticated class (only in the latter sections) to what is currently being circulation.

– Photography by Fayyaz Ahmed
First Published:
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November 18, 2007

2007-11-17T07:51:00.000-08:00

Pushing the 'Chop Shop'

Who doesn’t remember Man Push Cart from last year’s Karafilm Festival? After bagging several Ciepies last year, including one for Ramin Bahrani for best direction and Ahmad Razvi for Best Male Actor in Leading Role in the same film, Man Push Cart went on to receive raving reviews and win an armful of awards in film festivals around the world.

With the Karafilm Festival postponed indefinitely this year, it’s a pity we wont be able to see Ramin Bahrani and Ahmad Razvi’s latest offering, Chop Shop, which opened at the Cannes Film Festival 2007 and which has already begun generating a positive buzz wherever it has been shown yet. It has been labeled “American independent cinema at its best” by the Daily Telegraph.Alejandro (played by Alejandro Polanco) is a 12-year-old latino boy who works in an auto-repair shop in the outskirts of Queens, New York. An adolescent living in the adult world, the highlight of his life is when his sister Isamar (played by Isamar Gonzales) moves into the tiny room he’s kept for himself. They hope to secure a brighter, more secure future for themselves by acquiring a food van and providing food to the people of the area and Alejandro begins saving for it. Reality sets in when they are confronted with everyday truths about the harshness of life that seeps into their work, relationships etc and they are often faced with making decisions that most adults would find intimidating. Chop Shop is a film about mankind’s inherent nature to survive, growing up before one’s time and yet retaining the hope that youthful innocence brings with it.

Chop Shop carries forward the essence of Man Push Cart in the sense that it focuses on communities that aren’t conventionally given much attention, on the complex interplay between aspirations, human relationships, the adversities that his protagonists face and their ability in overcoming them. It examines all that in the most humane way possible.

Ahmad Razvi is currently working on his third feature film.

– Photo: Isamar Gonzales and Alejandro Polanco in a still from the film.

First Published:

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November 18, 2007

2007-11-17T07:49:00.000-08:00

Ali and his toys

He’s known for being finicky about how is album is produced and recorded and has no qualms about travelling to different ends of the world to get the end result just the way he wants, which is why it makes sense that Ali Zafar has been caught up with a bit of construction. For the past couple of weeks he’s been caught up in building his own, private studio at his home in Lahore. “It’s not a commercial studio,” his manager, Haroon Sheikh commented, “it’s for his own personal use and he has the best equipment available which he bought from the United States”

Ali has been missing from the music video circuit for the past couple of months but not anymore. According to Haroon, “we’re in the thought-process of the next video” but preferred to stay tight-lipped about the song or the chosen video director. Other than his current baby, the Ali Zafar in-house studio, he will begin touring extensively sometime at the end of this year.

First Published:
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November 18, 2007

2007-11-11T06:35:00.000-08:00

Genius in waiting?
“… about three years ago I decided I wanted to make a film and the rest is history,” says Saqib Malik into the dictaphone at the end of a formal summarised introduction he gives of himself and his work.

The film in question is Ajnabi Shehr Mein, which back then was supposed to be this avant-garde music video and commercial director’s first-ever full-length feature film. The film’s original cast included Ali Zafar, Shaan, Tooba, Veena Malik, Samina Peerzada, Durdana Butt and Ali Saleem, and was in Saqib’s own words a “political-thriller drama” based in Karachi.

“It’s going to happen; it’s going to take its own sweet time. I’m going to do what Shoaib Mansoor did: I’m going to quietly start and make it and when it’s ready for the world I will come and talk about it. Before, I blabbed way too much and I’ve had to answer for that,” replied Saqib when confronted with whether or not his debut film will ever make it to production.

However, one can’t help but wonder what happened to it. “Twice, I was absolutely on the verge of commencing shooting. In 2005, three weeks before the shoot was supposed to start, the producers backed out.” But Saqib didn’t give up on the film and approached a local television network which seemed to show a keen interest in it. Over the period of a year after that, including countless meetings and hours spent on rewriting and refining the script with Sarmad (the then scriptwriter), just when things seemed to be working out the sponsors had a problem with the script. But by then “Sarmad had just had enough. I think he just overdosed working on that script,” recollects Saqib.

With Sarmad out of the picture, a new scriptwriter was needed and in came veteran television writer Mohammad Ahmed who also has to his credit the script for Mehreen Jabbar’s yet unreleased debut cinematic feature, Ramchand Pakistani, due out early in 2008. “Mohammad Ahmed was very keen to come on board. But when I showed him the script, he had a very different perspective on it. And that meant working on it from scratch. He wanted to rewrite it and rework it in his own perspective, which is understandable. Obviously the first script was very close to my heart, we really burned the midnight oil on that. But it would to take another six or seven months to rewrite it,” he says, adding, “then we realised that maybe that script idea had gotten too old because I had already made the film twice in my mind and two years had passed and Khuda Kay Liye (KKL) had been made and everything had moved on.”

Keeping that in consideration, Saqib’s current plans for making a film are very different from the original political-thriller drama that he had in mine. “I think it’s time to do a film for Pakistan that is young, youthful, optimistic, appealing to students and younger people. A kind of love story that has a progressive, youthful angle and Ahmed and I are working on it. Everything is sort of happening from scratch.”

And what about the original script? “We have still got the original script which I really like, but I think we might work on that one after this,” replied Saqib.

Coming to the cast of Ajnabi Shehr Mein, one couldn’t help but notice that he’d picked Ali Zafar to act in it. As successful as a pop musician as he might be, Ali is not particularly known for his acting skills. So what made Saqib pick him for a role in the film? “I’ve done a lot of commercials with him, I know what his potential is,” he says. “Ali Zafar was also cast because he has that vulnerable, romantic boy kind of a look that fits the character very well. Plus, he has the pull, he has mass appeal in a very different kind of an audience that doesn’t see films whereas Shaan has the traditional cinema-going appeal.” However, as it turns out, Ali Zafar isn’t going to be acting in a Saqib Malik film, whether in Ajnabi Shehr Mein or the progressive, youth-oriented film he now has on the anvil. The next time around when the film was supposed to be shot, “Ali was too busy and couldn’t give me enough time. When he did agree, he wanted so much in his fee that it was ridiculous. I started talking to a couple of other actors and finally it came down to Mekaal (the model) and he was more than happy to do it. But now of course that whole project is in limbo. I can’t say what’s going to happen to it or who’s going to be cast next,” he says.

Interestingly enough, on the one hand Saqib Malik has an avid interest in old classic films, independent films and/or foreign films. While on the other, he wants to make a film which has lots of mass appeal and traditional song-and-dance in it. His interest in a certain type of cinema and the kind of film he now wants to make don’t seem to connect. What does he have to say about that? “When I said I’m making a commercial film, I meant in the sense that it’s got commercial appeal to it. But the way you make it, the kind of characterisation, etc, you can make that highly artsy or you can make it cinematically or visually interesting. It’s like music videos, Khamaj was a very commercial video and that was the point — to make a film that’s commercially viable. But at the same time, it would represent a certain cinema appeal, a look that will be a break from the way movies are made over here. But this is all before KKL — it changed everything. It redefined what people want to see, what they can see, the kind of cinema that Pakistan can make. So now it’s a different ball game altogether.”

So does that entail that he is rethinking his strategy? “Yes, I am. I’d still love to make a commercial film. I think the kind of film I would probably make would still be very different from KKL. Do remember that at the end of the day Shoaib Mansoor’s film is also a commercial film… it’s got all the elements,” says Saqib.

The last music video he made as a director was for Ali Azmat’s Na Re Na, and not having seen any work from him in the realm since then, one wonders whether he is currently working on one? “I am in the thought-process of a video right now for Zeb and Haniya. I love their music. I think they’ve got a fresh sound — it’s very modern, paired down, very cool and it just comes through very directly. I’m very excited. And I think it’s going to be different than my other videos because I want it to be something straight up and simple. It’s not going to be an elaborate setup.” Two extremely talented musicians, Zeb and Haniya first made it big with their radio and internet hit, Chup. Considering that they’re still just beginning to create waves in the industry and don’t have an album or a video out yet, what made Saqib pick them as his next big thing? “The concept of two girls… regular girls who are not just manufactured pop stars and have beautiful voices…there is a certain rawness to it and I want to capture that, I want it to shine through that personality,” he enthuses. The song that he will be making the video for is Har Su. “I think it’s a fantastic song, I heard it once and I got goose bumps. That’s the beauty of Zeb and Haniya’s music, they are yet unfazed, and that’s what I’d like to capture.”

Does Saqib have a particular schedule in mind for the video shoot and its release? “Definitely this year so that it comes out early next year. I’m presently engaged in the process of thinking what I want to do for them but I haven’t constructed it consciously yet.”

With almost all of Saqib Malik’s music videos seeming like an indulgence where experiencing them is concerned — not only are they complete visual treats but are conceptually strong as well — one can’t help but look forward to a collaboration between one of the industry’s most well-established personalities and a pair of talented ladies who are just beginning to make their mark in music.

Where his cinematic venture is concerned, with Saqib’s eye for detail and cinematic flair exhibited in his work so far, one can be sure that a Saqib Malik film, despite the drawbacks, might be worth the wait. “I’m at a very nice point in my life as I’ve been so stressed out because of Ajnabi Shehr Mein in the past. I’m doing very little advertising work and being very selective with what I do”, says Saqib about where he is right now, “I’m very much at peace and I’m just enjoying looking at the world. It’s actually a good time in my life".

-- Photo by Amean J.

First Published:
Images
November 11, 2007

2007-11-11T00:57:00.000-08:00

Recognizing cross-cultural collaboration

“Besides the promise of artistic excellence, Ramchand Pakistani exhibited accomplished storytelling and offers audiences a perspective on daily life in Pakistan. We are impressed by the innovative and unique approach to the character development, plot construction, editing style and technique”, said Ms. Susan Weeks Coulter, Chairperson of the Global Film Initiative (GFI), in response to Ramchand Pakistani, Mehreen Jabbar’s first ever full-length feature film.

The GFI, whose Board Of Governors boasts a membership of some of the best in global cinema namely Mira Nair, Noah Cowen, Pedro Almodovar, Jia Zhangke among others, aims to ‘promote cross-cultural understanding through the medium of cinema’. And Ramchand Pakistani has been selected, in addition to five other films from around the world, to receive the GFI’s Spring 2007 Grant.

The film, which is in its post-production phase and is expected to be released globally sometime in January 2008, also boasts of a collaboration between Shafqat Amanat Ali and India’s Shoba Mugdal on four of the songs from the soundtrack of the film, with two of the songs having been recorded by Rohail Hyatt. Anwar Maqsood has penned the lyrics whereas Debojyoti Mishra has directed the music for the songs.

Inspired by a real-life incident, Ramchand Pakistani is based on how a seven-year-old Pakistani-Hindu boy and his father unintentionally cross the Indian border, are jailed as a result of it, and the emotional turmoil the mother (played by Indian actress Nandita Das) suffers through. “The film talks about things common to both India and Pakistan: bureaucracy and prejudice”, Nandita said, “There are innumerable cases of people accidentally crossing the border and being jailed as spies”. Ramchand Pakistani is currently one of Pakistan’s most anticipated films being made.

– Photo by Kohi Marri

First Published:
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November 11, 2007

2007-11-11T00:53:00.000-08:00

Behind the shoot: Adnan Pardesy

[unedited version]

“We went out shopping for plants”, is the first thing Adnan Pardesy, the designer tells me the moment I entered Light and Shade, Rizwan Ul Haq’s (the photographer) studio. In fact it turns out that not only were the designer and photographer out shopping for plants the day before but had also ventured out in search of the perfect plant right before the scheduled time for the shoot as well. The plant as it turns out, was to be used as an accessory in the model, Rubab’s hair for the shoot.

“The whole inspiration of this whole collection was basically coming somehow or the other from plants”, Adnan quickly explained, “A few of the outfits have been inspired from the paintings of Gorgia O’Keeffe”. In fact, one quick look at his sketch book will tell reveal that a lot of Adnan’s inspiration for fashion design comes from paintings overall.
“We had a lot of trouble finding the plant”, elaborates Rizwan, “we tried finding a plant that could be wrapped around the head without ruining its dimensions”. As a photographer one of things Rizwan is very particular is the attention to the minutest details where the appearance of the model is concerned. Keeping that in mind, it is perfectly understandable if the ‘perfect’ plant was hard to find.

As a photographer, Rizwan has reputation for taking his time with a shoot. He prefers to work every single detail from the set, to the outfits, to the model’s overall look to the poses she/he will be doing in the shoot, beforehand. Once he’s decided he wants to start, he tends to gaze intently at the set where the model is supposed to model often moving from one side to the next asking his assistants to alter the lights this way or that, testing to see what would give the perfect effect… all the while not moving his gaze away from the set.

Once the model is in the studio is when Rizwan seemingly comes to life. He will begin by throwing keywords to the model, which nowadays includes “different” and “unusual” – he wants to photograph a pose that hasn’t been photographed before. If the model isn’t following his cue, he will literally stand and shift positions showing how the model to pose from hunching her back or keeping it straight to lifting her shoulders to small minimal alterations in regular poses that make them look ‘different’. And he won’t rest his animated direction till the model gets it right.
“When I approached Rizwan, what I requested him was that if he gets time, he should just come and visit my workshop and just look at the kind of work that I’ve done and if it inspires him, if he thinks it’s good enough, then if he could help me shoot it”, said Adnan about how he ended up working with Rizwan, “He looked at my work and agreed to do a shoot for me”. “I had the clothes with me for a week while I brainstormed how to shoot them”, said Rizwan in response, “we had to do a good, but simple shoot on a white backdrop. We opted for black and white because we wanted to give it a more mature look”.

Rubab is perhaps one of the more established models in the industry. She literally rescued the shoot when the model who was initially supposed to model for it backed out at the last moment citing previous commitments she had made. “She’s been around in the industry for a very long time. It wasn’t a difficult task to direct her that this is the pose we wanted”, says Adnan about the model. “I had to direct her a little in the kind of body language we wanted”, said Rizwan thoughtfully, “but she understood and ended up doing pretty well”.

The hair and makeup was done by Nighat Misbah from Depilex and they, keeping in mind Adnan’s minimalistic style in design, they kept the look very simple. “I was trying to look for a very classic look”, said Adnan about what he was looking for in makeup, “something which is very my style, very simple, not over-the-top, just focusing on my clothes, not really accessorizing to a great deal. And give that very vintage look to my whole shoot”, elaborating further he says “if you look at my garments, they’re all very basic silhouettes. I’ve played with texture of the fabric rather than using embroideries… this is how I’ve always felt towards my work; because too many flashy objects, too much Bollywood is not my style. And I think a majority of the designers actually focus on embroidery than design which is not what I try to do”.

[edited version]

“They were out shopping for plants, looking for that perfect one they needed for the shoot. The search continued minutes before the action began on the studio floor. The plant was to be an accessory in model Rubab’s hair.

“The inspiration for this collection came partly from plants”, Adnan explained. “A few of the outfits have been inspired from the paintings of Gorgia O’Keeffe.”

A quick look at his sketch book revealed paintings as the designer’s inspiration.

“We tried finding a plant that could be wrapped around the head without ruining it,” explained Rizwan. No wonder the ‘perfect’ plant was hard to find.
Rizwan takes his time with a shoot, working on every detail from the set to the outfits, to the model’s look and the poses. That decided, his gaze is fixed on the set before altering lights and clicking the camera. Then, he begins by throwing keywords at the model: “different”, “unusual”, looking to capture a pose not photographed before. He takes the floor himself, shifting positions and showing the model how to pose. The animation goes on till the model gets it right.

“Rizwan looked at my work and agreed to do a shoot for me”, says Adnan.

“After a week of brainstorming we decided it would be a good but simple shoot against a white backdrop. We opted for black and white because we wanted to give it a more mature look”, Rizwan explains.

Rubab rescued the shoot when the model initially engaged backed out at the last moment.

“It wasn’t difficult directing her”, says Adnan.

“I had to direct a little in the kind of body language we wanted; she understood and ended up doing pretty well,” Rizwan concludes.

The hair and makeup by Nighat Misbah met Adnan’s requirements.

“I was looking for a very classic look, very simple, focusing on my clothes, vintage, to go with my basic silhouettes, no flashy objects; Bollywood is just not my style,” Adnan asserted, and got what he wanted.

– photo by Rizwan Ul Haq

First Published:
Images
November 11, 2007

2007-11-11T00:52:00.000-08:00

Here, there, everywhere!

The brainchild of Asad Tareen, they have redefined how fashion is retailed; The Designers which currently houses collections by HSY, Karma, Sublime and the in-house Maysoon label, plans to introduce for the first time in Karachi, a collection by the UK-based designer label, Rouge, via the launch of their second outlet in Karachi sometime in late November.

Rouge (by Memoona Mannan), which boasts of a loyal clientele in both London and Pakistan, is a brand recognized for its elegance and intricately-embroidered bridal wear. Previously having only had representation in Lahore where Pakistan is concerned, with the addition of Memoona’s children, Faraz and Sundas as part of the Rogue design team, joining hands with The Designers was part of an attempt to expand the label to a wider audience.

First Published:
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November 11, 2007

2007-11-11T00:06:00.000-08:00

Madman in town

He lives in his own romanticised world of medieval chivalry, considers himself to be a wandering knight and his delusion is rendered so strongly that he, along with his squire Sancho Panza, has imaginary duels with everyday objects. This classic madman is now coming to town (Karachi) in a local adaptation of Don Quixote de la Mancha, titled Man of La Mancha, by The Academy of Cinematic Theatre (ACT) established by Saba Saeed, opening on stage sometime in late November. Not only that but this adaptation will also include music performed by Taal Karisma with the bandmembers performing as part of the characters in the play. This is ACT’s first stage performance after a hiatus of three years.

First Published:
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November 11, 2007

2007-11-04T09:55:00.000-08:00

In full celebration

“I am honoured that I have been selected to showcase Pakistan at this prestigious event, and I plan on showing a part of my Bijoux A/W07 collection there” said an excited Maheen Karim when asked about her participation in the Kuala Lumpur Fashion Week (KLFW) in Malaysia, later in November. According to Maheen, the Bijoux A/W07 collection is based on ‘the season to celebrate’. Kuala Lumpur is fast establishing itself as one of the world’s major fashion cities.

But those staying back in Pakistan need not worry, Maheen will be unveiling her Bijoux A/W07 collection at Label’s, earlier this month, prior to leaving for her showing at the KLFW.
– photo by Amean J.

First Published:
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November 4, 2007

2007-11-04T09:54:00.000-08:00

Good will

After launching his album in Pakistan recently, Yasir Jawed (of Kalavati fame) is off to India for the international launch of his debut album, Ibtida via the Indian record label, HMV. True to the spirit of Indian pop music, a couple of tracks from the album will be remixed.

Interestingly enough, Yasir Jawed who started off by releasing Kalawati as a part of a two-person group, Yasir and Faraz, with local guitar maestro Faraz Anwar, has released the album as a solo artiste saying that Faraz was hesitant in releasing a full-length album as a duo. Also that Faraz preferred limiting his contribution to the album as a producer only. This comes as a major disappointment considering that fusion music predominant in Kalavati seemed well-composed and one looked forward to more musical collaborations between the two musicians.

First Published:
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November 4, 2007

2007-11-04T09:26:00.000-08:00

Cross the border again

After launching his album in Pakistan recently, Yasir Jawed (of Kalavati fame) is off to India for the international launch of his debut album, Ibtida via the Indian record label, HMV. True to the spirit of Indian pop music, a couple of tracks from the album will be remixed.

Interestingly enough, Yasir Jawed who started off by releasing Kalawati as a part of a two-person group, Yasir and Faraz, with local guitar maestro Faraz Anwar, has released the album as a solo artiste saying that Faraz was hesitant in releasing a full-length album as a duo. Also that Faraz preferred limiting his contribution to the album as a producer only. This comes as a major disappointment considering that fusion music predominant in Kalavati seemed well-composed and one looked forward to more musical collaborations between the two musicians.

First Published:
Images
November 4, 2007

2007-10-27T05:16:00.000-07:00

Behind the scenes: Sonya Battla

Designer: Sonya Battla
Photographer: Amean J.
Hair& make-up: Altaf@Nabila’s
Coordination: Kiran Iftikhar@18% Grey

Being driven towards the 18% Grey studio roughly around half-an-hour after the scheduled time for the shoot, I was met with the sight of the photographer driving away when he should have been in the studio shooting the model. Needless to say, I panicked. A quick phone call to the designer assured me that the shoot had not been rescheduled and/or the location had not been changed.

Once inside, his assistant Kiran, told me he’d gone to pick the model up from Nabila’s Salon where she had been for the past three or so hours getting her make-up done. The clothes presently arrived and so did Amean with the make-up assistant and the model, Annie. Altaf, who had done the make-up, had painstakingly drawn perfect black squares around her eyes, also taking in her eyebrows. He had delicately made small waves on one side of the perimeter and had fringed it with fine black glitter. Her hair was bundled high on top of her head and put into place by carefully-placed black ribbons tied around it. Overall, the look was definitely eye-catching.

Sonya Battla presently arrived with a bag full of different-coloured fur, a variety of hats and… the perfect earrings! When the shoot did start, one noticed that as a model, Annie takes direction really well. Taking her cue, she would manipulate her body into a pose, often playing along with the outfit as well. With each indication from the photographer to change this or that (often very subtle changes), one could see the way she would attempt to translate that direction. She also seemed to hold her breath while posing and would audibly breathe out every time she slid back into a regular standing position. Even when she’s not being shot, Annie tends to look as though she is still posing or is thinking of the next one.

Sonya stayed outside the studio for most of the shoot and seemed to prefer sitting on the stairs with one of Amean’s coffee-table books on photographers’ works. After making sure the outfit and the accessories on the model looked perfect and with the model inside the studio clearly visible from where she was sitting, she would often look up to see how the shoot was progressing, occasionally venturing inside to offer her feedback. One felt that she wanted to give both the model and the photographer space in which to work in.

As a photographer, Amean isn’t too wordy with his direction, often using keywords or small phrases with which to pronounce the look he wanted the model to establish. Not wasting too many frames on a certain outfit, when once satisfied with a set, he would move towards the next outfit. His manner was quick, but it wasn’t hurried. Everything he did seemed… planned.

“When you said you wanted something which was a high-fashion shoot that’s what intrigued me and I wanted something that gave a visual impact and showed some of the ambience that surrounds the clothes, and therefore came up with clothes that would enhance the picture more than just show the clothes,” said Sonya, after the shoot, talking about what she had in mind for it. “Then we discussed it, Amean and I, that we would do a black-and-white shoot with spot colouring. And then accordingly we would work with colours that would work with spot colour,” she added.

