era are still loved and followed. Khwaja Khurshid Anwar began his career in the late 1930s and was amongst the top music composers in United India before he chose to make a fresh start in Pakistan. The same was the case with Feroz Nizami who began his career in Bombay and was
Think of Pakistan’s entertainment industry and the first thing that comes to your mind is the music, not the dramas or the films. Films became part of the country’s culture in the 1950s while TV made its presence felt in the 1960s, however, music was there since Pakistan’s inception. What began as a new country’s journey from Radio Pakistan is now winning hearts and minds across the globe, and while many might not like the current songs, the work done in the last 75 years continues to dominate the scene.
BOLD decides to pay a tribute to 25 such individuals whose contributions helped make Pakistani music popular all over the world; while the names of some established players might not be there on the list, there should be no doubt about the presence of those who are part of the list. Here goes:
The music composers with the Midas touch!
Although Lahore had been one of the main centers of the Indian film industry before 1947, after independence Pakistan took some time to recover from the aftershocks of Partition. The resurrection wouldn’t have been possible without the contribution of big names like Feroz Nizami, Khwaja Khurshid Anwar, Rasheed Attre, and Master Inayat Hussain. Their music not only transcended borders but was amongst the many reasons why films from that
As for female playback singers, Runa Laila, Naheed Akhtar, and Mehnaz Begum were the prominent ones who made a name for themselves during Malika-e-Tarannum’s reign
music composers who were inspired by the masters before them. Music composers Sohail Rana and Robin Ghosh were amongst those who started their careers in the early 1960s and kept on delivering hits despite composing fewer films than their contemporaries.
While Sohail Rana, the composer behind Akele Na Jana and Aaj Janay Ki Zid Na Karo branched out towards patriotic songs and TV, Robin Ghosh’s last hit Tu Hai Dil Ki Dharkan came out in the 1990s, three decades after he debuted in the industry.
The accidental arrival of music composer Nisar Bazmi from India in the 1960s can be termed as one of the
As Pakistan moved into the 1960s, fresh faces came into the film industry including music composers who were inspired by the masters before them
Khalil Ahmed, Nashad, Kamal Ahmed, Amjad Bobby Singers who made actors look good!
With the creation of Pakistan and India on 14th and 15th August 1947, Pakistan was left with fewer playback singers since most of them like Mohammad Rafi decided to stay in India. Had it not been for Madam Noor Jehan, the film industry might not have been able to resurrect since she was both a superstar who chose to migrate to Pakistan but also brought her visionary husband Shaukat Hussain Rizvi with her. While her husband created the Shah Noor Studio in Lahore, Noor Jehan reclaimed her top position, this time in a new country, as an actress and a vocalist. After retiring from acting in the early 1960s, Noor Jehan became the Iron Lady of Lollywood and ruled the industry till the late 1990s. She isn’t called Malika-e-Tarannum for nothing, since she showed the newly created country that if they put their minds together, they can deliver better stuff than their former partners, India. Not even Ahmed Rushdi, who was part of the coveted
group of singers who sang the national anthem of Pakistan when it was first recorded, would have guessed that his presence would change the way playback singing worked in Pakistan. He was the first versatile playback singer of Pakistan who could sing melancholic, happy, and medium songs as if they weren’t a big deal. He was at the top of his game in the 1960s and the 1970s and inspired many singers who followed his kind of singing after his sudden demise in 1983. His good work was carried into the 1980s and the 1990s by Akhlaq Ahmed and A. Nayyar who made their debuts in the 70s but were part and parcel of films that came out before 2000.
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He might have been world-famous for being a ghazal maestro, but Mehdi Hassan was the only credible competitor Ahmed Rushdi had during his career. He made a name for himself as a playback singer who kept delivering ghazals, romantic ballads, and even happier numbers during his career. From the 1960s till the late 1980s, Mehdi Hassan was the first choice of music composers because of his fan following, and his ability to strike gold with every composition.