“I was thinking construction. I am very inspired by a very old idea of what Fritz Lang did in the movie, The Metropolis. It’s all about factories, machines, construction,” related Amean about what he had in mind, “I was trying to ‘construct’ my photo shoot together with a lot of ingredients. With this one, the cement was Sonya Battla and Altaf did a fantastic job because he was also a very important part of this shoot, without that kind of look and make-up I wouldn’t have been able to construct what I was trying to do.”

But how did Amean get Altaf to do the kind of make-up he did? “Sonya and I had initially brainstormed about what could have been done. We thought about various things, some of which couldn’t be done for a lot of reasons. One of the factors that were in our minds was the execution,” replied Amean. “What happens is that a lot of people don’t think about the execution of the campaign which is why a lot of our shoots look bad. Even though they’re fantastic shoots but just because tbehind2.jpghey’re not placed properly, they look bad. You have to think: ‘Can you build a certain building in a certain environment?’

“So for the hair and make-up we brainstormed and had an idea. It was related to a shoot we had done a while back with Nabila. It was Vinnie’s profile and that was a bit of inspiration where Vinnie did not look like Vinnie and there was a bit of construction into somebody else.” he continued. “Annie is probably the most popular model right now, she’s been photographed by several people in several manners, several looks, several themes, several you know… moods. And I wanted to give her something other than what she’s used to doing. And I thought she pulled that off really well.”

“I thought she grew into the character,” added Sonya about Annie’s performance in the shoot.

“We also thought about squares and things like that. We were thinking geometry as well,” said Amean bringing the conversation back to hair and make-up. “And that was one of the things I told Altaf and he took it as a brief and he constructed his, I mean his execution was obviously taking things on to another level.”

Talking about how the shoot was planned, Sonya went on to mention that “I showed him (Amean) quite a few outfits, he selected some and I didn’t realise how he was going to build it. When you mix two materials that don’t traditionally go together and then go forward, it was… I think the best thing about this shoot was that it was completely impromptu and there were no references, no magazines, just our brains and imaginations played with the given. It was completely original. I love the fact that there was no reference!”

When it came to Annie’s contribution in the shoot, Sonya said “I think Annie was a sacred part of it. Because we were working with a new personality and she’s carried it off.”

“Initially I was not happy with the facial expressions, but then she made bigger character innovations and in the end I did not have to tell her anything,” said Amean while offering a more insightful look.

The fact that this is the first fashion shoot for Images wasn’t left out of consideration either. According to Sonya, “the motivation factor was also that this was the first shoot for Images. It just made us feel responsible that we had to… ”

“…set a standard,” completed Amean for her, continuing, “we actually even discussed the idea that ‘should we do it or should we not do it?’ Because if something doesn’t come out right, we are not the kind of people who like to do compromising work. There is responsibility, there was pressure. We actually thought about it and Sonya said that ‘if you think we can’t do it, let’s not do it.’”

At this point Annie ventures in to comment, “The shoot was fantastic. They gave me so much more room to do stuff. If it had been regular shalwar kameez or if it had been regular, sort of opaque clothes, I wouldn’t have been able to do much. And Altaf was amazing.”

“You know, the first second I saw her I wasn’t too sure,” said Amean, adding the following with a hint of amusement “now I don’t know if I will be able to recognise Annie without it.”

What was pleasing to note was that throughout the shoot the photographer, designer and model seemed to communicate well and as a result, work well with each other. “I’ve worked with Sonya and Annie several times before,” said Amean, “there is something we’ve developed, not three of us together but simultaneously: If something’s not coming out right, we’ll tell each other.”

– behind-the-scene photos by Amean J.

First Published:
Images
October 28, 2007

2007-10-27T05:03:00.000-07:00

In fine fashion print
“This is the kind of magazine I always wanted to see on newsstands and when when I didn’t, I thought I’d do it myself. So it’s my baby,” says former model-turned-fashion editor, Andaleeb Rana, about her latest venture, Xpoze Fortnightly, a magazine which is 60 per cent fashion and 40pc lifestyle.

She’s teamed up with hubby Farhan Zafar for the venture and says the magazine will be “unbiased and will hopefully raise the bar” when it comes to fashion in print.
Confirming rumours that the magazine includes fashion editorials from designers based outside Pakistan, she says that having worked previously in publication and having built solid contacts, they have all been very generous. “Some have sent fashion shoots for print as well,” she says.

Spilling the beans further, Andaleeb says that the magazine will launch in the first week of November and the cover will showcase Reema in “a completely new avatar”, wearing Sadaf Malatere who, according to Rana, is the next big thing in fashion design.
– Photo by Rizwan Ul Haq

First Published:
Images
October 28, 2007

2007-10-27T04:56:00.000-07:00

Greener on the other side
India has always had her arms open for our local pop musicians. After a successful launch of their debut album, Sampooran in India, the Mekaal Hasan Band is back in Pakistan and they couldn’t be more excited: their album was very well received to raving reviews and they already have a little tour scheduled in India sometime later this year.

Adding to their already busy schedule, they are also simultaneously working on finishing recording their second album at the Digital Fidelity Studios, the release of which has been eagerly anticipated for over a year now.

What is interesting to note is that other than having a lineup of well-established musicians within the band, they are also perhaps one of the very few bands in the local pop rock music industry, established after the media boom, to continue working on their music with their original band-member lineup.

lso planning a trip across the border is the Lahore-based band, Call. Having already established themselves in the Bollywood industry (although it did require them to slightly customize their music to Bollywood tastes) they will be going to Delhi somusic-box-xulfi.jpgon to shoot the video for yet another Indian movie.

he name of the movie is Asmaan and the song is called Yeh Pal. Zulfiqar Ali Khan aka Xulfi from the band has lent his vocals to this song as well, the first time being for the Indian OST of Ek Chalees Ki Last Local, the massively popular song Laree Chotee.

First Published:
Images
October 28, 2007

2007-10-21T09:18:00.000-07:00

Taking the lead

There are different kinds of storytellers — some prefer to express themselves vocally, by song while others prefer to communicate via the written word. Omar Rahim, on the other hand, chooses to express himself via a medium that isn’t literal in its context and known for the sheer amount of discipline and hard work needed to master it: dance.

Upon meeting Omar the connection between him as a dancer makes sense — motion is deeply entrenched in his being and he tends to carry himself with a pronounced but controlled agility and gracefulness that tends to separate him, although not very starkly, from the rest of the crowd.

His interest in this study of art began at an early age when he was encouraged into gymnastics, discovering that he had an innate love for movement. Joining the Student Television Arts Company (STAC) during high school, Omar received training in music, drama and dance among other things while also being exposed to music, dance and Broadway productions in New York City. He then pursued his interest in dance in college, enrolling in a programme titled College of Letters (CoL) that incorporated the study of history, literature and philosophy. He also went on to attain a scholarship to study ballet and subsequently went on to join Susan Marshall and Company (SM&Co) and worked with them for three years, retiring from the company in 2000 — also the same year that Susan Marshall was given the MacArthur Fellowship (the Genius Grant) for her contribution to the field.

What is interesting to note is that Omar also performed a cameo in the Hollywood film, The Guru, where he made an appearance as the Indian prince opposite Heather Graham and also assisted Mary Ann Kellog in choreographing some of the dance sequences.

“I was a pretty good student, so I didn’t compromise on my studies,” says Omar when confronted with the question about his parents allowing him to study a field not considered as the approved norm, “in college the compromise that was made was my major was CoL which was my declared major and my additional, undeclared major was dance.”

What is interesting to note is that his thesis was based on the works of Chandralekha — an controversial Indian dancer who combined the disciplines of Bharatnatyam, Kalarippayyat and Yoga in her choreography, and who is also known for reinterpreting classical traditions in dance and was often criticised for the inclusion of erotica in her sequences.

The fact that Omar was brought up in the US and that his field of study exposed him to western studies of dance, one can’t help but wonder why he chose to single out the works of Chandralekha as a subject to form his thesis on? “Although my major gave me terrific tools of analysis, of understanding history, contexts, how to see one thing in a different meaning. I was interested to spend all of that time and research not in the western cannon,” said Omar, going on to state that he had read about her in a magazine sometime in 1993-94 and as luck would have it, she happened to be showing her work at the Brooklyn Academy of Music around that time.

“When I saw the work I was mesmerised because I could sense that there was a depth of meaning that was very non-western. But even as a South Asian aesthetic it also had an abstraction, it had a philosophical kind of content. I found tremendous depth there, depth that I could sense but I couldn’t necessarily articulate. I then reached out to her but she was initially very skeptical because her politics were very interesting.”

Chandralekha has been deeply involved in women and human rights movements at several points in her life. “There wasn’t very much written about her so it was a challenge for me to do research,” said Omar about preparing for his thesis. “But it was great because that became the springboard for a very deep and profound friendship between Chandralekha and I. She unfortunately passed away about a year ago. I had the privilege of being able to spend time with in and out of hospitals when she was unwell.”

Whereas most writers interpreted her work as being deeply feministic, Omar is of the opinion that: “Her life can be seen as a struggle between the superficiality of decorative art, dance as decorative art, versus dance/performance/action as a political process, as a political dialogue, even within oneself.”

Hearing him talk about Chandralekha, one can’t help but wonder whether Omar attempts to consciously make a statement when choreographing a set himself? “Honestly, I don’t know how much people know how to read what I do. Because in Pakistan, I don’t think we’re a very seasoned dance nation: People are not used to watching and analysing dance. We have this notion, that I get from my grandmother often that ‘tum to mirasi ban gaye ho’. It’s sort of like you’re a low-class entertainer,” he says and then adds thoughtfully, “And I think that’s changing. But again, there isn’t that kind of respect given to dance as a text. Also as something that deserves legitimate study.”

Does he think it is because, as certain local musicians are of the opinion, that a dominant part of the local population does not understand music or art that is not literally spelt out to them? “I think that’s part of it. Among the so-called higher arts in Pakistan, I think abstraction isn’t understood. However, we have another, very fertile cultural space that embraces abstraction in a very sophisticated way. If you go to Bhit Shah and listen to the fakirs, they make the strangest most unusual sounds. There is an abstraction to this experience of sound. To me that is how seriously and how humbly people are exploring abstraction in their art. It’s also very emotional, touching and moving. But it’s not so obvious, it’s not so crass.” Pausing for a moment, he concludes, “But there is a way in which the literalness of everything else is dumbing us down.”

A part of what Omar does, other than dance, is that he’s established his own home-textile business as Soof Designs in New York and London, working in collaboration with designers such as Paul Smith and Tracy Feith. It predominantly focuses on the print and textiles that have been indigenous to Pakistan — which also explain his frequent trips to the Bhit Shah and other interior areas of the country.

“I think that to understand this culture, this land a little more deeply, one has to step out of the living room. What interested me, first of all, as an entrepreneur, was to find terrific folk heritage and artisanal tradition which is very much alive still. It’s hanging on by a thread but it’s still here in Pakistan,” he says talking about how the idea of introducing local textiles in a foreign market took place. “I could see that that kind of work is really appreciated in the states. I thought it would be worthwhile spending some time and money investigating that.”

Talking about his plans for himself, he says, “I’m at a point now when I want to invest a little more in my own performance, because I haven’t been performing for the last many years but I do want to get back into performing and get back into making work that is not perceived simply of as entertainment but is actually, in a sense, ‘textual’ dance.” Adding further he says, “Something that people would want to study, that’s content driven.”

-- Photography by Amean J.

First Published:
Images
October 21, 2007

2007-10-21T09:01:00.000-07:00

Zaki strikes back

The last collective piece of work he released as a solo artiste was a little more than 10 years ago. Back then, Aamir Zaki’s much-awaited album, titled Signature for the sole reason that it contained tunes that were original and entirely composed by him, was considered a promising first step to what was expected to be a successful and fruitful career by someone considered to be one of the country’s greatest guitar maestros.

But things didn’t go as planned and Aamir Zaki disappeared instead, surfacing now and then to perform at select venues, collaborating with individuals at small and at times incomplete projects, hopping in and out of the country to and fro from Canada.

For a little over 10 years, there was no second album, only a couple of compositions released via the Internet and/or released via CD by a local music magazine.

His collaborative effort with Hadiqa Kiani, Rough Cut, which had been generating buzz for the last three years released recently to disappointing reviews. This collaboration also saw Aamir return to the realm of music videos in the Jami-directed hauntingly brilliant (both musically and visually) Iss Baar Milo and the Sohail Javed-directed Living this Lie.

Sohail Javed is also expected to work on another video from the album, City of Fallen Angels, which is also the only song in Rough Cut that features Aamir on vocals. With all of that being done, Aamir is now set to finally release a second solo album, titled Radio Star. Unlike other musicians, he hasn’t turned towards a record label to release this project of his, but via FM radio stations.

In a rare but short interview, Images managed to get several statements from the reclusive musician himself about this album and what happened to the ones that were supposed to be released prior to it.

“This one is called Radio Star because I wanted to separate myself from the heavily video-dependant musicians of today. It’s kind of like a response to the Video Killed the Radio Star syndrome,” he said talking about his chosen title for the album and relating it to the infamous song by the British band, The Buggles.

This doesn’t come as much of a surprise considering that Aamir has, via his conversations or writing, always stressed on how music is a medium that should predominantly heard and not ‘seen’. But is he even considering making a video for the album? “No, there will be no video from this album, ever,” going on to add, “there might be a video about six months to a year later when I release another album. Let’s see.”

One has to wonder what happened to the much-anticipated album, The 10 Year Eclipse, he was supposed to release a couple of years ago? In fact he even released a video on a song from the album, Bhula Daina which showed him mysteriously appearing out of the darkness playing a bass guitar — a shot that was supposed to be symbolic of his comeback after a decade.

“I had to delete two albums before this one because I could just not agree with the expectations of the record labels wanting eye-candy videos,” he replied, “I had to delete The 10 Year Eclipse and another album before that because record labels and TV stations only seem to worry about videos and have no interest in music really. I’m just wanting to break away from the pretentious video/artiste expectations that accidentally came into my life through the release of Mera Pyar.”

About the videos he made for Rough Cut he says, “The videos had nothing to do with the lyrics of the song. The latter were the most important thing for me as a songwriter. The record label managed to print them all wrong, and after so many requests and resending of the lyrics file from my computer, they are still being printed all wrong. That is one very important reason for my breaking away from the videos and record labels in Pakistan.”

Talking about his plans Aamir says, “I will only be releasing music through FM radio and playing live, because that’s what music is all about. I also want to keep releasing albums regularly, at least one or maybe two a year through FM radio. I just want the music to be the most important communication between myself and the listeners.” Hopefully so, Aamir Zaki, though he doesn’t venture out much into the public eye, does have a tendency of announcing plans that... well, either don’t work out or take the longest time to do so.

First Published:
Images
October 21, 2007

2007-10-21T08:57:00.000-07:00

Hash on a new roll

The artiste formerly known as Hash is looking to relaunch himself as Hashim via the release of his first video Loading the cannon, from his currently-unreleased second album. Featuring VJ/model Anisa Shaikh, the video has been directed by Zeeshan Parwez.

The video was shot in Karachi earlier this year and has, according to the director, a very ‘clubby’ theme. “It isn’t really based around a certain concept and it’s perhaps my first ever video which has a bit of commercial element to it — in the sense that it looks glamorous”, says Zeeshan about the video, “and it was my first ever 35mm project”

Continuing about the video, Zeehsan says that “a lot of effort from my side as well that of the DoP’s was on shots, frames and lighting. We experimented with what kind of lens would work on what shot according to the storyboard that I had. I loved working on 35mm and would love to make more videos on it”.

However, his projects with Hashim aren’t over yet. Another video in the making is a remake of Hashim’s (or Hash, as he was known back then) My Moment. The first video for the song had been directed by Aseph and since My Moment happens to be one of Hashim’s most favourite songs from his first album, he’s looking to add a little more to its video. According to Zeeshan, his version of My Moment will be a semi-animated video. “The cast was shot in front of a chroma-screen and then merged into a pre-made 3D environment. After that was done, everything was then digitised into vectors”, he says, talking about the video-making process. On the content, he says that the video has to do with his “fascination with super hero movies. The video has a very comic book feel to it in the sense that it features exaggerated action personalities”. The Zeeshan Parwez directed version of My Moment is expected to hit the tube sometime in December this year.

First Published:
Images
October 21, 2007

2007-10-21T08:52:00.000-07:00

Opening in style

They’re the new kids on Zamzama, Karachi’s featured Fashion Street, but they aren’t very new to Pakistan’s fashion industry. Launching their second outlet in Pakistan (the first being in Lahore) Asifa and Nabeel recently opened shop in an event that was attended by some of the fashion industry’s most well-known names which included runway choreographer Imran Kureshi, popular singer Hadiqa Kiani, and designer Umar Saeed amongst others.

The interior of their outlet has been designed to look like cross between a tastefully done-up living room with a couch in the middle and a set of photos displaying their current line on one wall. Boasting a line that includes western, formal, semi-formal, saree and bridal wear, Asifa and Nabeel are sure to be a welcome addition to the fashion in Karachi.

First Published:
Images
October 21, 2007

2007-10-13T01:32:00.000-07:00

To 'string' a guitar

One of Pakistan’s most popular music acts, Strings have been working for last five to six months exclusively on their upcoming album, due to be launched in January 2008. As yet untitled, the album has been fully recorded and is currently being mixed.

“The video-making process will begin after the album has been completed. There is massive touring to follow the launch of the album because we are also excited about having 10 new songs to perform and our fans also want to listen to something new,” says the band’s vocalist Faisal Kapadia while speaking to Images.

When asked whether they have decided upon a set of directors who will work on the videos, Bilal says that they are still looking at their options and that “Jami has obviously always been on the top of our list”, but nothing has been confirmed yet. They also added that almost every video from the new album will feature an original Gibson guitar in it!

That doesn’t come as a surprise when one finds out that band is the first music act from the subcontinent to be signed up by one of the largest guitar manufacturers, the Gibson Guitar Corporation (GGC). This will give them access to everything that the firm has to offer which includes guitars, the use of tour busses and amphitheatres if and when they need them.

One couldn’t help but wonder whether this will make touring outside the subcontinent easier for Strings? “All we’ll need to do is call them beforehand and let them know when we plan to tour, if the amphitheatre is available, they will book it for us,” says an obviously excited Bilal Maqsood.

Presently GGC’s portfolio of artistes include B. B. King, Sheryl Crowe, Sir Paul McCartney, Slash, Billie Joe Armstrong, etc. Does this also translate into making it easier for Strings to come in contact with other (foreign) artistes signed up by them? “They have opened avenues for us in the international market by giving us access to their tour busses and eventually, musicians,” responds Faisal. However, on a more pragmatic note, Bilal is of the opinion: “I don’t think so. They have artistes signed up everywhere in different countries, even in Japan. I don’t think that means it will be easier for us to have access to their other artistes.”

Considering that we have a fledgling music industry and with that particular brand of guitars being relatively highly-priced, do Faisal and Bilal think there is potential for them in Pakistan? “Previously, you had guitar shops here but the instruments weren’t that good. Serious musicians had to go out of the country and buy their equipment from there. It will make things much easier for them to get good equipment especially if an authorised distributor is based here. Until now there was no market for expensive branded guitars but GGC is trying to establish itself in India, and for the first time in the subcontinent and eventually to Pakistan,” says Faisal. Bilal, on the other hand, adds, “They’re realising the potential in our music. They should come to Pakistan if they’re looking to promote rock music and they’re looking into the options that they have. It would be great for local bands here”.

Perhaps what Bilal really means to say is that it will give local bands a direction in which to go in the industry? “Direction comes when you have an infrastructure to work on,” says Bilal, adding “the firm has its own workshops, studios, amphitheatres, etc. Obviously if they come here they will only start with a small shop, but it would go a big way in promoting our local bands.”

First Published:

Images

October 13, 2007

2007-10-13T01:26:00.000-07:00

Moonstruck!

On Chand Raat, women are out to spend, and spend they will at any cost.

Through Ramazan, I struggle with attempts to fulfill my religious duties and obligations along with unbelievably short banking hours, people with a holier-than-thou attitude, short tempers and a tendency to consider it their birthright to interfere and comment on your beliefs; crazy traffic and as one co-worker pointed out, hordes of hungry people rushing to go home at iftar.

The best thing is that Ramazan culminates into Chand Raat. There is a magical festivity in the air. At times it seems, as if people are celebrating the fact that they don’t have to go hungry anymore nor put themselves through an endurance test. Sadly, they soon forget that the crash course in discipline was to train them for the year ahead.

On Chand Raat, chances are that it really doesn’t matter whether you need to or not, but especially if you’re a woman, you’ll find yourself in an already-crowded shopping mall browsing through jewelry, shoes, bangles and what not or haggling with a shop owner over the price of one. The sheer level of bargaining that takes place on Chand Raat is much more heated, intense and interesting than the fluctuations in the local stock market. The shop owners know that this is that one time of the year where they get to make as much money as they can and customers, fully aware of that, are hell-bent on making sure they don’t — at least off their purchases.

However, no matter what the price of the product or the relative stubbornness of the shop owner to stick to it, most women will never leave a shop empty-handed. On Chand Raat, they are out to spend, and spend they will at all costs.

One of the most delightful things about Chand Raat itself is the sheer abundance of women who sprout outside malls as expert henna artists, promising to apply the most exquisite designs on both your hands in 15 minutes flat. However, experience has taught that it is always wiser to stand and watch the designs unfold on someone else’s hands and then choose your artist accordingly.

Although known as the ideal place for women looking for traditional henna designs and application techniques, I strongly advise against going to Karachi’s Meena Bazaar on Chand Raat (or the day before Eid as well). The bazaar, which is off-limits for men, is full of women who wait for an unsuspecting customer to pounce on, as I once learnt several years ago.

Upon reaching the venue, even before you climb the stairs to where the bazaar is, you will be inundated by male relatives of the women working within Meena Bazaar, showing photo albums upon albums displaying pictures of either hands deeply decorated with henna or of women with extremely gaudy makeup (the white face, red checks, lips and eyes type) on with henna on their hands. The photos of the women are also shown if, God forbid, you happen to be there for getting hair and makeup done as well.

Take one step inside the bazaar and it takes less than 15 seconds for the first henna artist to grab your hand and proclaim loudly to the others that “Yeh mera haath hai” (this is my hand). Pretty soon you find yourself pushing through tens of artists reaching for both your hands, while others fight over who ‘saw it first’ and with some offering you shelter in their small shops provided they ‘get your hand’. By the time you, by some miracle of nature, manage to pull yourself out of there, you feel strangely violated.

Marketing personnel and firms producing consumer goods recognise the potential that Chand Raat holds for them. In agreement with certain popular shopping outlets, they will have put up small stalls with their products on display creating an ambience of a mini-fair. However, since they almost always encroach upon whatever available parking space there is, finding adequate parking near the shopping outlet itself becomes a nightmare.

Several years ago, a firm decided to go all the way when attempting to build a positive image for its brand. Hiring 15 or so henna artists at a designated place near a popular mall, just about anyone interested in having henna applied could get these artists’ services for free. It didn’t end there, every single ‘customer’ who had henna applied walked away with a set of bangles, courtesy of the firm itself. So what if they weren’t of the right colour or size? The gesture seemed to embody the spirit of Chand Raat itself, so what if the firm never ventured to be as generous in the following years?

The interesting thing about henna application on Chand Raat is that it goes on and on till the wee hours of the morning. Women, some of whom will be gaudily dressed, will arrive every couple of minutes demanding that the already-overworked and tired artist decorate their hands as well. Dutiful sons, husbands, boyfriends, fiancés etc., at their chivalrous best or what seems to be, will either stand alongside their womenfolk or wait in their cars for them to finish. And more often than not, will then carry their bags, shoes and handle their dupattas all the way to the car after the women are done.

Chand Raat ends when you come home and realise that Eid will bring with it dozens of guests knocking at your door right from morning. Not only does it imply that the house must be prepared to receive them at all hours, but also that local culinary delights symbolic of Eid such as dahi barey, doodh sawayan, chohlay etc., must be prepared in enough quantity to feed a little army.

Interestingly enough, Chand Raat, which marks the end of Ramazan also signals the beginning of Eid which is all about meeting people you haven’t met the entire year and forcibly stuffing yourself with every single piece of cooking conjured up in every single household you visit. That’s the spirit of Eid.

First Published:

The Magazine

October 13, 2007

2007-09-24T05:58:00.000-07:00

Living in reel time

A Pakistani documentary-maker based in Karachi, Paris, New York and Canada, Sharmeen Obaid Chinoy has won accolades from all over the world — the most notable being the Livingston Award for journalism and being the only non-American so far to have received it. She is also one of the 25 people picked out to represent 25 years of the Livingston Awards.

Having made documentaries and travelled to places such as South Africa, Manila (Philippines) and Afghanistan, and having made a locally-controversial documentary out of Pakistan titled Reinventing the Taliban, Sharmeen isn’t one to sit back when there is a story at hand or to get intimidated by the material she uncovers. Independent, straightforward and to-the-point with a visibly pragmatic side to her, one of the things that becomes apparent when meeting her in person is that she does not have a different camera personality — she is exactly the way she is in real life, in her mannerisms and way of talking and addressing issues, as she is on camera.

Recently, with the formation of the Citizens’ Archive of Pakistan (CAP) with a view of archiving and communicating Pakistan’s history and heritage, the group went on to organise the Shanaakht Festival held around Pakistans Independence Day. Talks about Partition, photography and art exhibitions and documentaries based on the theme of Partition were shown to the public totally free of cost. In between dealing with the festival’s post-event issues and going on yet another travelling stint abroad, Images managed to garner an interview with the documentary-maker bent on uncovering real-world issues.

Your latest documentary, Lifting the Veil, that went on air recently focuses predominantly on the lives of Afghan women six years after their so-called liberation. How long did it take to make the documentary?
Lifting the Veil has got three names — it was released by Channel 4 with the name of Afghanistan Unveiled, CNN is releasing it as Lifting the Veil and my name for it is The Promise. The festival version is called the latter. I travelled from Kabul to Herat to Tahar, Talakand… basically from the capital to the west and up towards the north and north-east to villages, towns, cities to see what’s happened to the women there.

I travelled through Afghanistan for five weeks. It was one of the most fascinating journeys that I have ever undertaken. Partly because I didn’t have any language trouble, almost everyone spoke Urdu and because the country is spectacularly beautiful. It’s very sad to see such stark beauty contrasted against such stark poverty and destruction.

Was it safe travelling in Afghanistan for a woman where the effects of Taliban rule and the recent war on terrorism are still predominant?
I’ve worked in conflict zones for a long time now and safety is a very relative thing. Are you safe in Karachi? You could be shot outside your own home here, your car could be hijacked, you could be robbed. Similarly, you could be robbed in Rio de Janeiro or the slums that I worked in in South Africa.

I think that safety is a very relative term and when I go into dangerous situations I do not think about whether I’m safe. I think about whether the circumstances that I’m in require me to be more cautionary or take precautions.

Going armed with a camera to an individual or a group to talk to them about whatever situation they are in can be very intimidating for them. How do you get people to open up?
I start a film after I research it for about two months before I actually go in and film it. During that period I make a lot of connections with the people in that country through NGOs, individuals who I would have met during the course of my travels and basically people who connect me to others. Once I’ve built a relationship with them, they then introduce me to ordinary people in that country and when they filter, it becomes easier for those people to trust me.

Also, people are not hesitant to speak to me because of the fact that I’m a woman and I come from a third-world country myself. I’m able to relate to many of their issues because I see it happening in my own country. A lot of people find me easier to talk to than, for example, a western journalist who they can’t relate to on any level.

For example, while working in the slums in South Africa or in the Philippines, I could tell them: ‘Look, I’ve seen this. I’ve seen this poverty, I’ve seen this discrimination, I’ve see this class of society because I’ve grown up in one’. Even though those countries are across the planet or in another hemisphere, I am able to connect with those people and they realise that when they speak to me, it’s not that I am walking through the slums wearing my D&G top or something. I am there in the mud with them doing the things that I should be doing.

You have been accused of representing Pakistan in a negative light in your documentary, Reinventing the Taliban. Why?
I am very straightforward about what I do. I am not Pakistan’s PR agent. I am a journalist. And just because I am one of the few journalists who work for international television and have access to stories in Pakistan does not mean that I do not uncover those stories. Some people may think that I am not a patriot, but I believe that you’re a patriot if you actually point out the faults in your country so that these can be rectified. A lot of people feel that because I have exposure, because I am well-known per say in the international community, that I should only present stories that are favorable to Pakistan.

Quite honestly, I present a very balanced view. In Reinventing the Taliban, I showed the North West Frontier Province (NWFP) area of Pakistan which was becoming increasingly radical at the time. I did the film in 2003 when the radical elements were not there but I predicted that in the next three years, Pakistan will face a civil war, where you will have Islamists battling the moderates. And what is happening today? What is Lal Masjid all about? If you watch Reinventing the Taliban you will think that I made it now. But I made it when the tribal belt of Pakistan was not as volatile as it is right now. The areas that I travelled to and the kind of people that I met in 2002-2003, I could never do now because it is extremely difficult to do so.

And of course that’s going to be a problem in this country and now everyone talks about it — its common drawing room conversation. In 2002-03 it wasn’t. And that’s why people didn’t like it and I think in some way I was a visionary. At least I was able to put forward the fact that I saw what was happening to my own country and it pained me to see it. I wanted other people to wake up and see that just because they live in your comfortable homes, in a large city, and no one is threatening the schools of their daughters and no one is threatening their wives.

Let’s face it. How many people are socially and politically active in this society? If you live in Karachi, the tribal belt seems so far away and so unknown to many of us. It’s not like we frequent that area or that we even know about it. How many of us have been to that part of Pakistan to know what’s happening over there? There is detachment because people don’t really care.

As a journalist, you’re taught that your job is to observe and not become a part of the observed. After having travelled and covered issues in conflict zones extensively, is it difficult for you not to get involved?
I’ve had a couple of circumstances where I’ve been very involved with people’s lives. I did a film in 2005 about a young man who stopped a suicide bomber, his name was Ghufraan Haider. He stopped a suicide bomber in Karachi at the mosque near the former KFC outlet in Karachis Gulshan-i-Iqbal area. He was very hurt and he comes from a very poor family. He sustained a lot of injuries, when he partially recovered, he was a key witness against the suicide bombers and based on his testimony, they (the bombers) got the death penalty. He was threatened openly in court and our government could not protect him. He fled overnight to a country in the Middle East and I helped him get asylum in Canada. So in that sense, I became increasingly involved in that case.

I did so because here was a young man who did something good, who should have been set as an example and instead, we ignored him. I was the only journalist to do a story on him for international television. I asked people in the military then: ‘This is a man, you should put him on a pedestal, you should tell other people that this is an example of what a Pakistani patriot is’. Instead, he now lives in Canada. It’s a loss for Pakistan to have lost someone like him.

Again, when I did a film in the earthquake zone, I became emotionally involved in the case of a woman who lost her husband and two children and who became a widow. She was getting propositioned by men and she had to leave for Karachi with 2 or 3 small children in tow. She’s struggling to make ends meet and I’ve been helping her get jobs.

Sometimes, you can’t distance yourself from these people just because you spend so much time with them, I’ve spent 4-6 weeks with such people and they become a part of who I am then. It becomes difficult for me to draw that line. And it’s not only in Pakistan. Sometimes being a human being comes before anything else.

What has been the most difficult documentary you have made so far?
The most difficult documentary that I have ever made was in East Timor. It was a small island, remote and difficult to gain access to. There was gang violence going on and a lot of times you had to look over your shoulder. The culture was very alien to me, it was a different society. But it was a beautiful country and had stunning beaches. Coming back to the gang violence, it was very difficult for me to penetrate the gangs.

Some would say you’re looking for trouble… that you have a death wish?
People have been known to say that about me. There is a tremendous feeling when you’re able to meet and understand situations. You see first-hand what all the fighting is about.

The one thing that I’ve learnt after being to all these places is that we’re not so bad in Pakistan. I mean, we have problems but we have a country. We’re not fighting to get a country. And if anything, travelling to conflict-riddled countries has made me more of a patriot because it made me realise that we have something that we really need to work to make better. I’ve seen what happens when things fall apart. And believe me, we do not want that to happen to us.

You have received a lot of accolades for your documentaries. What do you say about that?
Every film I did won something. Every film I did got some recognition. It has helped me know what I’m doing. There’s got to be something right to it and I should continue doing it. It’s a very lonely life doing what I do because you take off for months on end in locations and I’m married with a family. I miss a lot of important occasions… it’s a hard life.

Do you plan to show any documentaries of your here? Why didn’t you show any at the Shanaakht Festival?
I didn’t show any at Shanaakht because those films were about Partition and history and my films are very contemporary politics. I do try and show something at the KaraFilm Festival every year because that’s my only avenue through which I can reach out to Pakistanis.

However, I’m moving back to Karachi in December permanently and opening up a production house. I’m going to train journalists and film-makers to make quality film programmes for international television.

Have you ever thought about opening a documentary channel?
I want the freedom to be able to work for many channels, such as Channel 4, Al Jazeera International, CNN, Discovery Times, PBS, etc. I would like to have four or five people who become the core team and who do individual projects under the banner of Sharmeen Obaid Films. Hopefully, the idea is that there would be a select group of people who would be trained at an international level.

I don’t think I can make documentaries for domestic television because the idea of documentary films in Pakistan simply does not exist. The appreciation is not there and quite honestly, quality programming on Pakistani TV stations does not exist. I’m talking specifically in terms of documentary films.

What I would really like to do is make documentary films for PTV when I come back. I think PTV really needs to revive itself and regain the glory that it once had. I’ve always had an affinity to PTV and I would really like to have something to do with them when I get back, along with international television as well.

First Published:
Images
September 23, 2007

2007-09-23T05:50:00.000-07:00

Eat, drink and be merry

THINK of a café today and immediately a picture of comfortable couches and chairs in a softly-lit ambience against shades of either cream, brown, maroon (or in some cases, black) comes to mind. You know it’s not a place where you’re going to stuff yourself with food and leave content with a full stomach and an inclination to go home and sleep – the sofas and chairs were never meant for that, not now and not even when the first proper café opened up sometime in the middle of the 16th century in Turkey.

Having always been a place where groups of people got together for light, intelligent conversation, coffee houses or cafés have been vehicles through which local cultures in different parts of the world experienced an evolution. The growth of coffee houses in any area is considered a positive sign and the local mushroom growth of cafés (as opposed to tea houses) in the major cities of the country, Karachi and Lahore, is often quoted in foreign publications as signifying the advent of a Pakistani ‘liberal’ culture.

Coffee made its way in Pakistan (commercially) in 1998, when drinking coffee wasn’t a pop culture norm -- tea was the more dominant and preferred choice of drink. Its growth has spurted to being included as one of the must-have beverages whenever the local city-dwelling population goes out to socialise. Coffee and cafés have predominantly Middle Eastern beginnings. Known as ‘kahvehane’ in Turkish, ‘al-maqhah’ in Arabic, ‘qahveh-khaneh’ in Persian and ‘kopi tiams’ in Malay and Singapore, cafés originated in the 16th century as a place to read books and/or play chess. Records indicate that Kiva Han was the name of the first independent café in Turkey and the culture regarding coffee was so strong that in those times, women could divorce their husbands on the grounds of their inability to provide them with adequate amounts of coffee. Turkish coffee was often served black, strong and unfiltered. The concept of including milk and cream in one’s coffee was introduced as a predominantly European style of brewing and consuming coffee.

Some time in the 17th century, coffee travelled outside the Ottoman Empire and into Europe when the Turkish Army left bags full of coffee after their invasion of Vienna (Austria). The potential of the curious green beans was recognised by Franz Georg Kolschitzky, the first person to open a café in Europe, and who had spent a considerable time living in Turkey to identify the aroma, taste and potency of the coffee beans left behind by the Turkish Army. Having been introduced into Europe this way, coffee has never looked back, going as far as to the Americas and the subcontinent, with each geographical area developing their version of a ‘café culture’.

In Britain, coffee houses were a place for intelligent discourse. They were a place where like-minded individuals could get together and discuss everything from literature and poetry to business and politics to the reigning king’s apparel. Such was the popularity and ease with which individuals could meet and socialise in cafés that they soon became a centre for many firms to conduct their business meetings and finalise their transactions.

The fact that in 1668 a coffee shop run by Edward Lloyd was such a popular centre for business dealings that it subsequently became the still-currently-operating Lloyds of London Insurance Company, a testament to the cafes’ growing influence. Well known and reputed auction houses such as Christies took birth in the salesrooms attached to cafés in Britain around that time. So much so was the impact of cafés that they were soon as ‘penny universities’ in local slang because a ‘penny’ was what a cup of coffee cost and a café was where local educationists, literary figures and business men came together.

The influence of cafés on the local culture wasn’t limited to Europe alone. When America was colonised, coffee was almost immediately introduced by the local Italian immigrant community and coffee houses started becoming a common norm. Established in 1792, the Tontine Coffee House in New York was, because of the sheer number of business transactions conducted there, the original location of the New York Stock Exchange.

In the 1950s, cafés experienced a different kind of cultural evolution -- that which included music. They fast became a venue for entertainment where poetry reading and local folk musicians were encouraged to come and share their pieces of music. The café-going culture was so dominant at the time that there used to be cafés lined up one after the other in all of the popular streets and almost all of them would be full most of the time, and at the end of the day, café brawls and fights were also not unusual.

Musicians such as Bob Dylan made their mark in the American industry by first performing in cafés alone. The 1970s saw the introduction of a standardisation and refinement of the café model in America with the advent of local coffee house chains such as Star Bucks. And since then, the definition of a café has evolved and has been altered to suit the current pop culture tastes and trends.

On a global level, cafés continue to be a hub of social activity. They are still places where people get together to have a conversation, to share ideas and to communicate -- via literature or music. They continue to serve the business community and the working-individuals within it with the café model being updated with the introduction of Wi-Fi hotspots.

With their continuing popularity and with the rapid advancement in technology, it is predicted that coupled with fast-paced and direct communication methods, cafés will again be a predominant place for people to go and work from as opposed to working in a proper, designated, physical workspace. Having already become the norm in European countries and in the United States, cafés now provide designated areas for those lugging their laptops with them complete with electrical sockets and adequate chairs and tables.

Although locally we may not be at such an advanced stage when it comes to our local café culture, which predominantly consists of individuals coming together for a random conversation or younger individuals for music, there is no denying that with the growing popularity local cafés are generating, we are on our way to our local cultural evolution.

First Published:
The Magazine
September 23, 2007

2007-09-08T11:21:00.000-07:00

Style Fantastic

Hugely popular in Lahore, the city it first opening up in, Alle’nora is well on the way of establishing itself as the premiere salon for hair and make-up throughout the country, and abroad as well. After having recently opened up an outlet in Karachi with more branches on the way, Alle’nora is taking over the local beauty and fashion industry in an unprecedented manner.

Here, in an exclusive interview with the driving force behind the brand that is Alle’nora, the firebrand Annie Mansoor, we find out what Alle’nora is all about… and more.

In flashback, tell us when you decided that doing hair and make-up was your professional calling?
Annie: I started with the name Alle’nora about 19 years back and haven’t looked back ever since. It has been a success story from day one.

What kind of hair and make-up services does the salon offer?
Annie: We basically offer bridal and engagement make-up, which is further divided into four subgenres. These then branch out into the following: traditional, ethnic, pastel and colour line. Other than that we are into experimental fashion and formal make-up.

What other facilities besides hair and make-up services are available at Alle’nora?
Annie: Besides hairstyling we offer all kinds of hair, skin, hand and feet treatments to the satisfaction of our loyal clientele that we have established over a relatively short period of time.

Alle’nora is fast establishing itself as a strong brand where styling is concerned. How has the journey been so far?
Annie: All I would say is that to build a name is not as difficult as to maintain it at its peak. I did come across certain hurdles in Karachi but soon realised that if you put in your best efforts then it is not difficult to overcome the obstacles that are put in the way by one’s rivals and their likes. As it is, the vultures are always there, ready to prey upon you.

Considering that your services are as sought after as the brand itself, do you find yourself commuting to and fro between Lahore and Karachi frequently in trying to keep up with your clients’ demands?
Annie: No. I believe in creating models and delegating my responsibilities to my trusted staff. Ghazia does an exceptional job in Karachi, however I am available in Karachi if and when required.

Do you plan to expand and have more branches both in Pakistan and abroad?
Annie: Apart from the four branches running in Pakistan, I recently opened branches in London and Miami. One more branch is opening soon in Pakistan.

What in your idea for the bridal look this Fall/Winter season?
Annie: Maroon and red are everlasting colours for all the seasons but in the upcoming Fall and Winter season pastels are out and deep warm colors are in such as emerald green, burgundy, rust and bronze. In the pink family, dusty pink is in with lots of silver.

What do you have to say about your competition?
Annie: I always believe in healthy competition because in that way you continuously keep on innovating and upgrading yourself. I feel sorry for people who think they are nothing and are always out to steal your ideas.

What’s in store for the future for both you and Alle’nora?
Annie: I will be in Karachi for the Wedding Extravaganza exhibition then later in Lahore since I am organizing a grand show consisting of two segments. One of them is towards experimental and bridal make-up lines, and the other is a fashion segment displaying designer wear by Sonia Design Concept. Freiha (Altaf) is doing the choreography. I am also arranging an Eid festival for charity to raise money for the highly-reputed CARE organization, at Alle’nora Lahore (both branches) and Karachi (Zamzama) with some of the leading designers of our country.

What would advise to upcoming entrepreneurs in the field of fashion and/or styling industry?
Annie: Apart from hard work, I would ask them to be honest and sincere. They should go for experimentation, trust themselves and never be on the lookout for shortcuts.

First Published:

Bridal Extravaganza, DAWN

September 8, 2007

2007-09-08T11:17:00.000-07:00

Striking the techno chord
Technology and internet have changed the face of music and videos. Madeeha Syed analyses how making music has now become everybody’s game

UNLIKE other nations in the world, we cannot boast of a rich musical history where pop music is concerned. Taking its roots in the late 1960s, pop music suffered great opposition in the late seventies and in the early nineties – people believed it was against the cultural identity and norm for (the then) youth. Concerts and the concept of live music till recently, after the media boom, were few and far between and in some cases, completely unheard of.

Our history in technological advancements follows a similar if not bleaker route. Most people consider the introduction of the internet synonymous to the technological advancement in Pakistan. However, almost a decade after the internet became widely used around the country, we cannot still boast of having made any noteworthy breakthroughs or of having ‘developed’ a technological industry like our neighbouring India’s. We are still in the stages of developing.

Having said that it cannot be denied that the internet and technological advancement made around the world have benefitted the media and the music industry in Pakistan. Sophisticated software, cheap, but highly developed hardware leaked or brought into the country has facilitated numerous music production studios and the setting up of country-wide (network) radio stations. They have encouraged video directors to experiment more with their video-making techniques. Most of all, this has encouraged aspiring musicians, producers and music video directors to enter the market.

If anything, technology and the internet has it made it easy for all of us to be rock stars in our own right – whether we are jumping on stage holding an expensive guitar bought on our last tour abroad or streaming away our tunes via the internet from home, in this day and age, one can be assured that no one will be left out.

Living in today’s highly informed age, if one watches a video of television recordings or live coverage of concerts of yore, it would not take a genius to figure that most of what was being shown will probably not be considered acceptable today. The music predominant in those songs was borrowed heavily from synthesisers, the subject and tunes of most of the songs were copied off popular songs abroad, the singers almost never sang out of tune and lip-synched a little too happily with oddly-animated expressions on their faces — it was all too ‘perfect’ and too ‘staged’ to be considered ‘real’.

For the longest time, musicians performed on CD or what is also referred to as on DAT – Digital Audio Tape. Live performances consisted of either no musicians, or just barely a couple, some of who did not even know how to hold a guitar properly. Yet, they pretended to strum away or play the keyboards while the artiste ‘sang’.

Truth was, even without the extra musicians or even a microphone properly working, artistes were able to sing flawlessly to songs and music blaring out of the speaker sets. Most people did not know how a live sound differed from a recorded sound and flocked to concerts because in reality, there were not that many avenues available for entertainment to the public. Of course, there were few who came to see the artiste on stage.

With increased awareness facilitated in part by podcasts of concert videos available to ardent music lovers over the internet, concert goers now know the difference between a truly live performance and a performance on Digital Audio Tape (DAT). Sophisticated sound systems and the availability of cheap monitors have also eliminated excuses that an artiste might have for not performing live, whether for a television recording or otherwise. Sound can be transmitted clearly or distorted there and then depending on the requirements of the artistes performing and the organisers.

However, if on the one hand, technology has facilitated the use of unadulterated live performances, it has also made audio ‘cheating’ on a live performance just as easy. It was recently revealed that a very popular local pop singer known for his ability to sing prolonged notes beyond the humanly possible, uses a programmable software which helps him extend the range of his vocals, especially when singing certain notes, while performing live.

The use of software and technological gadgets is also increasingly becoming a norm in live performance. One such example is Sajid and Zeeshan. The duo from Peshawar is known as the only truly two-person band in Pakistan in a sense that the vocals and the entire music, live or otherwise is done by two individuals only. Zeeshan also has to his credit the first fully animated music video.

Reaching what one would consider the height of multi-tasking on stage, one of the two band members can be seen hitting off beats from a programmable beat-player, working on his keyboards, swishing over the motion-sensor device to distort the overall sound, working the turn tables and playing the harmonica – via a mouth organ attached to the keyboard set.