As for female playback singers, Runa Laila, Naheed Akhtar, and Mehnaz Begum were the prominent ones who made a name for themselves during Malika-e-Tarannum’s reign.
While Runa Laila’s career ended when she went back to Bangladesh (formerly East Pakistan), she delivered countless hits during her limited stay in the country. Her vocals not only suited the faces she was doing playback for, but she also belonged more to the Ahmed Rushdi club where vocalists could ease into any situation without trying too hard.
After her departure, Naheed Akhtar and Mehnaz took over the playback duties in the 1970s and the 1980s and were part of nearly every movie during that era. They benefitted from Noor Jehan’s decision to prefer playback singing in Punjabi films, instead of Urdu films, and partnered well with Ahmed Rushdi, Akhlaq Ahmed, A. Nayyar, and Mehdi Hassan.
Notable omissions: Zubeida Khanum, Naseem Begum, Mala Begum, Masood Rana, Mujeeb Alam
And then there were the non-filmi singers!
There is no doubt that film music is celebrated more in this region, but since the advent of TV in Pakistan, non-filmi songs have pushed film songs on the second position. Not only did it give the country an edge over its neighbors where film music is still considered supreme, it evolved so beautifully that songs from the 1960s are still relevant in 2022, because of their freshness, their vocalists, and their compositions.
Talking about non-film singers takes the listeners into the world of Farida Khanum and Iqbal Bano who stood tall amongst their competitors. From ghazals, geets to even a handful of film songs (in Iqbal Bano’s case), the two migrated to Pakistan at a very young age and made a name for themselves in the 1950s.
While Farida Khanum still mesmerizes her audience with her powerful renditions, especially Aaj Janay Ki Zid Na Karo, Iqbal Bano’s rendition of Faiz Ahmed Faiz’s work in the 1970s made her a household name. It was her rendition of Hum Dekhenge that made the poem a symbol of hope and was even shamelessly plagiarized in Bollywood’s propaganda film The Kashmir Files earlier this year.
No list of non-filmi singers can be complete without the inclusion of folk singer Reshma who made Pakistan proud with her powerful vocals and Sufi renditions. According to those who listened to her in her prime, ‘she connected Rajasthan, Cholistan and Sindh’, and was popular on both sides of the border for that. Despite not being a trained singer, Reshma kept delivering hits from the 1960s till the 2000s, and some of her songs like Lambi Judaai were even used in a Bollywood film.
Sufi singer Abida Parveen who is considered one of the greatest mystic singers in the world at the moment isn’t far behind Reshma. From a singer who started her career at Dargahs in interior Sindh in the 1970s, Abida Parveen has come a long way as a vocalist. She has sung the kalams of Sufi poets like Bulleh Shah, and Sachal Sarmast, among others, and is known for her strong vocals and ability to make people forget their surroundings with her soulful renditions.
Pakistani music will always remain indebted to incredible singers like Nayyara Noor and qawwal Nusrat Fateh Ali Khan who dominated the music scene with their vocals. While Nayyara Noor has countless film hits, patriotic songs, and OSTs to her name, NFAK introduced his brand of modern qawwali to the world which is popular even 25 years after his death.
Finally, something about the pioneers of pop music and music bands in the country.
Although Alamgir credits Sohail Rana-Ahmed Rushdi’s Ko Ko Ko Rina as the first pop song produced in Pakistan, the formerly East Pakistani is responsible for inspiring
It was Nazia Hassan who introduced Vital Signs during PTV’s music show Music 89, but they had been discovered by PTV Producer Shoaib Mansoor a few years earlier through Dil Dil Pakistan. The director remained associated with the band till their fourth and final album Hum Tum and was instrumental in their success since he wrote their lyrics and guided them to stardom. Had it not been for Vital Signs, Pakistani music might never have moved away from Alamgir and Co., and many youngsters wouldn’t have taken pop music
generations of pop singers in the country. He ruled the hearts of the youth during the 1970s and the 1980s and is considered nothing short of a legend, despite releasing his last song three decades back.