In fact, other than the keyboard set, this musician does not use any of the conventional musical instruments used while recording or playing music live. He is the personification of a desi musician of tomorrow – when it comes to the hardware and software he uses for his music.

From national radio to the people’s radio:

FM100 hit the airwaves in the early nineties and a couple of years later, FM101 followed. The introduction of FM Radio in Pakistan was an important milestone since people could now listen to music anywhere they went and could keep up to date on developments in the music industry without having to go to the music store and consulting the store owner about the latest releases. This was in part facilitated by the fact that the same music was being heard throughout the country – radio jockeys became the first kind of behind-the-camera celebrities.

From two stations to now having more than 25 radio stations operating around the country and counting, technological advancements have a big role to play in the ease with which these radio stations are able to set up. Where previously expensive equipment only few could afford and with studios crammed with wires and devices that seemed on the verge of exploding if touched, the radio station of today is more modern, the studios are sleek and devoid of messy wires. The equipment is cheaper and now, a station does not need to have boosters set up in every city they intend to transmit in. They simply stream their transmission over the internet.

For example, a show that is meant to go network (transmitted throughout the country) that is being recorded live from Karachi is streamed via the internet to a branch of the same station in Lahore, from where they broadcast it all overall Lahore. The gaps of dead air during a transmitted show is more often than not, the result of a fluctuating internet connection.

Also, if one is a little too eager, one can also by-pass having to buy an expensive license and investing in costly hardware and software for a radio station. People are increasingly turning towards establishing their own internet radio stations, with audio streamed over the internet to people who log into the radio station’s website. A major example would be of the internet radio set up by the artiste management agency, Jilawatan, which subsequently closed down.

Coming to a more recent example, the Lahore University of Management Sciences (LUMS) launched their own internet radio station a couple of months back. Their launch was accompanied by the live streaming of a concert held by none other than the musical duo mentioned above, taking place within the university premises. Friends of LUMS alumni did not have to buy tickets to the concert; as long as they had a good internet connection, they could listen to it anywhere.

Technology has more than just changed the face of music, it has made music more of a ‘now’ thing than of a ‘learn how to sing/play the instrument first’. It has eliminated the geographical constraints and allowed people the luxury of attending a concert without being there physically. Where DAT performances are looking down upon now, it has also encouraged artistes to look for more sophisticated techniques of cheating their audiences. It has given enough space for those who otherwise would not be able to cut a record deal to put their music up for millions to listen to anyway. From the garage, bands are increasingly moving towards an internet domain. It has allowed the neighbourhood geek to become a rock star.

“Audio technologies have helped music production, but has not helped the average singer” — Zeeshan

Zeeshan Parwez is a Peshawar-based music video director and one half of the band, Sajid and Zeeshan. He has to his credit the first fully animated music video..

Question: What kind off technology do you use when producing/making music?

Answer: There are two diverse domains in the field of audio engineering and recordings. There is analogue and then there is digital. Everything I do is done via computers, so it is all digital. But it has been sensed that analogue equipment sounds much better than digital, even though there is no logical explanation for this. So everything is processed on two PCs that I have kept in the studio only for audio purposes.

Q: How do you think advancements in audio technologies have helped average singers sound better?

A: I think audio technologies have greatly helped music production, but has not helped average singers much. Technology can help enhance the average singer's tone quality and correct the faults in pitch of the singer, but at the end of the day an average singer and producer’s faults become evident when trained ears review it. Technology cannot cover that up. It can help you make great music, compose things with ease but average singers should be warned if they are completely relying on their systems.

Q: How would a regular person set up their own studio? What would he/she need?

A: A regular studio nowadays needs to be built around a PC with hi-specifications that gives you enough room to be creative. It also needs supporting devices like mixers, microphones, amplifiers, patchbays, effects processors, good cabling throughout, soundproofing, sound cards, headphones, good ergonomics and comfortable room. In a country like ours that has limited resources to offer, an average person will have to start off with equipment that is not top notch.

Q: You are also known as an animator. What do you use when animating your characters? Do you think animations are playing an increasingly major role in how music videos nowadays? How has technology affecting the making of music videos?

A: First of all, I create my characters and design their respective roles in order to give me an idea of how they should look. After that, everything is drawn digitally on computer using softwares like Photoshop, Flash and Combustion.

I do not think animations are playing a key role in Pakistani music videos. We have a long way to go. People/Artists here are not willing to invest too much in animated videos. Animation costs a lot, so they think it is a better idea to make something on film instead of creating animated videos which they think the general lot would not be able to grasp. This is what is preventing animated projects to see the light of the day.

Internationally, it is different. Everything is covered from resources to finance. If that was the case here in Pakistan, I would be the first one to make a bet with anyone supporting the fact that Pakistan has got amazing talent in the animation field and we can do it better than anyone else.

Technology has greatly helped people like me to make music videos. You have loads of data on your computer which you just copy and paste together and voila! You create! It is amazing.

Q: What kind of technology regarding audio and video is predominantly used in Pakistani studios nowadays?

A: Video is totally done through PCs. All the processing for film is done abroad. It comes back digitally transferred and you work on it. As far as formats like DV, HD and Digi-beta are concerned, once the footage is shot, it is directly placed on the systems and it is ready to be edited, composed and finalised.

In terms of audio, there are very few studios in Pakistan that still record on master tapes (analogue) because digital has become way too convenient for everyone to use. There is still a debate among the-minded about which format to choose. Analogue sounds warmer but digital is more convenient and is not at all time consuming, unlike analogue recording. — MS

Riding the wave

For those of you with an avid, can’t-live-without love for music, coupled with an exhibitionist streak to show it off, setting up your own internet radio station could be your current calling. For one, they are cheaper to set up than a conventional FM radio station. They are also faster and easier to establish and since the station is yours, you can say whatever you want and how ever you want to, without fear of repercussions.

It would be wise, however, to examine the copyright laws and royalties governing the type of music you plan to play before you play it. Companies such as Live365 that have already paid these royalties allow you to take advantage of their agreements. One other firm worth looking into is LoudCity.net. LoudCity.net automatically tracks the songs you play and allows you to operate a legal radio station for a subscription of only 20 dollars per month. This subscription covers the royalties for all of the songs you play.

The hardware and software you need:

1. CD player

2. Software to rip off audio tracks (copies audio tracks from a CD onto a computer’s hard drive)

3. Recording and editing software

4. Audio mixer

5. Outboard audio gear (equalizer, compressor)

6. Digital Audio Card (also comes automatically bundled with your PC)

7. PC computer dedicated solely to broadcasting with encoder software

8. Streaming media server

Getting audio over the internet is pretty simple:

1. The audio enters the Internet broadcaster’s encoding computer through a sound card.

2. The encoder system translates the audio from the sound card into streaming format. The encoder samples the incoming audio and compresses the information so it can be sent over the internet.

3. The compressed audio is sent to the server, which has a high bandwidth connection to the internet.

4. The server sends the audio data stream over the internet to the player software or plug-in on the listener’s computer. The plug-in translates the audio data stream from the server and translates it into the sound heard by the listener.

You should also have a microphone if you plan to talk on air. PirateRadio.com provides you with free downloadable software you can use to set up as well as a whole listing of internet radio stations on World Wide Web. If you are using a dial-up internet connect, you can subscribe to the streaming services by websites such as Live365.com to improve the quality of your online radio broadcast. — MS

First Published:
Sci-Tech World,
September 8, 2007

2007-08-26T00:29:00.000-07:00

Sugar 'n' Spice

They’re not your regular run-of-the-mill girls next door, although they may certainly look it. These ladies have a secret: they can sing! Not only that, but they can do it pretty darn well. To anyone who has an avid interest in the Pakistani music industry, Zeb and Haniya are no strangers: they’re the voices behind the radio and Internet hit, Chup.

Having just recorded their much-anticipated debut album, produced by music maestro Mekaal Hasan, recorded in Digital Fidelity Studio in Lahore and featuring the musical skills of popular drummer Gumby and guitarist Shallum (of Fuzon fame), Zeb and Haniya seem ready to take the music industry by storm. Considering that they have just the right ammunition — they ooze talent and have the support of some of the best in the industry — one can’t wait for this storm to arrive.

What comes as a welcome surprise is that Zeb and Haniya are refreshingly natural: they do not have any false airs about them and neither do they overdose on confidence. Zeb is the primary vocalist with Haniya also on vocals and the guitar. My first impression of Zeb was that she seemed shy, but as the interview progressed she displayed her more outgoing side. On the other hand Haniya, from the first moment onwards, seemed to want to make sure that everyone around her was comfortable enough.

Finding two very good female musicians — itself a rarity in this country — working together, I couldn’t help but wonder how far back do they go together and how did the band form? “I think I met her when I was three months old,” says Haniya seriously with a twinkle in her eyes. “Actually our mothers are sisters, so we are first cousins. And we were born exactly a month and three weeks apart.”

As one of the most popular songs downloaded on the Internet and having gotten generous airplay, the song Chup is one of Zeb and Haniya’s most popular songs. Written and composed during a break when they were in college, Haniya was visiting Zeb at college during one of their breaks and “we went down to the basement and we found an abandoned bookstore there. And over there Haniya got her guitar and started playing. That is the place where we made Chup for the first time,” said Zeb.

“We started writing songs and I had not written any before that. But by the time we finished college we had around four songs,” adds Haniya.

When did you guys decide to get into music professionally? “Mekaal (Hasan) was my friend’s friend. I met him randomly and was pleasantly surprised at how accessible and what a nice guy he is,” says Zeb. “He was kind enough to get us into the studio and record us two songs. I remember on our way back he handed us a CD and after listening to it we were really excited. It sounded like a real song! He really pushed us actually, always telling us that we should take our music further.

“The recordings that we got from Mekaal, we put them on the Internet to give it to our friends,” says Haniya. “About a year after that someone said that it is being played on the radio. I don’t know who put it there but someone heard it on the Internet, pulled it off and started airing it.”

About how they would describe their overall sound now, especially the one in their upcoming album, Zeb says, “It is more arranged as it has been six years now. And we really had a lot of time to think about where we wanted to go. Not to mention the fact that we had the country’s leading musician arranging and helping us shape up the songs. I think for a good three or four weeks we just jammed with them.”

“It is bluesy, in that the bass is there in most of the songs,” adds Haniya. “All the instruments are live. Gumby is great, he is not doing the straight four-by-four beat in any of the songs. Each song has come out very different.”

“And there is also a lot of folk touch to it along with a lot of jazz and blues,” says Zeb about the album. “We have at least two songs that are about women’s liberation and there are some romantic numbers too, a few naughty numbers and some playful ones. We also have kind of a fusion thing going on and a bit of classical in the album.”

With the kind of music that you have, have you considered performing live? “The kind of music we have isn’t a large crowd kind of a thing, very high-energy rock music usually does the trick,” says Haniya, adding, “our music is slightly more mellow, more intimate and so a medium-sized crowd would find it more suitable.”

“I don’t think that bigger crowds will be the problem. I think basically it would be the kind of crowd. I mean it is not bhangra,” says Zeb. “I know that we are probably not Atif Aslam for sure.” At this point I disagree with them as I am of the opinion that they do have what it takes to deliver a performance to a large crowd — all they need is a good set of back-up musicians and a decent sound system.

As women vocalists are extremely few and far between in the Pakistani pop industry, what do Zeb and Haniya have to say about it? “I think the whole scene for women musicians is so limited that sometimes I get thrown off by comparisons of this one and that one,” says Zeb quite seriously. “I think our categorical thing is that we are very excited about women and whether you are Arooj (Aftab) or not and whatever you are doing, it is so great to see so many people come up because it is part of the industry that has just not developed.”

“The more women come up, it will be easier for other girls to take to the field”, continues Haniya. “There are going to be more players, more role models.”

Having recently performed in both Islamabad and Karachi and wowed audiences in both cities, Zeb and Haniya are predicted to be the next big thing. Not only do they deliver a mesmerising live performance, but they have the right mix of talent and attitude to go. And more important, they also have the backing and the support of those who have been around in the industry for a long time.

-- Photography by Amean J.

First Published:
Images
August 26, 2007

2007-08-19T23:59:00.000-07:00

Ishq-e-Laila

Considered a classic in Pakistani cinema, Ishq-i-Laila (1950), directed by J.C. Anand, centers around the legendary love story of Laila Mujnoon. Incidentally Mr Anand’s son and his family were also present at the time of the screening. He related how around that time, another movie, Laila Mujnoon, was rumoured to be in the making, and since it dealt with a similar subject matter, the production and shoot of Ishq-i-Laila was also hastened. The movie was made in 30 days and also premiered on the same day as Laila Mujnoon.

When the screening of the movie began, the hall was only half full. But by the time it finished, it was packed. The entire experience was punctuated by applause from the audience at dialogues and scenes that were most dramatic and sensational. Several scenes in the movie also invited laughter, especially some in the beginning which depicted a budding junior school romance between Laila and Qais. It was somewhat funny having two pre-pubescent children deliver romantic couplets more suitable for adults and share ‘loving’ looks that was completely unbecoming on them.

Another scene which was a huge hit with the audience, inviting a lot of hoots as well, came towards the ending in which, after having married Laila, the Prince of Iraq suddenly realises his mistake and declares that from that moment onwards, Laila is his sister.

The movie gave us an insight into the movie-making style predominant in the 1950s, as well as the fashion present during that time. Perhaps the story line and the movie itself will not be relatable to people in the present age, but it isn’t entirely unwatchable. It did drag on for a tad too long.

First Published:
Images
August 19, 2007

2007-08-19T23:57:00.000-07:00

Closer Home

Screened on the third day of the Festival, Mark Tulley’s Face of India centered around the lifestyle that the ordinary people in India live, with a focus on the social infrastructure provided by the government to provide them with services and how much of these services are they really benefitting from. It is a look at the intensely bureaucratic system that the government offices in India are a victim of even today and seeks to find answers from various individuals working within them or in organisations related to or affected by them.

Face of India opens with a view of the condition in which the government offices are kept and maintained today, including a clip of an entire room full of land deeds contested by different owners. The sheer magnitude of the task at hand is displayed and the officer who also serves as our guide informs us that there aren’t enough resources to convert these files into a digital format and/or sort through them. Admitting that such antiquated methods of dealing with social and legal issues gives birth to corruption — its very easy for anybody to destroy or tamper with documents that have been there since time immemorial — the officer adds that it can be limited. Also, at times, the salaries of government officials are so meager that they have to rely on bribes just to make ends meet.

We are also taken into the villages and shown how an ordinary Dalit (literal meaning: broken) — a lower caste Hindu — lives his life. Reflecting the sheer poverty and lack of support they expect from the government also because they are poor — they hold no illusions regarding their place in the country and are fully aware that rights and privileges can be bought — we also see that they have been given political importance and that they constitute a significant place in Indian politics because of their sheer number.

Going from extreme poverty we are taken to the residence of Maharaja Amarinder Singh, from the royal Sikh family when they used to rule over Amritsar. We are shown how, unlike other Indian princes, Amarinder has managed to adapt to the current socio-political system and has chosen to assume power via politics (he is popular candidate amongst the Sikh community). He gives us an insight on his life and how he grew up and he differences that were predominant between the ruling class and the majority of the Indian population and so on.

An interesting point of view was presented by Laboni Jane, a health-care individual in India working in an NGO which directs its services towards mothers and children. Despite being a first-class graduate in Economics from a prestigious Indian university, Laboni has chosen to work for the welfare of the people. We see her take a two-hour journey to work — she is lucky if she finds a seat to sit on — and deal with the scores of mothers and children who come to the NGO premises seeking refuge from whatever ailment afflicts them.

We see her go out into the villages and talk to the people there, stressing that it is just as important to listen to them as it is to educate them, since you learn both ways. At the end of it, when questioned about the Indian government’s lack of effectiveness in implementing adequate health care, she defends the government and says that she considers her NGO as an enhancement of what it is trying to do for the people.

Despite covering issues predominant in India, one of the reasons why the screening of these documentaries was important was because they, to a larger extent, reflect upon similar issues predominant at home, in Pakistan.

First Published:
Images
August 19, 2007

2007-08-18T23:55:00.000-07:00

Backstage Partition

In one of the documentaries being screened at the Shanaakht Festival, Beyond Partition was based on how South Asian film-makers view and have expressed what they think and felt about the division of India into two separate states. Film-makers such as Sabiha Sumar, Saeed Akhtar Mirza, M.S. Sathyu, Shyam Benegal, Chandra Prakash, Dwivedi and Indian film historians and archivists such as Prof Suresh Charia and P.K. Nair, spoke about different Indian moves where the Partition was talked about, albeit subtlety and on a handful of films that were made on the subject itself.

Notable movies mentioned in the documentary was M.S. Sathyu’s Garam Hawa (1971) which was considered a landmark film since it changed the way Muslims in the subcontinent were perceived in Indian cinema regarding Partition. Also, a movie titled Tamaas (1987) made by film-maker Govind, based the movie on the philosophy of the novel by the same name, showed the Sikh perception of Partition. Several clips from the movie were shown which included a particularly haunting scene in which an aged Sikh militant, standing in the middle of a burnt, deserted and completely destroyed street, looks around in shock and horror. With acting that was completely natural, the scene lacked the overdramatic acting predominant in most movies of that era. Another scene from the movie showed Sikh women walking towards a well behind their temple, intent on committing mass suicide with their children, while the men of their family fought on the other side — for them it was better to die than to have themselves compromised on the hands of the ‘enemies’. The sheer determination and single-mindedness with which we see the women first walk and then jump into the well is what both grabs and haunts the viewer (not to mention the background score which added to the intensity in the scene). Sabiha Sumar’s Khamosh Pani (2003) and the fact that it continues to remain under the scrutiny of the censor board in Pakistan, thereby not making it to theatres here, was a refreshing view on what the women went through both during and post-Partition. Saeed Akhtar Mirza’s Naseem (1995) was based on the Muslim viewpoint of the destruction of the Babri Mosque in India in 1992. According to the film-maker, he was never concerned with the mosque itself, he was more perturbed by “the sadness that surrounded it and the fact that it was allowed to happen.” According to Shyam Benegal, “The Babri Masjid destruction shook many beliefs of the Indians who believed that they were ‘naturally’ secular.”

Beyond Partition is one of those documentaries which one can see time and time again and still find something new to reflect upon. It’s an honest insight into the hearts and minds of those individuals who are responsible for communicating stories and their perception on Partition and the events that followed it, which some claim, haunt us to this day.

First Published:
Images
August 19, 2007

2007-08-17T01:06:00.000-07:00

Veteran actors come together for Habib Mamoon

KARACHI Aug 16: Featuring a cast of seasoned actors who haven’t performed on stage for around 22 years, Habib Mamoon, an adaptation of Russian playwright Anton Chekhov’s Uncle Vanya, will open at the Arts Council here on August 24.A tragicomedy, the play is directed and produced by Zia Mohyeddin and the adaptation has been done by Zahida Zaidi.

It is being presented by The Citizens Foundation (TCF) in collaboration with the National Academy of Performing Arts (Napa).

Habib Mamoon is set in pre-partition Lucknow, which the organisers and the cast of the play believe will make it more relevant to local audiences.

The cast includes Rahat Kazmi who will be playing the lead role, Arshad Mahmud as the ailing professor Kalimuddin, Talat Hussain, Zaheen Tahira, Jehanara Hai and will feature the theatre debut of Aymen Ali.

Rahat Kazmi said that he considers Chekhov’s plays as having a universal appeal, transcending cultural and time-specific boundaries. He also stressed upon the fact that the story-line was very complex and would require serious attention while it is being performed.

The cast, all of whom are well-known television personalities and renowned for their theatrical skills, will be coming together on stage after a 22-year gap.

About performing after such a long time Rahat Kazmi said he was concerned about not being equipped with the same energy and memory as he was during his younger days.

Arshad Mahmud simply commented that after having spent a considerable period critiquing other peoples’ performances, they shouldn’t rob themselves of the pleasure of receiving some criticism in return.

Opening at the Arts Council on Aug 24, the play will run for a full 10 days with the final performance on September 2.

The proceeds from the play will go to TCF.

First Published:
The Metropolitan
August 17, 2007

2007-08-14T22:31:00.000-07:00

Shanakht Festival concludes on a positive note

KARACHI, Aug 14: The fourth and final day of the Shanakht Festival on Tuesday was marked by the screening of a classic film, a storytelling session and a rock concert. The festival, organised by the Citizens Archive of Pakistan (CAP), was held at the Arts Council of Pakistan, Karachi.

The 1950s classic film Ishq-i-Laila provided an interesting insight into the cinematic style predominant in the early stages of our film industry. The storyline and antiquated, exaggerated acting style invited a lot of laughter from the audience, even though it was not meant to be humorous.

Another interesting aspect of the day was the interactive ‘Meri Kahani Meri Zabani,’ event where speakers shared their stories about partition and where the audience asked them questions at the end of the session. The guests for Independence Day were Admiral (retd) Hasnain, one of founding fathers of the Pakistan Navy, and Nabi Ahmed Khan, police officer in pre-partition Delhi. They kept the audience captivated in a session which lasted roughly over an hour, as the audience was given a firsthand account of incidents revolving around partition and a personal insight to people responsible for giving us Pakistan, such as Mohammad Ali Jinnah.

The Shanakht Festival concluded with a concert titled ‘Rock Your Shanaakht,’ which saw performances by bands such as Taal Charisma and the Aunty Disco Project as well as Ali Alam and Islamabad-based Zeb and Haniya to a packed auditorium.

Meanwhile, the third day of the festival on Monday featured the screening of two documentaries: Mark Tully’s Face of India, in which he showed the remnants of the British colonial Raj in India, and Stones of the Raj, narrated by noted historian William Dalrymple. Tully’s film focused on India’s bureaucratic system while the second documentary was more focused on the monuments and the railroad system constructed during the Raj.

However the event that most marked the third day was the Anwar Maqsood and Moin Akhtar stage performance of Loose Talk, their popular television show. Using Pakistan and the diverse kind of individuals that inhabit it as a theme, the show was a huge hit, inviting laughter and applause from the audience in the fully-packed auditorium. On popular demand, Moin Akhtar was asked to do an encore performance, which he did, embodying the character of a Bengali man. They both received a standing ovation at the end of the performance.

They CAP team plan to make the Shanakht Festival an annual event around Independence Day.

First Published:
The Metropolitan
August 15, 2007

2007-08-12T23:04:00.000-07:00

Festival seeks to discover identity

KARACHI, Aug 12: A play titled Jinnay Lahore Nahin Vakhya kicked off the four-day Shanaakht Festival at the Arts Council here on Saturday. The festival will conclude on Independence Day.

Organised by the Citizens Archive of Pakistan (CAP), the festival features photo and art exhibitions, documentaries, plays and talks centred on the theme of identity.

Jinnay Lahore Nahin Vakhya, performed by Sheema Kirmani and the Tehreek-i-Niswan group, played to a packed auditorium. The story centres on a real-life incident in post-partition Lahore of a family who migrates from Lucknow.

After having spent several months in refugee camps they are allotted a house, which they later discover is occupied by the matriarch of the previous Hindu family that lived there. She refuses to leave and while she is there, the ownership of the house cannot be transferred to the new occupants.

The play sees them adapting to an amicable life together, but they are confronted with trouble from the neighbourhood thugs who object to the old woman’s presence on the basis of her being a non-Muslim.

The play was well-received and the cast and crew were given a rather long standing ovation.

On Sunday, the second day of the festival, documentaries such as The Last Days of the Raj and Beyond Partition were screened in the auditorium. A storytelling session by Hameed Aliani (grandson of the Jam of Lasbela) and Haji Isa was also held in the courtyard.

But the event that marked the second day was a talk held by Ayesha Tammy Haq, in which she invited six other guests, out of which five showed up.

What was heartening, other than the personal accounts of the guests themselves, was the participation of the audience towards the discussion where some asked questions and others shared their opinions on partition as well as other aspects related to it.

During the remainder of the festival documentaries such as Mark Tully’s Face of India and Stones of the Raj will be aired, while a storytelling session by Anwar Maqsood and Moin Akhtar will also feature.

Founded by documentary film-maker and journalist Sharmeen Obaid Chinoy, CAP consists of Sarah Taher Khan, Omar Rahim, Amean Jan Mohammad, Durriya Kazi, Minal Rahimtoola, Sabeen Mahmud and Altaf Qureshi.

First Published:
The Metropolitan
August 13, 2007

2007-08-12T06:41:00.000-07:00

'I am Pakistani'

With her Mac on one side and a host of notebooks and papers on the table in front of her, Sharmeen Obaid-Chinoy, journalist and independent film-maker (Reinventing the Taliban and the upcoming The Promise — A journey through Afghanistan) invites me to sit on her ‘see-saw’ sofa in the house she grew up in. She is energetic, loud, open and most importantly, she’s on a mission. Teaming up with a group of individuals, she’s formed the Citizens Archive of Pakistan (CAP) and they’re on a mission to do exactly that — archive the history of Pakistan in whatever way or form possible. And communicate it as well.

Sharmeen’s baby, CAP’s first project is the Shanakht Festival which has already gone underway from August 11and will continue till August 14 — Pakistan’s Independence Day. The first of its kind, Shanakht aims to explore our identity as a nation collectively and individually as citizens of this country through a series of readings, photography and painting exhibitions, plays, interactive discussions, documentaries and performances. Some of the paintings on display include six life-sized murals based on every decade in Pakistan’s history; the photography is predominantly a contemporary look by prominent photographer on Pakistan itself. The documentaries includes those based on the last days of Lord Mountbatten as the viceroy of pre-Partition India, how different film-makers view Partition and also a documentary examining the social and political issues predominant such as poverty and inflation as well as the remnants of the British rule over South Asia: the bureaucracy.

Sheema Kirmani along with Tehreek-i-Niswan presented a play yesterday based on Lahore in 1947 on an immigrant family coming to stay at an allotted haveli, seemingly vacated, after Partition only to discover that the matriarch of the previous household continued to inhabit it. The dialogues had been taken from the poet, Nasir Kazmi’s original letters and writings and the story line itself was based on an actual incident that had taken place.

Talking about how the CAP formed, Sharmeen says, “Last year in the summers, I was having a discussion about Pakistan: its history, where we are and where we are headed. I realised that there was no place where you could absorb Pakistan’s history,” adding that there was a lack of national identity that the common Pakistani has, she mentioned that “we are lost as people.” Hence the idea of creating a platform through which one could know Pakistan, where it came from, who were the people who chose to support its formation along with the stages through which the country has progressed, both culturally and historically, took birth.

Realising that the project itself was too big for her to handle on her own, she brought together, in her own words, “a group of mad, creative but ambitious individuals.” These individuals happen to be Sarah Taher Khan (CEO Radio1 FM91), Omar Rahim, Amean Jan Muahmmad (photographer), Durriya Kazi (HoD Visual Arts, Karachi University), Minal Rahimtoola, Sabeen Mahmud (COO b.i.t.s.) and Altaf Qureshi (lawyer).

“We don’t give the general public any form of entertainment that requires them to use their brain cells,” says Sharmeen, talking about the content of the festival itself. “The partition of 1947 was a traumatic experience and remembering it gives a sense of how Pakistan came into existence. And who were the people who made it happen.” According to Sharmeen a lot of the photographs and material used in the festival had been donated to them by ‘like-minded indivduals’, also including some of the documentaries. “Looking at them you realise: we were civilised as a nation,” she says, observing thus after going through some of the photographs, “and now in some cases, it’s become so bad, it’s unrecognisable”. Talking about the murals exhibited in the festival, based on Pakistan’s history she say “that tidbit of history will be more alive than by just reading it in textbooks.”

An interesting aspect of the festival is that it is completely free of cost. From the exhibitions, plays, documentaries to the open discussions, street-theatre and musical performances, this is an event that costs the attendee nothing. At the minimum it requires that one simply to attend or as in the case of “closed events” pick their passes up early since they will be given out at a first-come, first-serve basis. It doesn’t end here, to ensure that people do not have a reason not to come, CAP has taken care of transporting interested individuals to the venue as well: “There will be free buses available on the 10^th and the 14^th — the two holidays — from 11am to 8pm, every two hours, back and forth from Nipa Chowrangi, Society Office near the Quaid’s Mausoleum and the Korangi Chowk,” says Sharmeen. “We don’t want to give people an excuse for not coming,” she adds.

Every person working for the festival has done so willingly and without expecting any monetary benefits in return. Perhaps a first in the history of the Karachi Arts Council, but they have provided the venue free-of-cost as well. Even the logo which had been designed by Khizra Munir from Interflow to the vocal booths provided by Radio1 FM91 has been done pro bono.

Speaking of the future of CAP and what it hopes to achieve, Sharmeen says: “A lot of this work will be electronically available on our websites. My hope is that next year we’ll be doing something different along those same lines. We’re hoping that old buildings in Karachi that we can either have donated to us or given to a trust so that we can build a museum. I imagine in 10 years’ time that this will be the place where people will give lectures and talks,” she adds about what they have currently collected so far that “everything that is being received is going to the museum. Till then we’ll look for a temporary place to house them.”

At the end of it all, more important than whatever goes on in the Shanakht Festival itself is what people will take home with them — a sense of renewed identity and a stronger sense of belonging and connection to the country they belong to as well as a desire to help bring it forward into the future. There aren’t many individuals willing to take time out and work for the enlightenment and betterment of the society itself, let alone doing it without expecting any materialistic benefit — CAP happen to be some of those ‘creative, mad but ambitious individuals’ who are doing precisely that. And it is important because: “We need to celebrate 60 years of Pakistan. I have walked across the border to Afghanistan and Iran and I have seen the other side,” says Sharmeen, adding that “while we have what we have, we need to learn to appreciate it and move forward.”

First Published:

Images

August 12, 2007

2007-07-29T08:24:00.000-07:00

In true colour

He is the gentle giant of the music industry. One third of one of the first bands to come out in the second pop industry boom, Fuzon, Shallum lacks the outgoing-on-all-occasions persona predominant in most well-known musicians in the industry, neither is he the kind to sit back and slip into the shadows. Perhaps the best way to describe him would be to say that he isn’t a ‘crowd’ person.

Shallum chose to expand his music in Norway when an opportunity presented itself some three odd years ago. A Norwegian telecommunications company brought Fryd, a popular Norwegian band, to Pakistan and together with Fuzon, they performed at the anniversary of the telecommunications company. Fuzon was then invited to perform in Norway later that same year and following that, Shallum and drummer Gumby went on to perform in a Norwegian music festival last year as well.“It was a great experience,” said Shallum talking about the festival, “I did a few recordings there as well.”

The Norwegians seem to have taken a liking to Shallum as he has been invited to perform with a symphony orchestra some time in September. He has also been asked to form and compose a 15-minute musical track and, according to him, “assemble a team of performers to represent Pakistan.”

Speaking about his team, he says, “I will be teaming up with Jawaid Bashir (the vocalist of the Meekal Hasan Band), Pappu (the flute player from the Meekal Hasan Band), Ammr Vandal, a Kathak dancer originally from Pakistan but currently studying in New York these days, Ingrid Kindem (the keyboardist from the Norwegian band Fryd) and Jai Shankar, a noted tabla player.” It is interesting to note that Jai Shankar has recently won an accolade from both Norway and India for his skills on the tabla.

Shallum has, for the longest time, been talking about recording his own solo instrumental album. Now that he has begun to work on music for it and with his Norwegian-related activities taking place around the corner, is Fryd going to be a part of his solo venture? “I’ll be collaborating with Ingrid Kindem the keyboard player from Fryd and the musicians just mentioned”, he replied, “but Fryd (on a whole) is not a part of this project”

Out of his individual work, one instrumental, My Guardian Angel, was released via the CD that the World Music Magazine (headed by Arshad Mahmood) gives out with every issue. Is it going to be a part of the upcoming album? “I’m not sure if that’s going to be the title track of the album. I am working on some tracks and ideas but I’m not sure whether I’ll be coming out with the album this year,” he said.

Not content with simply being just a musician, Shallum has decided to dip his hands into the production side of music as well. “I have been producing new upcoming artistes and I really enjoying the experience of working on each and every aspect of the process of making music,” he replies enthusiastically. “Some of these talented individuals will be releasing their music pretty soon.”

Notwithstanding the band he started out with, Shallum mentions that “Fuzon is releasing their first video from the second album, titled Suna Suna, in August. The video has been directed by Sohail Javed.” What about the launch of the album itself? “Fuzon’s second album is going to be out in August so there are quite a few things to look forward to. We have some concerts planned here in Pakistan and we have a tour of India in a few months as well,” he concludes.

Photography by Fayyaz Ahmed

First Published:
Images
July 29, 2007

2007-07-29T08:05:00.000-07:00

Who to look up to?

There have always been certain individuals who have defined a ‘generation’. The ‘90s were marked by the arrival of the Spice Girls, other boy bands and, outside the pop industry, by Monica Lewinsky. In Pakistan, perhaps, we had the Vital Signs, Junoon and Hadiqa Kiani but virtually no one outside the entertainment sector. That period for the Pakistani youth was marked by political instability and there was a huge gap as far as the evolution of local pop culture is concerned. It was only in the next decade, with the increasing use of the Internet, the liberation of the media and the rapid rise of the café culture that the current generation (Generation Y) woke up and rubbed their eyes, and the realisation that now they had a chance of developing their own identity dawned on them.

After hours of searching and taking a good look around I was forced to conclude that we live in a world of GT (Good Times magazine). We aspire to be the people smiling back at us from the printed glossy paper: the ones with the perfect hair and makeup, those who seem to have a successful life, a lot of friends and a good time. Take a look at any random group in any popular café or joint: they sport almost the same hairstyle, co-ordination of outfits, behave and talk similarly and if frozen they’d look almost exactly like the younger version of the people we see printed in social pages. Someone who is hung about the Eighties will still sport the coiffed look that was popular then. An older person who was young and adventurous in the ‘50s or ‘60s will still style his hair after Johnny Cash, Elvis Presley or Shami Kapoor. People like to follow trendsetters and generally trendsetters are the icons for the masses.

You still come across the odd Amitabh Bachan, a Waheed Murad, an Imran Khan and a Zulfikar Ali Bhutto in a crowd. These people were overwhelmingly popular and powerful, with massive fan following due to their charismatic, magnetic personalities. Although Amitabh must still be an icon for many middle-aged men.

Bachchan's first major box office success came in the leading role for his film Zanjeer. The movie was a sharp contrast to the romantic-themed ones that had generally preceded it and established Amitabh as the ‘angry young man’ (action hero) of Bollywood. The next decade catapulted him to the pinnacle of Bollywood superstardom. He churned out at least one major hit every year. Although the above-mentioned films cemented his status as Bollywood's pre-eminent action hero, Amitabh displayed a flair for more than just action roles. His remarkable comic timing was on display in films that were box office hits in late ‘70s and early ‘80s. He also emerged successful as a romantic lead. Any tall, lanky man with big features, thick hair and some charm would still love to be called Amitabh, especially if he had a nice voice to go with it all.

Young men (and women) idol worshipped Z A Bhutto for his dynamism, for his hardline confrontational policies against India. Large crowds would gather to listen to his speeches. A tall, bald man with fair complexion, an aristocratic nose and an arrogant attitude and people start calling him Bhutto Sahib.

Practically the whole generation of young men in the ‘80s aspired to be Imran Khan with looks and sex appeal, if not with cricketing abilities. Imran is seen as one of the finest all-rounders the game has ever produced. He was one of the fastest bowlers of the world during the late 1970s and early 1980s, and in the latter half of his career one of the best batsmen in the Pakistan team. Perhaps more significantly, as a captain, he transformed the Pakistan team, previously known for its exceptional talent but lack of coherence, into a well-moulded unit. And perhaps a whole generation of young women were fatally and frantically in love with him, so much so that one could say that to this day, Imran remains a phenomenon that happened in the ‘80s. No Shoaib Akhtar, Humayun Saeed, Shaan, Abrarul Haq or Shahzad Roy has at all the clout nor the substance that Imran Khan was made of. He was probably the equivalent of Elvis Presely in the West.

These days, the world over Generation Y is becoming increasingly defined by socialites like Paris Hilton and Nicole Richie or by young divas like Lindsay Lohan. The days of the strong, graceful beauty personified by Grace Kelly, Marilyn Monroe and Jacky Kennedy are over.

The real question is: who defines Generation Y in Pakistan, especially when desi influences might be concerned? We don’t have hugely popular socialites (they would probably get bombed especially if they were anything like Hilton) and our fashion and music industry, although not highly developed, is evolving. Only a small section of Generation Y is concerned with the societal, ecological and political environment – constituting an extremely small percentage of them – and none so far have managed to stand out in their efforts.

Bringing us back to the entertainment sector, ask any random young individual walking down the street as to who their favourite celebrity is, from any place in the city, and you’ll almost always be confronted with ‘Atif Aslam’ as the answer. A media-shy but gifted vocalist Atif Aslam (previously part of the band Jal) personifies the rags-to-riches story that has a somewhat universal appeal. Becoming an almost instantaneous hit, when the band Jal released the Umar Anwar-directed video of Aadat, they found themselves catapulted from near obscurity to extreme stardom. Aadat was everywhere – it voiced the frustration felt by most of the youth.

Just when they were learning to grapple with the implications of their new-found popularity, Atif Aslam left the band. What followed was a court case and a premature album launch by Atif Aslam in a bid to cash in on the media hype following the breakup of the band – all of which worked. Today, two albums later with a third one on the way and after having performed numerous international tours, Atif Aslam is one of the most popular and highly paid entertainers of the music industry.

His mass appeal can perhaps be credited to the fact that he is one of the very few individuals in the industry who really can sing, his songs are in Urdu, are lyrically simple and easy to relate to. Most important, he doesn’t belong to or tries to embody the characteristics that define the country’s social elite: he talks, dresses and behaves the way an ordinary youth from the masses does. He is one of them and they see themselves every time his music plays or his face flashes on TV.

On the flip side we also have Fasi Zaka – the corpulent, humorous, Rhodes Scholar who rose to fame via the show On the fringe directed by his cousin and musician/producer, Zeeshan Parwez. Recorded with a home camera and jabbing humour at the ‘serious’ artistes predominant in the entertainment industry, On the fringe and with it, its host Fasi Zaka, was a huge hit and managed to amass a strong cult following. Several newspaper columns, massively popular radio shows and an additional show dealing with socio-political affairs later, Fasi Zaka is everywhere.

At first glance, nothing about Fasi Zaka except for his intelligence and wit is cool. He is the class clown – the one who makes everyone laugh but isn’t somehow part of any particular ‘group’. His appeal may be attributed to the fact that other than his innate ability to make us laugh, he represents the misfits predominant in all of us. He doesn’t conform to a social ‘type’: he doesn’t look perfect and he doesn’t act it either. Fasi Zaka defines new kind of ‘cool’-- the kind that allows you to look, behave and be what you are, as long as you can enjoy a couple of laughs in the process.

Try as I might, I haven’t come across a single female icon for today’s youth, whether in the entertainment sector or outside, there isn’t a single woman big enough. Mohtarma, Mukhtaran Mai, Sherry Rahman? This is baffling in itself, how long will it take for a woman to match the appeal that Nazia Hasan had in the ‘80s or Hadiqa Kiyani had in the nineties? And considering that breaking into the industry was much more difficult for women back then as opposed to now.

Do the divas today have the clout. Is the upcoming generation in the 21st century at all affected by Meera, Reema, Amina Haq or Annie the mahiya girl? Do people in the limelight have no substance that shines anymore? Do young men aspire to be Shaan?

Keeping all of the above in mind, it would be safe to say that we don’t have a highly developed youth culture – although compared to the rest of the age brackets, it is by far the strongest. With the increasing globalisation of the media both conventional and new media (blogs, podcasts, ezines etc), influences are also becoming global and it is becoming difficult to separate desi youth icons and/or role models from the international ones. What can be said without a doubt that these role models are important in the sense that they provide the already confused youth with a sense of identity and belonging – your parent’s heros aren’t yours. Unless we have individuals who are willing to break from the GT-inspired mold that has taken over us and promote their individuality, we might not have an ‘icon’ to define Generation Z.

First Published:
The Magazine
July 29, 2007

2007-07-29T07:47:00.000-07:00

My kind and other animals

Madeeha Syed continues her musings about her no-longer-secret addiction

Like most addicts, we have learnt to recognise our kind. In some cases it’s painfully apparent: the other person will often talk about so-and-so book that they read or they will appear to be slightly removed from the ‘crowd’, as if not belonging to it entirely. There are some bookaholics, however, who don’t reveal their secret so easily. They look like everyone else, they talk like everyone else,
and they don’t necessarily ‘talk’ about books that they have read or want to read. It’s only when they innocently reveal in passing their love for collecting books that they are ever found out.

Talking of types of bookaholics, I have to mention my bookstore observations. I spend a at least two hours a week in a bookstore; sitting in one of their sofas pouring over books or simply taking a break and sorting my thoughts out while devouring the titles on the bookstores, I’ve noticed almost all kinds of people come into bookstores to buy books. Most of them seem to belong to the 45 and above age bracket — the self actualised individuals (or close to it). Sadly enough, I don’t see many people my age (the early 20’s age bracket) spend time in bookstores. They are almost always found hanging out cafés and/or at clothing outlets.

Once while searching for a book to buy for my mother, I asked a woman standing beside me at the book store for a recommendation. She looked like what most moms look like; everything about her spelled ‘comfort’ from her clothes to her shoes. She asked what my mother did and I replied that she was a ‘home maker’. Based on that information she thought that I was better off buying mum a ‘thriller novel’ — the likes of Danielle Steel. In response to the inquiring look I gave her, she said that women like her who took care of ‘everything’ didn’t have time or the energy to devote their already stressed minds to ‘serious’ books. A thriller would engage and provide a welcome escape from an otherwise stressful, mundane line. While I found her advice interesting, I was surprised to discover that she was an avid book reader.

On another occasion, while waiting for our respective rides, the marketing head of a successful international clothing line confessed to me that books depressed him. He explained that his working schedule left him with virtually no time to read and going into or even near a book store was a painful reminder of how, even if he bought them, he couldn’t read the books he’d like. His bookaholic side didn’t surprise me — he fit the self-actualised bookaholic profile. His confession led me to think what if at some point in my life I am also too busy? Too busy for books?! That idea is the closest to blasphemy I have dared to venture.

There aren’t many libraries in Karachi to begin with and virtually no public libraries where people can go to. What we do have is a library somewhere in Defense Housing Society which offers free admission to all senior citizens. Surprised? It’s true. Several years ago, while studying for an exam, I looked up to see a charming couple, both easily 75 or above, going over some old books. They were obviously retired but instead of spending their time nodding off to sleep in a rocking chair, they had decided to read. What I found especially heartwarming was the way the gentleman would often take the hand of the lady and help her go from one bookcase to the other. Not only that, they even consulted each other on their choice of books and eventually settled down together in a comfortable corner to read. That is exactly how I want to spend my retirement. When I’m not travelling, that is.

I belong to the school of thought that considers buying an original book, no matter how expensive, the right way to read and collect. One of my closest friends, who is also a bookaholic, prefers to buy pirated editions only. And if she can, she’ll download e-books instead! She explained once that she was more concerned with the overall content of the book instead of how it was ‘packaged’ and that original copies were too expensive. I, on the other hand, would starve in order to save money rather than buy a pirated edition. What’s more is that this friend (gasp) underlines sentences that she finds interesting in the books. All of the above is a major ‘No no’ in the sacred unspoken bookaholic creed. The said friend belongs to a breed I haven’t come across much but her variety of bookaholics are definitely intriguing.

What is it about books that enthralls us so? Perhaps it has to do with our innate love for a good story — whether in novel form or as a biography — and the desire to have it repeated to us. Or maybe we hold precious those elements that manage to enchant us and make us drift momentarily into another world. Interacting with those who carry this love a step further has always been interesting. It sheds light on our uniqueness and diversity; yet is a reminder that whatever shape or size we come in, we love books.

First Published:
Books and Authors
July 29, 2007

2007-07-22T04:13:00.000-07:00

Louder than ever before

There are hardly any ticketed concerts taking place in the metropolitan to begin with and experience has taught that these things never start on time. Keeping that in mind, I arrived at the venue an hour late and was somewhat disappointed to find out that despite the measure taken, the event was far from starting.

Mizraab was engaged in a somewhat lengthy sound check, directed by Faraz Anwar himself, with band-members of the Aunty Disco Project (ADP) and Mauj sitting at one corner of the stage. A closer look revealed Hamza Jafri, the rhythm guitarist for Mauj and the lead vocalist for Co-VEN, taking a nap on stage near his mates as well. He later confessed that he hadn’t been feeling quite well.

Another full hour and drum kit later — another drum kit had to be arranged since the Mizraab drummer was unwilling to share his — the concert showed signs of starting as two underground bands took to the stage. What was interesting to note was that the venue was chock full of pubescent wannabe rockers: teenage boys with long hair, dark clothes and a rock star attitude. Needless to say that even though the featured underground bands showed promise, they were far from being considered a good live act and were desperately in need of practice; both musically and vocally.