Nazia Hassan was different from Alamgir in many ways because she inspired females to take up pop singing at a time when Pakistan was under Martial Law. Her career was limited to hardly a dozen years but in those few years, she managed to achieve what no female in Pakistan had achieved befo
It was Nazia Hassan who introduced Vital Signs during PTV’s music show Music 89, but they had been discovered by PTV Producer Shoaib Mansoor a few years earlier through Dil Dil Pakistan. The director remained associated with the band till their fourth and final album Hum Tum and was instrumental in their success since he wrote their lyrics and guided them to stardom. Had it not been for Vital Signs, Pakistani music might never have moved away from Alamgir and Co., and many youngsters wouldn’t have taken pop music.
Notable omissions: Amanat Ali Khan, Ghulam Ali, Zoheb Hassan,
As things currently stand in Pakistan TV industry, most TV serials, especially those aired during the prime-time hours, seem to have been reduced to only one thing: telling stories of rich people. A closer look at TV soaps and drama serials reveals the unabashed classism and relentless elitism at the expense of discriminating against the havenots, who are in clear majority but wholly consume and devour such content which has nothing to do with their own lives.
Marriage and money seem to be the two prosaic themes driving the narrative of Pakistani prime-time TV serials, a commonplace practice which raises the question: Who is watching such shows and why is such content dominating TV screens?
As the merry-go-round moves in the world of TV entertainment, an all-pervasive formula of centering the plots on affluent families leads the show to its commercial success, as has recently been borne out by several TV serials. The so-called ‘family dramas’ are ultimately about either the rich mingling among themselves or about them belittling those middle-class and poor families which do not possess the wherewithal to join the upper crust.
Mere Paas Tum Ho, perhaps the most widely viewed Pakistani TV show in recent times, was a story about a woman who leaves her husband and child for a rich business tycoon, obviously in awe of his wealth. Her husband, a forlorn figure, tries to become a successful businessman overnight for the most obvious reason. When said tycoon loses all his money and goes to jail, the wife returns back to her husband and child. As both the protagonist and the antagonist were pursuing wealth because of its ability to win the rest of the world hands down, this rags-to-riches tale, penned by a veteran writer like Khalilur Rehman Qamar, was severely lacking in logic. However, while the story made little sense, Mere Paas Tum Ho was undoubtedly a huge hit with the masses.
In some cases wealth is driving the
plot of most TV shows. For instance, the recently successful drama Parizaad was centered on one man making life altering and unrealistic decisions all in the pursuit of wealth. It was almost as if the show’s entire purpose was to drive home the point that if one is not rich one will remain worthless and disrespected by society. In episode eight of the show, a supporting character literally tells the protagonist:
family background. Despite conveying a wrong a highly problematic concept, such questionable messaging is reiterated in almost every episode of the show.
In addition to that, in several prime-time TV serials the casual display of wealth is inconsequential to the plot and almost overbearing because most producers tend to shoot all their shows in the same bungalows and mansions, which are also used in other
the word about the drama serial as the story of a middle-aged woman, Mehru, who decides to marry a much younger man than her grapples with the interconnected complications that ensue. However, more than half the TV serial was all about the protagonist’s wealth and social status. To make things worse, in every episode she had to remind her family, children and friends of her material fortune with
completely ruined the basic purpose of the show and was counterproductive to the narrative it was supposed to build. In doing so, it also inadvertently inhibited the chemistry between the leading pair.