ADP kicked off with their original track, Sultanat, and announced that its video and audio has been released and will be making rounds on the tube and radio — a move they announced as “selfish self-promotion”. True to their form, they performed with zest and seemed to have fun while doing so. Imran Lodhi (bass, lead and vocals) swung the guitar and swished his hair as did Yasir on darbuka. Imran Lodhi could also be found posing for photos during his performance as well. Omar Akhtar in turn sashayed in his own way and ended almost every song they performed, one of them also included another popular single, Shehr Ke Ansoo, with a little guitar solo. Perhaps his most notable move came in the form of swinging his hand over his guitar ala early ’70s rock style, producing Jimi Hendrix-inspired guitar sounds.

What caught ones attention was the sheer number of people singing along to ADP’s chorus lines of some of their songs. Having performed quite a few number of times in Karachi, the band is well-known to audiences which include both media and non-media professionals, and have managed to amass a somewhat loyal fan following. Definitely leaving the crowd worked up, they made their way for Mauj. On the other hand, Mauj probably had no idea what lay in store for them.

The band is jinxed, or so it seems. The moment they came on stage it began to rain. Whereas during ADP’s performance it had drizzled lightly, with Mauj on stage, the rain became heavier. Having turned off the lights, attendees rushed to cover the equipment on stage and around 10 minutes later, in the midst of the wannabe rocker crowd yelling “Mizraab”, Mauj launched into an original track titled Mona. One has to mention here that in their full form, Mauj comes across as a formidable live act — with the best bassist (Sameer Ahmed), drummer (Sikandar Mufti), rhythm guitarist (Hamza Jafri) and fast-establishing himself as a gifted guitarist, Omran Shafique, a regular Mauj performance has just the right level of skill coupled with good composition to make it for concert goers, more than just worth their time.
Mauj launched into the Zoheb Hasan cover of Pyar Ka Jadoo. What’s truly magical about Zoheb’s songs is that even if you didn’t belong to the generation that grew up listening to them, as was with the case of most of the audience, they’re simple and catchy enough in their composition for anyone to sing along. This was the case here. Having customised it enough to sound like a Mauj song, the band members had the crowd crooning to the chorus with them. They slowed down to accommodate the audience, but one doesn’t think they got it since most of them quieted down instead. Mauj had the crowd participating again in an upbeat version of the chorus that immediately followed. Mauj had officially converted the audience.

They then launched into an instrumental that seemed to pick up as it progressed. An audience member called for Faraz Anwar, to which Omran replied “I’m bigger, better and faster”. Having seen him perform several times before, one doesn’t doubt that he just might be. Mauj closed their performance with an extended version of Khush Fehmi, which had also been getting a lot of requests from the crowd.

All hell seemed to break lose when Mizraab took the stage however. All of a sudden, it seemed as though the women in the audience had moved towards the back with the boys crowding the front and either side of the stage. Incidentally it was also Faraz Anwar’s birthday that day and a fan brought a cake along which he promptly cut and then began performing. Knowing what the audience expected of him, he launched into a guitar solo which had his fingers flying over the fret board while his most ardent fans stood in rapt attention.

It would be an understatement to say that for the rocker wannabes in the crowd, Faraz Anwar is nothing short of a god: they kept a respectful distance, head banged even when they had their hands on the stage and followed every movement he made, as if entranced. Mizraab was by far the loudest of the lot and their performance lasted roughly around 20 minutes. They closed with a number that has also lately been made into a music video, Ujala, concluding the evening on a much softer note.

credits: photos by Fayyaz Ahmed

First Published:

Images

July 22, 2007

2007-07-22T04:10:00.000-07:00

Beauty beyond borders

The Pakistan Council of Fashion design has taken a step forward in having their fashion designers go global. Negotiating with Beth Sobol, the woman responsible for the formation of Miami Fashion Week, one of the major fashion festivals in the United States, the PCFD has entered into agreement with the Fashion Council of America enabling their local Pakistani designers to showcase their collections abroad. Speaking on the occasion, Maheen Khan, designer and chairperson of PCFD said that such associations are integral not only for the growth but for the international exposure of our design talent – which greatly contributes to the knowledge and expertise of a designer.

With the agreement intact, Pakistani designers now get to display their collection in The Miami Fashion Week, early next year.

First Published:

Images

July 22, 2007

2007-07-22T03:23:00.000-07:00

A reader's response to my article titled Confessions of a Bookaholic (published July 8, 2007):

Madeeha Syed’s article “Confessions of a bookaholic” (Books and Authors, July 8) made me smile. I am not as addicted to books as Madeeha clearly is — but I do have a lot of similar confessions to make. Yes, the first thing that comes to my mind when deciding on a gift for a wedding or birthday is invariably a book. Whether or not the person in question is a book lover is always a second thought. When in urgent need of a present, I even borrow one or more books from my treasury and then buy another copy of the same book as soon as possible. Of the best books, I always buy more than one copy (after having read the book, of course) — just in case I need to give it away in emergency.

In contrast to Madeeha’s inability to stop herself from buying more books before reading all those she already owns, I am a woman with great self-restrain. I simply limit my shopping trips to only once every couple of months (!!!). But I admit I really cannot help myself if I happen to chance upon a book fair in. Once, after he had packed my purchases, the man at the stall offered to deliver all the books to my office in the evening. I had just stopped by to “have a look” and didn’t bring my car!

I have never seen people who enjoy reading get bored. Books are the most reliable friends on earth, and the best part is there are many kinds of books. All you have to do is find one that suits you the best. For me, fiction is a big no, no. Biographies and autobiographies of men and women of substance work best in times of distress and history works only when I am in the mood.

I salute Madeeha for giving vent to her guilt. I wonder how many readers are laughing at us, but luckily, this world is full of millions of kinds of books — and as many kinds of humans.

Madiha Saeed Rizvi (Karachi)

Feeback First Published:

Books & Authors

July 22, 2007

2007-07-19T02:11:00.000-07:00

Caught in the Net(work)
They say the world is growing smaller day by day. Before the internet revolution, getting in touch with your loved ones and business associates across the Mediterranean was almost an impossible task that required hours and hours of waiting and depending on the PTCL phone operator at an exorbitant rate – leaving that luxury only for the elite. Getting a letter was a big deal and its arrival was announced to every other member of the household, to those whom the letter was meant for – also for those who it wasn’t meant for. Most people actually ended up saving these specimens of antiquated means of communication. And most of us lived happily in our near-predictable, slow lives – the bubble was bigger and more difficult to pop: you’re friends were your friends who you met and bonded with at school – meeting for the occasional coffee later, you’re work stayed at work and you spent hours catching up with your cousin who visited after what seemed like, gazillions of years. That is, till the internet came to town and made itself available to all and sundry.

There were several reasons why parents were initially against their children using the internet or using it in the privacy of their rooms – far away from chaperoning eyes. Where previously they could control what their children were exposed to via screening their books, movies, television programs and social outings – now, they couldn’t. If their child chose to visit a website with harmful content containing for example, steps on how to get back on people who hurt you via physical violence, parents remained powerless in limiting that exposure and ensuring that their child grew up mentally healthy as well.

Reason number two was that they had no control over who you talked to, when you talked to him/her and what you talked about. Pre-internet age, or rather in the modern-day stone age, friends would come home and pass through the scrutiny of your parents or you’d call from the phone in the living room, baring the content of your side of the conversation to all. What you said to your friends outside of school, remained between you and your friends, you could talk to millions of random people from all around the world and quench that thirst of ‘communicating’ with like-minded people. In short, the internet-world became your playground where there more choices and more opportunities to meet and stay-in-touch with people you may/may not know. It allowed people to embody personas and feel ‘liberated’. All of a sudden your family and mohalla walas weren’t crowding round the phone, hanging on to every single word the aunt settled in some godforsaken country had to say – they just hit her with an email.

All hell breaks lose

Just when things couldn’t get better, Friendster, the first-of-its-kind social networking website was launched sometime in [insert date]. Revolutionizing communication methods, your friends could remain all in one place; instead of emails you dropped short messages that were visible to all. You knew who your friends were friends with and it became easier to established “you’re related to her too?!” connection than ever before. Then came FaceBook, Orkut, MySpace, Hookah, Zorphia… and the list goes on.

Where there are minor differences, there are some similarities that must be mentioned here: they all require you to add friends when you sign up and fill out a form which includes more than just your name and date of birth: it’s comprehensive enough to include all of the schools you have ever been to, your hobbies, what you’re looking for in the special someone and the latest, what you’re ‘thinking’ at the moment. They all had features to add a photos to your profile, your friends were visible to all and so were their messages, you could browse through your friend’s friend list or via specifications you’d outline when you’d hit the search bar. It was modern, fast, exciting, gave you more crappy-useful information. In short, it was crazy and nobody could do anything about it.

The new-age jungle

It wouldn’t be entirely incorrect to say that in the online social networking domain, there is a whole jungle out there. If you thought the age of cliques was over, think again. Now you’re cool-meter is rated on how many messages you have, anything less than ten thousand and you’re considered a loser: a social outcast, a misfit, somebody who mistakes their acquaintances for their friends. In short, you deserve nothing better and should kill yourself by deleting your profile and bidding adieu to online social networking… forever.

Online social networking has also given birth to: The Stalker. If you thought they were a miserable breed who spent all of their time obsessing over the object of their unwelcome scrutiny in a room full of photos and mementos of them, think again. This is new breed, the members of which include you and me, spends countless hours poring over the message books of our friends, friends of friends, exes, boyfriends, favorite celebrity and so on. And we know that people might be going through ours as well. And for those of us who spend most of our time on social networking websites, this will also be our primary subject of conversation between our friends later in our ‘offline’ lives.

If this wasn’t enough, websites such as FaceBook have upped the ante where the potential for gossip is concerned. Now, when you log in, you have a whole home page which summarises for you, which friend said what to whom and who sent someone a virtual present and who is whose favorite purple-cherry-on-top friend and who… you get the drift. It’s like having your own news-spread where you pick the juiciest story and ‘investigate’ further.

What’s more is that social networking doesn’t end at sending messages alone. Now when you log in, you’ll see that five friends have ‘poked’ you, seven have sent fuzzy bunnies your way (now you have to add the fuzzy bunny application), nine have sent cupcakes (note to self: add cupcakes application. you want that cupcake, even if you can’t really eat it), four have written on the super wall (add super wall application, this is getting ridiculous: really, what’s the difference?) and thirteen have drawn on your graffiti wall (you’re one step ahead, you’ve already added this application). Phew. And this is on top of the ‘add new friends’ requests you have piling up in your inbox. Modern social networking websites require you to be (blows on the tips on fingers to warm them up) a super fast typer, communicater, articulate phrase-er, digital artiste and develop an appetite for those coveted digital cupcakes on top of hours and hours of your time that you want to willingly waste.

What’s in it for them?

With most digital networking websites making their services available for free, what’s in it for them? Why is it so important that you add new friends and communicate with them? sure some of them do it to generate revenue from online advertisements but there are some which don’t even have those, so what do they get out of it? more importantly when you sign up, giving away valuable personal information and encouraging your friends and acquaintances to do the same, do you even read the ‘terms of agreement’ that you agree to? Who does?

Most agreement contracts have a statement stating that whatever information you are giving them will be available to serve purposes within the organization but will not be released to ‘external’ parties. First of all, with conglomerates forming every other day in the internet world and with more and more online firms merging together, what constitutes as an ‘external’ party?

The sheer amount of social data contained in social networking websites which includes not just what you’ve willingly typed away in those lengthy forms you were required to fill when signing up, but also in the number and type of friends that you have, the kind of subjects you like to talk about, in short, you’re entire social pattern depicted online is information enough to transport any marketing person into utopia. The statistics generated from how you communicate with your friends aren’t from a random questionnaire that you may have willingly/unwillingly answered, knowing fully that you were doing it as a part of a research programme, this is real-world information, in real-time we’re talking about here. And with the fuzzy lines that exist between an ‘internal purposes only’ and ‘external party’, this information can be sold to any organization wishing to make use of it.

Take the giant gorilla of the internet for example: Google. They provide you with a web-search service application; they also have Gmail, BlogSpot and Orkut. Via your social networking on Orkut, they glean information about you and your friends from your entire social networking pattern online and they use that information to customize the responses you get when you first all, search for something and secondly, the kind of ads that pop up when you search. Looking closely in your Gmail inbox will make you see little text-based ads that appear right on top of the emails in your folder. Don’t be surprised if you see an ad for ‘purple turtle neck sweater with pocket for fuzzy cupcake’ there a short while after you scrapped your friend about it on Orkut. I hate to burst your bubble but your data/information is not ‘private’ on the internet, at least to those working in these organizations and those related to them. Nothing in this world is for free and you pay by signing away your privacy when you sign up on these social networking websites. You have also allowed yourself to become digital a lab rat whose behavior is closely monitored in a ‘controlled’ environment.

The threats

The dangers where open, online social networking websites is concerned isn’t limited to private information not truly remaining private. Not all stalkers mentioned above are harmless. For those who think separately from the norm albeit in a negative, dangerous manner have access to and information of all of your activities and friends, more than enough to hatch a plan to harm you should he/she chose to.

It doesn’t end here. Social networking websites are a popular haunt of pedophiles and sexual predators as well. Say for example, a predator might have an affinity for individuals who match the following characteristics: female, medium-toned skin, short-brown hair, average looks, aged between 12 and 14, living in Gulshan-e-Iqbal, Karachi. It takes one click of the search bar for the predator to have an entire list of people who match this description and just another click to come in contact with them (whether the person contacted chooses to reciprocate is another issue). Networking websites are a place where they roam free, mostly under an alias, have no restrictions or boundaries on how they project themselves and come in all shapes and sizes. There isn’t anything much that you can do to prevent them cornering you online or in real-life (depending on how available your information is) should he chose to pursue you no matter what.

At the end of it all…

This isn’t to say that online social networking websites are the work of the devil or that one should steer clearly away from them. The object of this piece was to acquaint readers with the idea that online social networking sites aren’t the happy digital sunshine-filled places that they appear to be. Social networking websites are useful in tracing or contacting someone you haven’t met in the longest time or in coordinating projects and activities that otherwise require constant contact. But all of the above comes at a cost and it’s always better to remain fully-informed about the information you’re choosing to release and what will it be used for it. It’s important to understand the social patterns that are being developed and it’s important to be aware of the risks and dangers that such interactions may result in, only so you can protect yourself in the future.

First Published:

Sci-Tech World

July 21, 2007

2007-07-19T01:24:00.001-07:00

Dark days for Potter

You have to either be living in cave or on Mars if you don’t know who Harry Potter is or what The Midnight Hour means to the team that brings you everything that is Harry Potter – from the books to the movies to the video games to the… everything. Perhaps no book or movie in history has undergone such scrutinizing security as the seventh Harry Potter book, Harry Potter and the Deathly Hallows or the release of its fifth movie to date: Harry Potter and the Order of the Phoenix. The one thing that makes this summer especially special is that both the seventh book and the fifth movie are being launched within a gap of just a couple of weeks of each other.

With the official launch date of July 13, 2007, the Harry Potter movie, Harry Potter and the Order of the Phoenix, has already managed to break the previous records that were held and has managed to generate around 375 million dollars in just three days from its launch. Amazingly enough, the team records the highest number of bookings for The Midnight Hour showings ever.

The director of the film is David Yates, although the film had also been offered to Mike Newell and Mira Nair – both turned it down. The screenwriter (the person who adapts the book version for screen) for all of the previous Potter films (Harry Potter and the Sorcerer’s stone, Harry Potter and the Chamber of Secrets, Harry Potter and the Prisoner of Azkaban and Harry Potter and the Goblet of Fire) had “other commitments” hence did not write the screenplay for Harry Potter and the Order of the Phoenix. The screenplay was instead written by Michael Goldenberg.

An interesting fact about Harry Potter and the Order of the Phoenix is that it was the largest of all Harry Potter books but the movie itself is the shortest of all Harry Potter movies.

I must warn you here, the movie is much darker and more exciting than the previous Potter films. So much so that it has managed to generate a PG 13 rating in America. The film opens to reveal Harry saving his detestable cousin from a dementor and in turn, getting in trouble with the Ministry of Magic with a risk of getting expelled from Hogwarts School of Witchcraft and Wizardry, only because he had used magic outside of the school – even if it was to save his cousin’s life.

With the return of Lord Voldemort becoming more and more of an unmistakable, unavoidable reality every single day and with Harry having seen him as well, the world of wizardry is in grave peril. No one seems to realize that however, with the Ministry of Magic living in denial by constantly refusing to admit his presence. Harry on the other hand is quietly shunned by school mates except for Hermione and Ron since nobody wants to be told that the Dark Lord who had been driven away from 14 odd years ago will be returning. What’s more is that he will be assembling an army of people. Keeping that in mind, Harry has a mind to assemble his own, calling it ‘Dumbledore’s Army’.

With everything being all dark and grey in Harry Potter and the Order of the Phoenix, there is one little shade of pink that one manages to see: in the shape of Dolores Umbridge (played by acclaimed actress Imelda Staunton). Finally, this is a character all of us can relate to. She is our worst nightmare when it comes to a teacher and no doubt, many of us may have encountered teachers like her in real life too. She looks like a sweet, harmless lady on the outside, has a somewhat sweet and pleasant disposition complete with the voice full of mirth. Sound harmless so far? With all that Umbridge also does not listen to any questions that a student may have to say, prefers to teach Defense Against the Dark Arts theoretically and without magic since ‘you don’t need magic to defend yourself nowadays’ and worst of all, slaps down decree after decree without a single consideration as to its consequences or even looking into the matter that may have caused an outbreak amongst students. Creating a completely repressed environment for the children and crippling little freedoms that they might have, she is only encouraging them to rebel more. And Imelda Staunton more than just brings her to life.

With impending doom right around the corner and with no one helping the students out or equipping them to deal with danger in case it arrives, Harry, Ron and Hermione decide to take matters into their own hands and begin to organize clandestine meetings in which Harry teaches a group of 27 trusted individuals all of the defensive magic he knows, including how to summon a Patronus. Calling themselves Dumbledore’s Army, they work day after day in refining their magic skills.

During this time we see a definite change taking place in Harry. Voldemort’s return is taking a toll on him and he suffers from nightmares day in and day out. Snape on the other hand tries to teach him to cloak his mind incase the Dark Lord might be trying to read or influence it via his dreams. Harry goes through side effects as strong as ones in which he feels bits of Voldemort’s character coming into him and reports feeling ‘angry all the time’ and so on. This is by the far the most mature Harry Potter movie plot to date and the entire cast must be credited for rendering it realistically accurate. But then again, what is ‘real’ in the magic world.

At the end of it all, the movie is definitely darker and will keep all Harry Potter fans and non-fans glued to the movie throughout. Although at the end of it all, it doesn’t really tell us anything new: we already know that Lord Voldemort has come. But this movie is important in the sense that it bridges the stories that have been told and the ones which have to unfold. Most importantly, it gives us an insight into the terrible complexities of the magic world and what these elements are capable of doing.

First Published:

Young World

July 21, 2007

2007-07-15T04:46:00.000-07:00

The rainmaker

“If I have done anything good in photography, it’s because I have really learned it. I didn’t feel like I was a born Picasso and that all I had to do was pick up a camera and I was good to go. I worked my backside in trying to learn and I made sure that I was getting enough exposure to see what was happening around the world”, says Amean J.

There are three things that become apparent when interacting with Amean J. — he has an almost uncanny knack for observing details, and not just visually. Even when it appears unlikely, a part of him will be aware of the minutest detail around him. It’s only when he makes a reference to it later on that you realise he was paying attention. Secondly, he has a tendency of including a bit of humor in his everyday conversation. It’s subtle enough not to make the joke starkly apparent, it’s like pulling someone’s leg with the other person realising it five minutes later.

Lastly, in a world where punctuality is two hours late, Amean exists to put it to shame: he is almost always on time. And he has no qualms about leaving on the designated event-ending time mentioned on the itinerary as well, whether or not the event itself has concluded.

One of the rare ones to attain a formal education in his chosen art form, Amean has come a long way in the nine years he’s been a professional photographer, and has managed to make himself accessible in a way most media industry individuals haven’t: via the Internet. His web site, which showcases some of his work in the past year as well as a generous collection of portraits shot by him, is a favorite haunt of various writers, directors, art students and advertising professionals. It is also the place where Amean hosts the e-exhibition of his travelogue series.

His avid interest in technology shouldn’t come as a surprise considering that he holds a masters degree in media, culture and technology. “Imagine putting all three together,” he says talking about the programme, “Media, my interest in it has been there since forever. Culture, because you need to understand where you come from and where you are going to, and technology is all about tomorrow”. He goes on to explain that by exhibiting online, he surpasses geographical and time constraints which are predominant in physical exhibition of photographs in an art gallery. “Just by adding a couple of zeros, thousands of people can visit your site. They may or may not like your work, which is fine,” he pauses for a moment, “but when you go global not only do you end up getting very diverse feedback, but opportunities open up. If someone wants something from you, you’re just an email away.”

Having been a part of and/or hosted several exhibitions this year, Amean started off with +420 Berlin and then 15X4, followed quickly by Click Art. There was Articulating the Subtext where he exhibited a photograph on a 6ft by 6ft canvas, attempting to break boundaries in photography and crossing over to becoming a photographer painting. Depicting his photojournalism skills, he was also a part of an exhibition held by The Photographer’s Society of Pakistan, where he displayed his photographs of the Karachi Prison — all of which marked a very prolific year in the field for him. He is quick to point out, however, that it’s not over yet.

“I’m working in collaboration with Shamyl Khuhro (photographer) and Beena Khan (stylist) on something similar to what we did with 15X4 but very different. He’s photographing five people and I’m photographing the other five. Whenever I’m photographing, Shamyl’s documenting me, while he’s shooting, I’m documenting him. The whole project is Beena’s baby,” he says.

Not all of his projects have to do with photography, “I formed a society with a group of people called the Citizens Archive of Pakistan (Cap). On the 60th anniversary of Pakistan, we’re doing a four-day, large event in collaboration with Karachi Arts Council. There will be street theatre in the garden, formal performances in the auditorium, an art and photography exhibition and slide projections from old pictures from around the time of Partition.” Why call the group the Cap? “We brainstormed a lot as to what are we exactly trying to achieve. We’re told that a lot of PTV tapes have been lost, a lot of Radio Pakistan tapes have been lost or re-recorded on, we’re trying to archive everything from the time of Partition since the generation that was there at that time will not be around for too long — perhaps for another five to 10 years,” he explains.

Speaking of archiving, he had once toyed with the idea of working on a directory for media professionals. “I got together with a few photographers thinking that we need to put things in order. Everybody was busy and so I kind of took the initiative of naming it The Photographers’ Avenue.” Going on he says that it’s going to turn into a yellow pages of the industry. “If you are looking for a designer or a model, the contact will be there — there aren’t going to be any portfolios.”

Other than exhibitions, one recalls Amean working on a photo-book on cricketers. How far has that come along? “It’s called Man of the Match and 25 per cent of it is done already.” He goes on to reveal that there are other books in the pipeline. “We’re trying to get the 15X4 exhibition together in book form. Then there is Izdeyar Setna and myself who have been commissioned to document Mian Salahuddin’s work. He is a ceramist from Lahore who passed away several years ago and was the head of the department at the NCA. It’s scheduled for launch in August.”

With his online exhibitions centered round places he’s visited in the past and with his tendency to take time off to travel and explore yet another country, it doesn’t take a genius to figure out that Amean enjoys travelling. “I am planning to make a very adventurous train trip onboard the Siberian Express — starting from Moscow and ending in Beijing — with three other friends,” he says, excited about the journey. As expected, there will be an exhibition following it. “We are also debating on the idea of doing a little documentary on it called Kremlin to the Great Wall,” he adds.

Being an avid music listener and also having directed a music video in the past, is he planning to direct another one anytime soon? “I would love to do a music video again but I have not found an interesting piece of music that would have inspired me to do so. That is an avenue where I would like to bring my political satire. I can’t do so through photography and there is so much happening in the country right now.” Amean once confessed that had he not been a photographer, he would have liked to be a musician. What’s more is that his skills on the guitar are somewhat decent; perhaps he should try that on the side? “I cannot play professionally,” he protests. “I would have really enjoyed it if I could. I really enjoy western classical and opera. I like to learn things before I do them. I did take singing classes for a while, but I never thought of doing it seriously when I was a kid. I never did anything except to learn a few lessons on the piano and on the guitar.”

When he is not photographing, engaged in preserving the recorded heritage of Pakistan or trekking across the globe, Amean can be found coaching those who aspire to learn photography. Teaching part-time or being asked to conduct workshops, Amean describes his teaching methods as reflecting those of his mentors: “It’s not necessarily how you use the camera; it’s how you look and observe things around you. You pick up the camera, learn how to document and then you learn how to share. These are the four steps and as I’m not a fulltime teacher, I don’t end up going that far,” he says.

When it comes to photography, how does one learn to develop a truly unique style, different from what is predominantly used around you? “That has to do with two things: one is exposure and the other is education. If I have done anything good in photography, it’s because I have really learned it. I didn’t feel like I was a born Picasso and that all I had to do was pick up a camera and I was good to go. I worked my backside in trying to learn and I made sure that I was getting enough exposure to see what was happening around the world,” he says, adding, “and so when I pick these two things together, I am not copying anybody, I am trying to go into a different direction: inspired by other people’s work but knowing the technical side of it as well.”

It is clear that he feels strongly about the subject and suggests to aspiring photographers “save up some money and if you cannot go for degrees or short courses somewhere where they have a mature teaching process. And if you can’t do that, then practice because the more you do, the better you’ll be.” He finishes off by saying, “Photography is much easier now because it is easier to get exposure — it is just a click away. All you just have to do is browse.”

First Published:

Images

June 15, 2007

2007-07-14T03:43:00.000-07:00

Celebrating Womanhood

Keeping in line with his travelogue series, Amean J’s third online exhibition, titled ‘Kopenhaven’ opened on his website recently. With the concept inspired by Garry Winogrand’s work on women, the photographer who inspired Amean to take up the art form, Kopenhaven (Copenhagen) provides a new insight into the photographic techniques of one of the industry’s most well-known photographers.

At first glance, there doesn’t seem to be anything particularly eye-catching about the photographs on exhibit. However, on a second, more closer look, the subjects (all women) in the photographs begin to unfold — they acquire more depth and personality, which in some cases is relatable and in others interesting to observe.

“I broke many rules of photography while documenting the women in Copenhagen. I took many photographs without looking through the view finder. This ensured that I did not lose the moment and it also allowed me to look beyond the frame. I strongly feel that one cannot look at the real world through a frame, a lot happens beyond it. The images from Prague take you into Berlin and images from Berlin builds up the mood for Copenhagen which is the finale in the series. So for me, it is the most important show of the three”, he says about the exhibition.

Coming back to the subject of the exhibition — women, it may be fair to say that Amean finds them fascinating. His perception of them, however, is pleasantly refreshing: none of them seem objectified in a manner most feminists may find offensive.

He seems to accept them, young and old, conventionally beautiful and not, the way they are. Amean sees perfection in women who otherwise seem engaged in their everyday life. This is precisely what one sees when going through the photos in the exhibition; women being celebrated for being just that — no matter what role they play.

Considering that photographing women on the streets was a major part of Winogrand’s own photographic work, does he think people will draw comparisons between Winogrand’s work and his own? “I would surely hope so, though I don’t see people from this part of the world drawing comparisons because people are not familiar with serious real-world photographers like Winogrand”, Amean replies, “For me this was also an exercise to educate our audiences by showing them different styles. They don’t have to like it but I think it’s good to expose oneself to different styles of work being practiced around the globe.”

Why did he choose Copenhagen in which to photograph women? “It was not pre-planned at all. For some strange reason I was noticing the different body languages of women on this particular shopping street and spontaneously decided to document these moves — Winogrand was obviously at the back of my mind,” he concludes.

First Published:
Images
July 14, 2007

2007-07-08T01:28:00.000-07:00

Confessions of a bookaholic

They say the first step towards getting better is acceptance. So here goes: I am a bookaholic. I am addicted to books. It doesn’t matter what kind or how much, as long as they have printed text and are reasonably bound together, they have to be mine – if they aren’t already. I like to buy, own, horde and read books. I have this innate fear that if I don’t buy the book I see on the shelf now, it won’t be there the next time and I will live the rest of my life in regret. Like most people with an addiction, I don’t mind sharing. In fact, chances are if I know you, I’d probably give you a book for your birthday… and then buy another copy of the same book as a replacement.

The sad part is that most people don’t take me seriously. I mean, how can being a bookaholic (if you will) be considered as a ‘serious’ condition? It is. It really is. Whenever I go to the mall, I let my bookaholic instinct lead me to the nearest bookstore. Once outside, I stare at the sheer number of (unread) books that lie there, like precious gems, rows upon rows, on the bookshelves. And I think to myself: ‘someday I’m going to have a room like that’. I stare at all of the hot best-sellers propped up at the display, trying hard not to puke – I hate best sellers, I think they are an insult to ‘serious’ book reading – but some of them end do end up looking interesting.

I try to reason with myself: I have books, lots of them, I don’t ‘need’ more, I’ve already spent a lot of money buying the last stack that I haven’t finished reading yet. The person inside me keeps repeating in a tiny voice ‘don’t do it. Don’t do it’. We both know that once inside, there is no going back to the old, pocket-filled-with-available-allowance to spend on ‘other’ things. Eventually, the little voice begins to fade away as my legs compulsively lead me towards the entrance of the bookstore, where the shopkeepers stand poised with perfect smiles and baited-breaths to greet me. They’re vultures, all of them. What’s worse is they know they have me trapped.

Once inside, I stop and take a deep breath. The air smells of books, freshly printed, completely dust-free books. The second my brain identifies their scent is when vulture no.1 makes a move. The others pretend to busy themselves behind other bookcases, peering at us now and then to see how successful vulture no.1 has been in securing a book sale. They’re hoping I’ll venture into their territory next.

Vulture no.1 will push a book near my face, either a best-seller or a new arrival. Sitting down on one of their comfortable sofa-chairs, I’ll scan the little summary at the back, storing information about the published date, comments, overall storyline, typeface used, illustration, color et cetera. Once done, I will ever so carefully flip the book open to the opening chapter and read the first couple of lines, if they’ve managed to hold my interest, I’ll flip to the middle of the book and read a couple of lines from there. As a rule, I never read the ending. That’s a big no-no where book buying in my world is concerned, what’s the point if you already know what’s going to happen? By this time, one of the many books lying on their table will have caught my attention and I’d have started storing information about it, much in the same way as with the first book.

Once done, and with the rest of the vultures hovering around, I’ll take a quick glance at the bookcase in front of me. If my eyes happen to rest on a particular book, it’s promptly bought to me by the nearest vulture who would also be giving me a summarized account of the book. If I seem interested in knowing about the author, four or five other books by that particular person will appear, as if out of thin air. It’s pure magic to my brain, which at that point, blurs the vultures out and seeks only to identify objects with a printed font on it.

If my attention is already caught by a book and if the side of my brain which is aware of what is going on around me, registers a possible intrusion by a vulture who may be brining a book which I have not commanded be brought in my presence, I will merely hold my hand up as a sign to show that I must not be disturbed. That vulture would eventually shrink into the shadows while the others would glare at his possible impudence. Most of them have learnt to leave me alone at this stage of my book buying spree. At this point, it is I who decides what books I shall be exposed to. I get up, examine every book, big and small that catches my fancy and bring it back to my table and devour appetizer-sized contents of it.

Eventually I will find myself at the counter, with the cash machine going beep with every book whose bar code is scanned. I hand them my book club card and I get my much-deserved discount and book club ‘points’. While I take with me, an expensive set of books that seem to weigh a little more than a ton, I walk with a sense of satisfaction: with my beloved books assuring me endless hours of company and awareness, I have found peace at last.

First Published:

Books & Authors

July 8, 2007

2007-06-28T05:33:00.000-07:00

Rough Cut
It could have been anyone’s wildest dream project: a nightingale-voiced vocalist from Pakistan teaming up with who is considered to be one of the best guitarists in the region, on a single album. When two exceptionally gifted and well known individuals work together on a project, expectations tend to run high: the outcome has to be nothing short of pure genius. After all, one plus one equals two, nay in some cases even three, but never zero. In this case however, it seems as if these two individuals ended up cancelling each other out: the much-awaited Hadiqa Kiyani and Aamir Zaki collaborative effort, Rough Cut, is pure genius, but only at putting the listener to sleep. In some cases, forever.

Disappointingly enough, Is baar milo, the song that did end up becoming a massive hit does not make its appearance in the album. Hadiqa has carried the style of singing predominant in Is baar milo, throughout Rough Cut, however, coupled with the change in language and overall content, her style of singing seems highly unsuitable. To top it off, her desi accent manages to creep in here and there in the songs. Altogether her efforts sound extremely amateurish and not something one would expect from someone with more than 10 years of professional singing and extensive exposure to all kinds of music.

It would be unfair to heap the album’s lack of impact on Hadiqa alone. With Rough Cut his first proper recorded piece of work in more than a decade, Aamir Zaki’s musical contribution in the album seems minimal, and in some cases, non-existent. This causes one to question why? Is it because he has run out of musical creativity or simply because he is afraid?

When it comes to the content, the album deals with a variety of issues ranging from the harsh life in the media, to the monotony that overcomes a person’s life to the age-old subject of love and heartbreak. The song, City of Fallen Angels, deals with the violence predominant in Karachi (as the City of Fallen Angels) and it is perhaps the only song in which Aamir Zaki lends his vocals as Mr. Undertaker. However, with Hadiqa singing along with him, it becomes difficult to decipher Aamir’s voice, since her voice is a little too loud. Thus the only duet in the album ends up as none.

Perhaps another track that needs a mention here is Easy ride. It dominates an unmistakably familiar bass line which die-hard Aamir Zaki fans would recognize since the bass line itself had been released on his website a couple of years ago. One of the better tracks in the album, perhaps also because it doesn’t attempt at sounding ‘eastern classical rock’. The album, including this song, has an unmistakable early nineties sound to it and might have fared better had it been released when it was initially supposed to.

The flute (courtesy of Baqir Abbas) and tabla (courtesy of Arshad Ali) make their appearance a lot throughout the album. Complete with soft (and safe) guitar strumming and oddly-familiar bass lines, the music in the album ends up in a cacophony of confusion since one cannot tell whether the album is going towards a pop, or an eastern pop sound or is trying to embody an orchestra-oriented sound – a definite confusion of identifies. The album has its share of perks, but they’re not strong enough to overshadow what is wrong with it: this collaboration lacks chemistry – at least in English.

First Published:
Images
July 1, 2007

2007-06-28T05:15:00.000-07:00

Été De La Musique

(changed to "Singing in the Rain" in the published article)

With humidity levels on an all-record high, summer in Karachi isn’t exactly the best season in the year for its inhabitants. Keeping that in mind the organizers of the Fête De La Musique (World Music Festival), celebrated every year at the Alliance Francias (Karachi), had their representatives hand out hand-held fans to those who attended. What’s more is that they were armed with water guns they’d use to sprinkle water on those who came a little too near and seemed a little too warm. Summer had officially arrived and City FM89 celebrated it by hosting another one of their all-day music events. With the last event (held several months ago) a huge hit, one definitely looked forward to attending this one.

The lineup this time around included The Strange Brew (who also played in last year’s festival) as the opening act followed by Taal Karisma, Leon Menendez, Tee-M, Aunty Disco Project and Mauj. When one arrived at the venue Mauj were engaged in a somewhat lengthy sound check that seemed to last, well, forever. Not many seemed to mind, there were vendors right outside the performance area selling munchies and people could be seen lounging around, either waiting for the performances to start or for their friends to arrive. Tariq Mirza (Tee-M) could be seen conversing near the entrance of the performance area while members of the Aunty Disco Project hung around, sipping drinks, waiting their turn on the sound.

A somewhat three hours later, a cheerful RJ Munizeh announced the opening act and The Strange Brew took their places on the stage. The Strange Brew is a popular underground act that has been performing popular seventies and eighties for several years now. With only five minutes of sound check, the band launched into Talking in your sleep by The Romantics, delivering only half of what their best performance is normally like.

Although they got off on a bumpy start, their performance of Mustang Sally (dedicated to RJ Munizeh) definitely hit the right notes with this scribe – the band was in sync, the song was upbeat and the chorus was catchy enough for people to sing along to it. The band pumped up the energy with a lesser known, Doogie brother’s song which ended with a prominent play on the keyboards. They delivered another great performance with the massive 1980s hit, Born to be Wild by Steppenwolf but ended their performance on a not-so-great note with classic jazz number – it seemed a little too mellow especially after they had the crowd worked up with the upbeat rendition of Mustang Sally and Born to be Wild. One has to mention here that despite being a very good live act, this wasn’t The Strange Brew’s best performance. They lacked their usual energy on stage and perhaps a lot of it can be attributed to the half-hearted response they received from the crowd.

After a short break, during which the clouds turned into hues of blue-grey which threatened to spill rain any minute, Taal Karisma took the stage and amidst the muffled thunder in the background, launched into their first (and only) composition of the evening, Soul. Fusing the sound of the keyboards, lead guitar, bass, tabla and darbuka, Taal Karisma’s Soul embodied an intimacy that seemed to reach out to its listeners, accentuated by the sharp, easily audible tabla beats. With the wind blowing on the stage, the thunder in the background and the air smelling of rain, one can safely say that put altogether; it rendered a romantic air to their performance. Unfortunately their performance was cut short only after one song and by the time Leon Menendez took the stage, it had begun to rain hard.

With the performances being held in an open-air venue, there were some attendees who chose to leave the moment they suspected rain, but on the other hand there were others who stuck around wherever they could find cover. Just when one thought that the evening had ended, ADP took to the stage (which was set in a rain-sheltered area) and began performing. Performing without vocals (the microphone wasn’t working because of the rain), ADP exuded enough magic to have the crowd going to the Indian classic, Papa Kehtay hain and the more recent Indian hit, Beedi. After which they launched into their fast-growing popular original, Sultanat. They continued to entertain the crowd for a further five or six songs after which they made way for Mauj.

With two of their singles, Kush Fehmi and Paheliyaan already massive hits on the tube, Mauj are fast-growing popular in both Karachi and Lahore and are establishing a reputation as a formidable live act as well. They began with a cover of Dick Dale’s Misirlou (OST Pulp Fiction) – somewhat becoming a signature opening track for their performances – pumping energy into the audience. They followed that up with a Mauj original, building up their performance and just when things couldn’t have gone better, they came to an abrupt stop, packed up and left the stage.

According to the ever-dependant rumour mill, they left because they were unsatisfied with the ‘sound’. That is surprising since they spent a little more than an hour working on it, delaying the overall Music Day celebrations. On the other hand, some claim that the organisers had pulled the plug on their performance, which seems highly unlikely: why would anyone hire a band for a full performance and let them perform only two songs? Mauj was the closing act and anyone with an inkling of interest in live performances knows that the closing act is considered the most important to any event since it sets the tone at which the event ends. It’s essentially what the audience takes home with them.

With nature gate-crashing on this summer fest, this wasn’t the best Fête De La Musique, hosted by the Alliance Francias; it was however, the most interesting. The highlights of the evening definitely include Taal Charisma’s soulful performance and ADP’s love and commitment towards their audience. One was taken aback by Mauj’s diva-oriented behavior, especially since they normally do not behave as such. At this point, one cannot stress the importance of a band’s commitment at living up to their (promised) performance, no matter what – anything less is completely unacceptable. With City FM89’s knack of hosting events that entertain with an added ‘oomph’, one is hoping that there would be a Fête De La Musique II, which would make up for the shortfalls in this one.

First Published:
Images
July 1, 2007

2007-06-17T07:26:00.000-07:00

Shooting desi
Nothing remains hidden for long in our entertainment industry. No project, scheme, development or any kind of machinations that people might be up to. And so it was that a little bird working in a certain television channel told me about two individuals from the British Broadcasting Corporation (BBC to you and me) who had flown into Karachi recently to make a documentary on certain aspects of

Pakistan

’s entertainment industry.

This immediately caused one to wonder why, followed by ‘what have they found’? It’s always interesting to get an outsider’s perception of our television industry that seems to have grown on us. Several phone calls later, I found myself face-to-face with the team members late last week.

Irshad Arshad and Atta Yaqoob look like they are in their late 20s or early 30s. Some of Atta’s immediate family members live in Lahore and have been constantly updating him on the developments that have been taking place in the entertainment industry here. For Irshad Arshad, it’s been 17 years since he last paid a visit to Pakistan and it was out of sheer curiosity that he made the pilgrimage back to his home country, albeit for purely professional reasons.

By the time this interviews appear in print, both Irshad and Atta will have left Pakistan and returned to the UK with the hope that once the four documentaries go on air, they will be back again to shoot some more.

Q: So what have you been preoccupied with in Karachi?

IA: We’ve been here to make four films about modern Pakistani culture — the television explosion, the fashion modelling scene, truck art and a film about the Food Street in Lahore. I’m the director and Atta is the presenter. We’ve been here for three weeks and we’ve been working every single day. It’s been amazing because the working trip has been the best trip because we’ve worked with Pakistani people from all levels of society and got an insight into Pakistan. Personally speaking, it has completely changed my opinion of Pakistan.

AY: I work as an actor in the UK. I’ve done quite a bit of established work in mainstream television, Irshad’s with the BBC and he knew me through that, and hence I’ve been invited along to report on the different aspects of Pakistani culture.

Q: And what was your perception about Pakistan?

IA: Most British Pakistanis’ opinion is based on the Pakistani community they grew up in, which left the country from the Kashmir and Mirpur region some 40 years ago. They are still dedicated to maintaining the traditions and lifestyle of the Mirpur that was four decades ago. My opinion of Pakistan was also formed by growing up in that immigrant Pakistani community in the UK.

Q: Is it very different here from what is perceived in the UK?

AY: Unbelievably different. But having said that there are a lot of aspects that you can relate to on both sides. In hindsight, before coming here I had thought ‘it won’t be like it is in the UK over here’. The fact that I’m sitting next to a female journalist interviewing me in a bar … I wouldn’t have pictured this.

Q: How far are you into your documentaries?

IA: We’ve shot all our stories. We shot the behind-the-scenes of a Hum TV drama and we shot with The Musik. We met some VJs, I saw some show reels and they blew me away. After we had interviewed some of them and walked around the studios, the impression we got was that the entertainment in Pakistan is a huge, burgeoning industry.

I’ve been talking to people and they say ‘if you’re young and smart and walking up the street and you got a job, you can succeed very quickly’. You can’t do that in England because getting anything like this done there is extremely difficult.

AY: For me, apart from the heat, it’s been refreshing so far. As an actor, seeing these television studios and production setups and the work going on, and not just any run-of-the-mill work, and the passion with which it is being done has been mind-blowing.

Q: In terms of programming content, what difference do you see?

IA: The stuff that’s really popular on network television in Britain is kind of live-talk reality shows which are really quite formulated. All the best television documentary makers are kind of in exile from British TV because their documentaries don’t get shown there. They are now working towards independent distribution.

I have seen the ARY show reel and technically I was blown away. I think it’s really good. There is a really popular comedy character in the UK called Borat who reinforces the worst stereotypes about the East … one of them being that they make crappy television programmes. At this point, the one thing that I want to do is say through my work that if you thought that Pakistan is anything like the Borat TV show, think again.

Q: What are your observations about Pakistan’s fashion industry?

IA: We did a story about the models and again it was interesting in the sense that all the models we met were really quite intelligent, well-spoken and we could hold really intelligent conversations with them. In Britain you can’t get that access. It will take me three weeks just to get to talk to their PR persons.

AY: We met some designers and I realised that they make clothes for the elite who can purchase these designer outfits. But something interesting came up in our research work: It will all be copied down, making fashion more of a commodity for the common man which is interesting. There is always a cheaper version available and that is how fashion can influence.

Q: Why pursue truck art?

IA: Truck art for me is a phenomenal outfall. When we went to the truck adda and we met guys over there we were blown away by the kind of authentic art we saw. In Britain, everything is commodified, everything is kind of globalised. We appreciate things that are unique and authentic. We cry out for things like “this is Pakistani culture and it’s best.” It’s a phenomenal kind of art form with a lot of skill going into it.

Q: Any final words of encouragement?

IA: The creative energy that we saw in the television industry here, we haven’t got in the UK because it is already so established there. Overall, you guys over here are doing your thing and doing it really well. You know, you don’t need the BBC to say that you are doing it well or for it to come over here at all. I am very impressed.

AY: It is always fascinating to see such a dynamic, innovative young team doing business. Professionally speaking, it is a war and it shows as such.

Photography: Amean J.

First Published:

Images

June 17, 2007

2007-06-10T04:00:00.000-07:00

Carving the 'Rough Cut'

Growing up in the nineties, there were very few role models in the Pakistani media that one being a female one could look up to. More so, there were even fewer that one could relate to. But Hadiqa Kiyani changed all of that. She is perhaps the only female vocalist who has managed to stand on her own and establish her own identity and sound in what continues to be a largely male-dominated industry. And she has remained strong for years to come. This is further proven by the fact that the Herald’s 2005 annual issue has a foldout in which all of the top pop industry’s music makers are posing on a four-page spread. Hadiqa is the only woman in it.

Since the re-boom of the entertainment industry, we’ve seen a host of aspiring female vocalists try and take her place. But none of them have so far managed to come close or show signs of even having the potential of reigning for as long as Hadiqa has. Following a career and a personal life that has had its own share of ups and downs, Hadiqa is more than just a signer/composer: she represents Pakistan on state-related foreign trips and was recently awarded the coveted Tamgha-i-Imtiaz. Once banned for not wearing a duppatta, although still dressed modestly, and for saying ‘I love you all’ to her audience, Hadiqa has managed to survive the best and the worst that working in the music industry has to offer. Now, she is back with a much-awaited album by a musician who, for most part of his tenure, as been regarded as a maestro in his own right but has chosen to remain shrouded in mystery.