Amounting to another kind of elite capture, it is hard to find any recent Pakistani TV serial which does not place a rich, well-off, mansion-residing family or families with money problems at the
others, had have anything to do with the month of Ramzan, the spirit of fasting or the festivities of Eid. They were simply light romantic comedies, portraying the inanity of otherwise money-smart families. This seems to be a good time to recall PTV classics such as Khuda Ki Basti, Aangan Tera, Ali Noon and 50-50, which showcased the joys, sorrows, struggles and the humour of the working class without using money as a key device to build and drive the main plot. From amongst recent TV screenplays, screenwriter Fasih Bari’s TV serials such as Ghisi Piti Mohabbat, Khatoon Manzil, Mithu Aur Aapa, Quddusi Sahab Ki Bewah are some few examples which offer comedy, romance and an insight into Karachi’s diverse localities without resorting to the pursuit of wealth.
When it comes to the consumption of such TV dramas, we may presume as to why audiences are lapping up stories about rich families.
Ellen Seiter, a U.S.-based expert in copyright law, children and the media, finds two possible reasons for the popularity of such stories. First, by displaying such luxury, TV shows provide much-needed escapism, which can prove to be a source of momentary relief for the masses from the harsh realities of the world.
Secondly, such shows, according to Seiter, offer a catharsis to certain audiences as they “reveal the lives of the rich and powerful to be full of strife, anxiety and personal torment.”
“A man’s face, his personality, status and his worth are entirely determined by his money.” Hence, Parizaad, a seemingly noble man, quits his university education along with scholarship, renounces his family abode, trades off his nobility and makes it his life’s mission to garner material riches – no matter whatever it takes. Once he amasses piles of money, he gains validation and respect from all those people who had earlier snubbed him due to his homely appearance and a low-income
productions. For instance, such popular TV serials as Jalan, Khuda Aur Mohabbat III, Fitoor and Muqaddar were all shot at the same location mainly to feature a well-todo family living a luxurious life in a giant mansion. The point is that these identical stories can be told without featuring every single family either being filthy rich or in the pursuit of accumulating heaps of money. Dobara, as yet another example, tried to attempt something refreshing by spreading
By Muhammad Adil
More than a comedian, Jordan Peele is a great storyteller. Having won the Academy Award for his debut ‘Get Out,’ his second film ‘Us’ made a stupendous 71 million dollars on a $20 million budget. ‘Nope’, the new sci-fi horror film written, directed and co-produced by Jordan Peele, has already made $44 million at the box office and is inching closer to becoming another blockbuster in the American film industry. Though box office sales don’t portend the film’s success as many cult classics like American Psycho were never boxoffice hits, the film ‘Nope’ has been well received so far.
Nope is a science fiction thriller featuring a very diverse cast with African American main characters. The film is purposefully replete with hidden meanings behind its every sequence that one needs to watch it time and again to deconstruct the scenes thematically. Portraying a family living happily on a horse-breeding ranch, the film depicts an ideal
any eye to gain agency and control. The show miserably failed in showcasing a thought-provoking romantic relationship between the two partners with a significant age gap. Instead, it relegated to an ugly, winding saga about who will acquire Mehru’s wealth and property as every family member went all out to take over her bungalow and her thriving business. The show makes it clear that if Mehru was not so rich no one would give two hoots about her. The wealth-centered storyline
ranch life with some beautiful horses and a very funny but wholesome family dynamics. All of a sudden, however, a drama takes place in their lives when the aliens show up to instigate a fight for survival against what is apparently the end of the world. The film’s cast is loaded with the kinds of up-
centre of the storyline. Starting with the record-breaking TV serial Humsafar (2011), to shows like Zindagi Gulzar Hai (2012), Bin Roye (2016), Khasara (2018), Anaa, Dilruba, Yeh Dil Mera (2019), Sabaat (2020), Ishqiya and many more - all succumb to an unabashed display of wealth which could have easily been avoided.
Aired in the month of Ramzan this year, even the string of TV serials such as Suno Chanda (season one and two), Hum Tum, Taana Bana, Chupke Chupke and several
What fails the recent wave of Pakistani TV serials is the lack of diversity, innovation and imagination, particularly when it comes to telling stories for mass consumption. For a nation struggling with political instability, socio-economic crisis, abject poverty and unemployment, it is baffling to notice the entertainment industry’s obsession with telling stories about the stinking rich and the beau monde as well as the powerful upper strata of society while simultaneously belittling the economically disadvantaged.