At first glance Hadiqa appears almost fragile. It is difficult to imagine a nightingale voice such as hers coming out of such a thin, petite frame. But as the interview (‘conversation’ as she called it) progressed, she not only appeared friendly and somewhat talkative, she also sang excerpts of foreign language songs here and there. Although sounding perfectly alright, she apologised for still having a ‘morning voice’.

“I always love to sing in different languages. Ever since I was a child, I was a member of the National Council of Arts and used to go to different places where children festivals were held such as Bulgaria, Turkey and Jordan,” she says about adapting to singing in different languages. “I recently got the chance to go to Malaysia and sing in Malay. I’ve also sung in Chinese on my visit to China, in Turkish (Turkey) and in Arabic on my visit to Jordan.”

So does she know these languages or does Hadiqa learn them at the spur of the moment? “You have to pick up the right accent. And you have to listen to it over and over again and you hear it and then you grow with it. And I’ll hear the song maybe, a thousand times, over my iPod with my headphones on,” she replied, “listen to it a countless number of times, till I’m totally ready to perform it.”

Her collaboration with Aamir Zaki on their much-anticipated, full-length English album, aptly titled Rough Cut, is finally set for a release. What does she have to say about it? “It was a great honour for me to work with such an artiste as Aamir Zaki. Because people know him as a good musician and as a good guitarist, I think he’s a good lyricist as well. He understands what you really want to say,” she says enthusiastically. “Fifty per cent of the songs in the album are his and 50pc are mine. The concept of the song you’re hearing nowadays on television, Living This Lie, was mine. I wanted to talk about showbiz, I wanted to talk about the spotlight and the fake smiles that we give sometimes.” Elaborating on the song further, Hadiqa said, “We go on stage and we’re feeling low and all that but we still have to perform. Sometimes there is a lot of pretension that is going on. I try not to pretend which is why I avoid interviews and the like.”

The buzz surrounding Rough Cut began a couple of years ago. The recording, mixing and mastering had been done and it was set for a release several times in the past but was never launched. “It wasn’t years ago but it was a long process. Once you start working on something, it doesn’t take that long. But the whole process of putting things together, giving your input, etc, takes a long time. In my and Aamir Zaki’s case, the major factor was availability because he is mostly in Canada and I, here. The fact that we weren’t working as a band but as individuals working in our own environments, so putting things together took longer than usual.”

Hadiqa and Aamir have been acquainted with each other for quite a few years now and it was about time a collaboration such as Rough Cut came out. How did they finally end up working together? “I’d asked him to write an Urdu song for me, Iss Baar Milo, which formed the basis for everything. He writes in English mostly and he feels comfortable in that. So he said to me … no, asked me very casually that ‘what if we do an English project together?’ I said why not. Music is music, and for me it doesn’t have any linguistic boundaries.”

With the video of the hauntingly brilliant Is Baar Milo (directed by Jami) already having scored a hit with both the critics and the masses alike, and with Living This Lie (directed by Sohail Javed), what more can we expect next from the album Rough Cut? “A video for the song, All The Same, directed by Kookie (Hamza Ali Butt).” According to Hadiqa, the video has a very youthful element to it and “to me All The Same means that it’s really all the same and that there’s nothing new in life. It doesn’t really matter what happens, it’s all the same,” she says on a pessimistic note.

Talking about the musical aspect of the album, she says, “It’s a new genre and Aamir has defined it in a way that it’s ‘eastern alternative rock’. It has him on a six-string bass and guitars, flute by Ustad Baakir Abbas and tabla played by Arshad Ali.” One can’t help but wonder whether Zaki has also played his latest favourite, the fretless bass guitar on it as well? “Yes, he has.”

At this point, I can’t help but beg to differ. The music on Rough Cut isn’t out-of-the-ordinary and no, Aamir Zaki has not defined ‘eastern alternative rock’. If anything, that credit should go to Faraz Anwar’s collaboration with Yasir on Kalavati, with Yasir on the sitar and Faraz on the lead guitar. Having already heard it, the music on Rough Cut is anything but out-of-the-ordinary.

Perhaps the only song in which Aamir Zaki lends his vocals is City of Fallen Angels. It sees Hadiqa crooning to a certain Mr Caretaker with Aamir replying in the midst of fast-moving guitar riffs and music. “He wrote it about Karachi and the chaos that goes on in it. It’s a very good song,” says Hadiqa. She added that the video of City of Fallen Angels would be directed by Sohail Javed and contain footage of Karachi in chaos without including any performance-based clips in it.

When two of the best artistes in the industry come together to work on a project, you cannot help but build expectations about what that collaboration will result in. Hadiqa has proved that she can make it in a man’s world, while Aamir continues to remain a silent legend despite being a well-known recluse and shying away from the media. At this point, one feels the need to point out that had Rough Cut been released around the same time the buzz surrounding it had begun to build up, it might have had a chance at scoring a massive hit. At this point, with all the delays the album has suffered, it sounds slightly dated and lacks the expected impact.

With Hadiqa working on her next solo album that, according to her, would be a tribute to all the ‘world legends’, i.e. includes her covers of all of the foreign language songs she’s performed abroad and with a collaboration with Ali Zafar on an English track in the UK in the pipeline, we might not have seen (or heard) the last of her yet. Having listened to her vocal versatility when it comes to switching languages, one can safely say that might just be a good thing.

First Published:
Images
June 10, 2007

2007-06-10T02:27:00.000-07:00

reviews/previews

Babel
In this Oscar-nominated movie, acclaimed director Alejandro González Iñárritu, brings to light the real barriers that seem to separate mankind. Babel, which by definition means “a confusion of voices and other sounds” and has been mentioned as “a tower built by a tower built by Noah’s descendants who intended it to reach up to heaven; God foiled them by confusing their language so they could no longer understand one another” in the Genesis (11:1-11). That is precisely the concept on which the movie is based and sees the lives of individuals, who otherwise have nothing in common or to do with each other, delicately entwined with each others’. The beauty of the movie lies in the multitude of ways in which it can be interpreted.

The movie focuses on four different set of characters and they each have their own storylines. Interestingly enough, individually they don’t seem to have anything in common or any point of connection, either geographically or culturally etc, but as the movie progresses, the viewer discovers that they are. The first set of characters is an American couple who come to Morocco. The second is the two children of the American couple of are left in charge of their Mexican nanny who needs to cross the border to attend her son’s wedding. We have the Moroccan Sheppard who buys a rifle from a neighbour in order to protect his livestock from wolves. And lastly, we have a Japanese father/daughter couple, the daughter is deaf and dumb and the father, a hardworking businessman. The latter seem to have the least likely connection with the rest of the characters in the movie.

The American woman gets shot by the Sheppard’s riffle which was fired by his son who had been playing around with it with his brother. The Mexican nanny cannot find someone to take care of the children while she attends her son’s wedding hence she takes them along with her. On the way back, she has a run-in with the border authorities resulting with her hiding with the children in the desert along the highway. The Japanese father finds it hard to reach out to his daughter who on the other hand is desperate for any connection with the outside world.

In some parts of the movie we get to see the world through her eyes where a possible connection can be established only visually but once her eyes are closed, it’s lost. This is perhaps most evident when she walks into the club, a place where dancing to the music that an attendee can ‘listen’ to is considered the norm. Instead of the music we’re confronted with bright, flashy lights. In the end, she doesn’t dance to the music; she dances to the rhythm she feels from the artificially-induced high she receives from the drugs she takes and the movement of the lights. One flicker of an eye and we’re there and then we’re not.

An interesting point made in the movie was that Babel doesn’t have to be between people who can ‘hear’ other people talk in a strange language, Babel truly exists when a person is unable to make sense of or communicate with those whom he/she wishes to. In one movie it displays the diversity of mankind, our vulnerability in a foreign land and our intrinsic desire to, putting it simply, ‘communicate’; to understand and be understood.

The movie deserves every bit of Oscar nomination it received this year. There are points in the movie when it may appear to be confusing for the viewer, but then, that’s Babel for you.

First Published:
Images
June 10, 2007

2007-06-03T01:54:00.000-07:00

reviews/previews

Perfume: Story of a Murderer

The movie Perfume: Story of a Murderer is based on the book by the same name by the German writer, Patrick Suskind. Kurt Cobain from Nirvana wrote a song based on the book, titled Scentless Apprentice, Steven Spielberg stated that the movie-version was impossible to make. Just when you’d think that the movie adaptation of the incredibly successful book was going to be shelved forever, along comes Tom Tkywer, a director bold enough to try. The end-result of his efforts is nothing short of pure, heart-felt genius.

Set in 18th century Paris, the movie centres round the perfumer Jean-Baptiste Grenouille, an incredibly gifted individual blessed with an extremely accurate olfactory sense. Not only can he remember every single type of smell that his nose comes across but can also differentiate the different kinds of scents that make a certain type of scent up. Keeping that in mind, it’s ironic that he is given birth in the most foul-smelling place in Paris, the fish market and that at the age of 13 he’s sold into servitude at a tannery thereby becoming surrounded by putrid scents for most of his growing years.

Another thing that becomes immediately noticeable while watching the movie is that all of those who come in contact with Grenouille and are left in charge of his life end up mysteriously dying in one way or the other after Grenouille leaves them.

In an opportunity that would change his life, he ends up gaining an apprenticeship with a has-been perfumer, Guiussepe Baldini. With his talent, skill and unconventional style of making perfumes, Grenouille ends up turning the perfumer’s fortunes again for the better. In return all that Grenouille asks him is to teach him the art of perfume making; the art of capturing scents.

His quest in attempting to create the perfect perfume leads him to Grasse — an idyllic town whose primary source of income is via perfume-making. Eleven or so mysterious deaths later Grenouille does manage to create the perfume: a perfume so powerful that it has the ability of transforming whoever smells it an illusion of being in paradise. What Grenouille learns in the end, however, is he can make a perfume that has the power of extracting pure love from those who smell it but he, on the other hand, is incapable of any feeling any by himself.

Kudos need to be given to the director for the incredibly beautiful way in which he managed to translate the storyline graphically vivid enough for a viewer to ‘feel’ a sense that otherwise has no graphic connotation. The character seems tailor-made for Ben Whishaw as the scent-driven Grenouille has a hapless romantic air about him of a man resigned to experiencing the limits of his gifted olfactory sense. At the end of it all, a viewer of this movie doesn’t just ‘watch’ the movie, he/she ‘experiences’ it.

First Published:
Images
June 3, 2007

2007-06-03T01:53:00.000-07:00

STARBUZZ

LSA off to Malaysia

This year’s Lux Style Awards will mark six full years since the awards first came to be. And for the final bang, LSA 2007 will be hosted in Kuala Lumpur, Malaysia. This was announced last week at a press conference in Karachi attended by the likes of Reema, Nirma, Humayun Saeed, Saqib Malik, Ali Zafar, Shakeel and others related to fashion, music and television. More on the ceremony is that it will take place on July 20 at the Genting Highlands.

It wouldn’t come as a surprise to say here that the LSA hasn’t been an easy ride. In fact, for one of the first entertainment-related award functions to establish themselves in the new media boom, they have certainly come under a lot of scrutiny. And have suffered the most critique.

It’s also no secret that most people within and outside the showbiz industry believe that the awards ceremony is ruled by a lobby. In order to be considered truly transparent, the LSA will have to take drastic measures, especially where their judging policies are concerned.

First Published:
Images
June 3, 2007

2007-05-29T00:08:00.003-07:00

Anatomy of a concert

Artistes are often critiqued for their absence in the live music scene. They are often blamed for not going on 'tours' or performing 'consistently' as is the norm abroad with artistes who have strong, loyal fan followings. I am of the opinion, however, that before critiquing an artiste for lack of concerts, one should delve deeply into the details regarding the anatomy of a concert and how that applies to the local music market.

There is little doubt that a concert solidifies the bond that exists between a musician and his/her fans — watching a live performance encourages interactivity between both — and it is also an opportunity for the musician to display his musical skills (whether vocally or with an instrument) on improvisational techniques, thereby displaying a side to him/her that may not be apparent in a music video or album. Organising a concert or going on tour isn't exactly a piece of cake.

To begin with, there are massive costs involved in organising a concert. They include renting the venue, arranging the sound system and lighting, preparing the venue for attendees (arranging seating if any and so on), costs of hiring musicians, hiring a stage manager, printing the tickets and the costs that go with the overall promotion of the concert: advertising in newspapers, billboards, radio and in some cases, even television. These costs are doubled when a musician goes on tour: add expenses incurred for food, travel and accommodation for not just the musicians, but their manager, their roadies, their backup band — in short their entire team or entourage.

So, in a 'regular' concert, who pays for all of this? Most of the time it's either the record label that is interested in promoting its artistes, venues who are interested in hosting the event and then you have other parties such as event organisers and firms interested in hiring these artistes. In a 'regular' music industry, where there are established (and implemented) rules and regulations of how the industry is to work, record labels and venues often cover these costs and make profits out of them via adequate ticket sales, album sales (yes, musicians are paid proper royalties for their albums), etc, and can then in return afford to promote their artistes not just locally but also worldwide.

In desi land, although it's in-the-making, we don't have such a system in place. Record labels, unless they're backed by an electronic media such as a television channel or radio station, cannot afford the financial costs incurred when organising massive and numerous gigs in order to promote their artistes — no matter how much these gigs will benefit them. With the un-surety that is prevalent in any new venture (and re-booming industry) it's simply too much of a financial risk for them to take.

Says Danish Khawaja, the vice-president of The Musik who is also overseeing their record label, The Musik Records: "One of the primary reasons that record labels are not doing gigs is because, in the true form, record labels launch an artiste and make money from album sales. We're hardly able to cover our costs by that due to piracy. For a record label there is no other way to recover costs.

"Record labels have never been an organised industry in Pakistan. In the last year or so we've seen the emergence of record labels, backed by electronic media. Surprisingly the biggest record label of yesteryear was the biggest pirate and they didn't need to promote their artistes by gigs.

"Every artiste has his own niche which has to be catered intelligently. We've arranged launch shows, album signing and have been putting artistes on television. That's how we've been covering our costs; we've not been making money from album sales anyway. Also, the market for the kind of pop music that we're tying to promote is very small. The only artistes who have a massive market are Abrarul Haq, Jawad Ahmed, Rahim Shah and so on," adds Danish with finality.

And then there is a severe lack of venues. Karachi has the Bahria Auditorium and perhaps the Finance and Trade Centre where only moderately-sized concerts can take place, and in Lahore there is the Alhamra Hall. When it comes to Peshawar, you either have the PC Peshawar which charges an exorbitant amount for a booking or you have the Peshawar Club, which comes under the army but which also requires 'special permission' for an event such as a concert. Our concert-going audience isn't big enough to consider booking a stadium for and what about venues in other cities? There are hardly any.

A major hurdle that one comes across when organising a commercial concert is ticket sales. In a country where a Rs750 ticket is considered to be expensive, how do you expect to sell enough tickets to generate enough revenue to cover basic organising costs? Most importantly, where do you sell these tickets? There are no proper ticket booths from where you can buy tickets or firms that specialise in such.

In the US, firms such as Ticket Master are responsible for selling and distributing tickets for events taking place in a host of venues across the country and in some cases, internationally as well. In Pakistan, you have nothing of the sort and organisers often resort to placing tickets in popular super stores and fast food franchises.

In the face of all of these hurdles, one party that is considered to be the mother of all evils where artistic creativity is concerned comes to the rescue: sponsors. Sponsors provide the organisers the financial backing needed to execute a plan for a concert. They're also the ones who enable an artiste to expose themselves to their fans by performing a series of concerts in different cities. Keeping that in mind, it should also not come as a surprise that most events comprising a performance by artistes are gigs catering exclusively to different corporations.

Also, prior experiences — where gate-crashing, riots and misbehaving with female attendees is the norm — have discouraged most organisers from working on commercial gigs. Most large-scale gigs are also an invitation-only affair. Nowadays, there are very few individuals who are ready to take risks with organising a ticketed concert.

When it comes to the musicians themselves, who wouldn't want to perform onstage as much as they can? This, of course provided they get a team of organisers willing to pay their band fee and who are interested in hiring them for a concert. How did bands such as Junoon manage to perform numerous gigs in the early 1990s? They didn't have any competition to begin with as there was no other alternative other than perhaps Vital Signs, but then that's another story altogether.

Until and unless we have an industry where paying for and attending a concert becomes an accepted norm among the masses, where piracy can be curbed to a greater extent and unless we have an infrastructure from where a record label and/or venue can expect to profit out of the promotion they give to their artistes, we cannot hope to have 'touring' musicians as part of the music industry norm or 'consistent' gigs for that matter. Till then dates for gigs will always depend on when the organisers can manage to find sponsors to back them and whether the date is agreeable with the sponsor and the band-members themselves.

When it comes to 'niche' artistes, Co-VEN — the latest bang in the industry — has been performing gigs consistently from the day of their album launch, both in Karachi and Lahore. Overload has managed to perform approximately 60 gigs around the country last year out of which 12 were in Karachi. They have several other gigs planned out in the next couple of weeks. Sajid and Zeeshan have performed several times in both cities and have three major gigs coming up in the very near future.

Recently, it was mentioned in a section of the press that these artistes are 'missing in action'. There might not be a definite uniformity where the gaps between concert dates are concerned, but keeping all of the above in mind, can anyone put the blame squarely on these bands for missing from the live-music scene?

photos:

— Co-VEN by Madeeha Syed
— Sajid Ghafoor by Fayyaz Ahmed
— Zeeshan Parwez by Fayyaz Ahmed
— Puppo Sain by Amean J.

First Published:
Images
May 27, 2007

2007-05-27T00:08:00.000-07:00

STARBUZZ

Mickey Stardust

The Mekaal Hasan band is set to release a first ever full concert DVD. Titled Live at the Bahria Auditorium and courtesy ARY, the DVD depicts their older style of performing. According to Mekaal Hasan Band, the performance in the DVD is from 2005 and there have been slight changes in the line-up since then.

Another upcoming release from the band would be a video directed by Peshawar-based director, Zeeshan Parwez, on the MHB song, Hunsdun. According to Zeeeshan, the bits where the band makes an appearance were shot in Lahore last year. The concept of the video is focused around the Aghan refugees settled in the Northern Areas and their official repatriation which was supposed to have taken place sometime in 2005.

Shot in the tribal areas in the Khyber Agency with some of the footage from Bajaur, the video focuses around three Afghan friends who embark on their journey home. Coming up with the concept himself, Zeeshan says that the footage is very happy-go-lucky and goes with the overall theme of the song. The video is expected to be released on the airwaves shortly.

Overloading to new horizons

Masters of the unconventional — they came out with a mostly instrumental album, are a percussion-based band without a vocalist and have proven to all that this somewhat unconventional formula when it comes to the desi music market can work — Overload seems to be doing 'it' once again.

Taking the Sains place for a couple of their jam sessions and gigs has been Chet Paserella, a seasoned saxophone player who was previously teaching at The American School in Lahore. Having been in Pakistan for almost five years, Paerella has to his credit performing with the king of upbeat, high-energy performances, Bruce Springsteen.

Extremely happy about how the musical collaboration between Overload and Paserella is working out, according to Farhad Humayun, the drummer for Overload and spokesperson for the band, he might even be featured in Overload's second album.

Paserella isn't the only one Overload's been working with. According to Farhad Humayun, the popular model Meesha's vocals will also be featured on several tracks in their album. Preferring to sing in English, she has already performed with them in a couple of gigs.

"I didn't really plan it, and I've wanted to. I've been singing since I started talking. I like working with people who make my kind of music and share my kind of sound. I've been singing underground for a long time but I haven't been able to bring that out", she says on coming out as a singer.

On collaborating with Overload she says, "It's great because they're very polished and they're extremely trained and they know what they're doing. They're very good friends of mine as well and we have good coordination between us, which makes every session a lot of fun as well" —MS

photos:

—Zeeshan Parwez by Madeeha Syed
— Farhad Humayun by Amean J

First Published:
Images
May 27, 2007

2007-05-19T11:12:00.000-07:00

Something more than music

Shazhad Roy seems to be developing a knack for working on projects that are destined to create somewhat of a bang. His latest offering comes in the form of a musical collaboration between him and queen of Sufi soul, Abida Parween, rooted on his latest venture – Equality in Education.

Ever since the establishment of the Zindagi trust some odd five years ago, Roy has been focusing on providing education to those who need it but when it comes to Equality in Education, moves a step forward in that he now attempts to eradicate boundaries and differences amongst individuals in our society created by the different kinds of education systems prevalent in the country.

Talking exclusively to Images, Roy spoke about how he approached Abia Parween for lending her vocals to the song after he had composed the music for it. When it first begins the song seems to be somewhat of an instrumental with soft guitar riffs that build up momentum gradually, however, not too much. Shahzad Roy isn’t the primary vocalist, leaving that to Abida Parween, and prefers to sing only one line throughout the composition: aao dey dein inhay zindagi (come, let’s give them life).

Abida apa, as he is prone to calling her, listened to the composition and consented to sing for the 'Aao dey dein inhay zindagi'. Previously before this, Abida Parween has never collaborated with any other musician on any project and this is also her first proper music video to date. The introduction of her vocals come as a burst of energy into the song and the overall effect may be considered to be somewhat brilliant. According to Roy, she’s added an amazing spiritual element to the song.

During the interview Shahzad also spoke about a conversation between him and Bryan Adams during his last visit to the country, in which Adams pointed out that one need not look for inspiration elsewhere when it came to material for music, there was so much to write and sing about, right here.

Directed by Sohaib, the video is simply done with Roy in front of a chalk board and Abida somewhere near him, in other frames books, children and an abacus also make their appearance in the midst of text scrolling across the screen with messages in them. The video is expected to be released on the airwaves shortly.

But this is not the only thing that Shahzad Roy has up his sleeve. The heir to the English throne, Prince Charles has offered to send representatives from the Volunteer Service Overseas (VSO) to help train teachers working for the Zindagi trust as well. A workable plan is being formulated currently to help get this in process.

Also joining in the Zindagi Trust team is Sami Mustafa, the principle of the Centre of Advanced Studies (CAS) in Karachi. Shahzad acknowledges his contribution and is pretty excited about having him on board. Shazad speaks very strongly about education and how it can help to not only change a person’s life but also their overall civic sense. At the end of it all, it can easily be said that not only does Shahzad Roy has a vision (or several visions enclosed in one), he has the focus, determination and most importantly, the heart to try and realise it as well. His collaboration with Abida Parween might just be a little peek into how he plans to go about it.

First Published:
Images
May 20, 2007