The writer is a multimedia artist with a special focus on fashion, performing arts and pop culture. She can be reached at writing.likhaai@gmail.com
and-coming young talent. The main character Daniel Kaluuya, for instance, is an emerging actor and is also one of the first actors to have featured in Jordan Peele’s film. The actress, Keke Palmer, who is the leading woman in the film, has, one again, proven her acting credentials as done by her in previous blockbusters such as Hustler and more recently, Lightyear. Stephen Yeun, who is also part of the film’s cast, is another star showing his acting mettle to the world with his challenging role. It shows Yeun is improving himself day by day. Keith David is the cherry on top of the cast as his powerful role leads to some very decisive moments full of melodrama, suspense and appalling sci-fi horror. ‘Nope’, by and large, can be referred to as another cult classic. Being the film’s writer, director and co-producer, Jordan Peele seems to have re-invented the thriller genre, becoming a modern Stephen King. Truly a treat to watch, ‘Nope’ is a film that stands out from the rest because of its rich, entertaining content, backed by an intriguing story that revolves around a mix of happiness, shock and horror, all woven together.
The new sci-fi horror thriller written, directed and coproduced by Jordan Peele, is an emotional roller coaster rideISLAMABAD
BOLD remembers Pakistan’s biggest and finest female superstar on her 80th birthday
By Omair Alavi KARACHIThink about the biggest film stars Pakistan has produced in the last seven decades, and the names of Mohammad Ali, Waheed Murad and Nadeem will come off the top of one’s head. However, think of female superstars and the first name that pops up in most minds is that of Shabnam, for she ruled the hearts of her fans from 1960s till 1990s, and kept evolving as an actress during those years.
Born on 17th August 1942 in Dhaka as Jharna Basak, the actress didn’t attain stardom at once. In fact she had to work hard and overcome demons to become the poster girl of Pakistani cinema. She came from East Pakistan which later became Bangladesh, wasn’t proficient in Urdu language and got married earlier in hter career but she didn’t let anything stop her from becoming the first-choice of filmmakers during her career.
Although she last starred in a film more than 25 years back, she remains in the hearts of all those who are familiar with her work. Let’s take a trip down memory lane to find out what turned Jharna into Shabnam, and kept her so relevant that she went onto play romantic leads for more than three decades.
Phase one – The initial years
Back in the 1950s, when East and West Pakistan were one, Lahore and Karachi were known for their Urdu films while Dhaka made films in Bangla language. In an attempt to penetrate the East Pakistan market, filmmakers from the East wing came up with Chanda in 1962, which was amongst the first Urdu films to be produced in Dhaka. Featuring Rehman and Sultana Zaman in the lead roles, the film is remembered today for the performance of a certain girl Jharna (renamed Shabnam for films) who went onto win the Nigar Award for the Best Supporting Actress in her debut film.
Little did anyone know that Shabnam would go onto win as many as 13 Nigar Awards during her career, and inspire generations with her performance, both as an actress who can dance and a professional who never let success get to her head. After the
success of films like Talash (again with Rehman) and Paisay, Shabnam was cast in poet and director Suroor Barabankvi’s Aakhri Station and played a mentally retarded girl who wandered around the railway station.
Although she had one prominent dialogue in the film – Baboo Beeri – she managed to outshine everyone with her top-notch acting, including fellow actress Rani who agreed to do the film, knowing it had nothing much to do in it.
Shabnam’s popularity in the erstwhile East Pakistan was one of the reasons why actor/producer Waheed Murad cast her in his home production Samandar which tried to ease the tensions between the two wings.
However, after the film couldn't do well at the box office, a couple of directors used artiste Kaukab Afzal's voice as Shabnam’s, but the practice was discontinued as soon as her Urdu became better. That’s when she began to deliver her own dialogues in her traditional over-the-top but relevant style, and carved a separate identity for herself.
Despite getting married to renowned music composer Robin Ghosh, Shabnam stayed busy in films and was part of prominent films like Jahan Tum Wahan Hum, Andaleeb, Ladla, all three with Waheed Murad, who was on the lookout for stable leading lady after Zeba’s marriage to Mohammad Ali. She didn’t stop working with other actors and was instrumental in the success of films such as Darshan with Rehman, Shareek-e-Hayat with Kamal and A J Kardar’s Qasam Us Waqt Ki opposite Tariq Aziz. However, it was during the late 1960s that she was paired for the first time with Nadeem in Tum Mere Ho and the two went onto act together till retirement did them apart in the late 1990s!
Phase two – The best years
During the 1970s, Shabnam was so busy that producers had to request the government against issuing her an NOC to travel to the newly-created Bangladesh (formerly East Pakistan), because had she decided to stay back with her parents, they would have lost a lot of money since she was every filmmaker’s first-choice heroine. The way she donned a sari, spoke Urdu with a touch of Bangla language and choreographed her own songs to avoid looking vulgar made her the poster girl of Pakistani cinema.
For nearly 40 years, Shabnam kept entertaining the audience in Pakistan and would prominently feature in any book that covered the history of films in the country
Since Lahore had become the main centre of film industry after the creation of Bangladesh and the demise of the Karachi industry, Shabnam and Robin Ghosh shifted to Lahore, but not before she became the first Pakistan actress to be part of a song in front of the Eiffel Tower (Yeh Raahein Ajnabi Hain), or the Botanical Gardens (Waada Karo Milo Gay, both from Mere Humsafar) in Paris. Due to her reluctance to work in films featuring more than one heroine, she missed out on many films but later appeared in Talash and Saheli as the leading lady with other actresses being relegated to supporting roles.
What made 1970s the most memorable time of Shabnam’s career was the fact that she was the only actress at that time who could work with any actor (Zeba Begum worked only with her husband after marriage), was proficient in dance due to her initial training in East Pakistan and was comfortable in any role, be it that of a village belle (Mann Ki Jeet, Dosti, Jageer), a modern woman (Jalay Na Kyon Parwana, Dillagi, Aaina) and fit perfectly in characters of a blind girl in Bandagi, nightclub dancer in Zanjeer and a tomboyish girl in Mom Ki Guriya.
The 1970s was the time when Pakistan’s
film industry was rediscovering itself and Shabnam’s presence was exactly what the doctor ordered. It was the time when Deeba and Nisho had taken a sabbatical after their marriages, and yesteryear actresses like Sabiha Khanum, Nayyar Sultana and Shamim Ara were past their prime. In such a scenario, only Rani and Shabnam were the most experienced leading film actresses and they carried the torch until others like Babra Sharif and Mumtaz were able to stand on their own feet.
Shabnam was part of Nazrul Islam's Aaina as the leading lady, which went on to become the most successful Pakistani film after its release in 1977; although it had an excellent soundtrack composed by Robi Ghosh, it borrowed elements from the Indian flicks like Bobby, Aandhi and Kora Kaghaz. However, it was so well-made that Indian filmmakers repeatedly copied the movie - once as Pyar Jhukta Nahi in the 1980s, and once as Raja Hindustani in the 1990s.
Phase three – The wonder years
Despite the arrival of a younger Babra Sharif in the 1970s who shared the screen with Shabnam’s frequent collaborator Nadeem in many films, Shabnam remained on top of her career in the 1980s.
In fact, in 1989 before going on a sabbatical for a few years, her last film as a heroine – Lady Commando – was released, where her name appeared in the credits before that of her co-stars Babra Sharif and Ghulam Mohiuddin. That is enough to show that even in her late forties, she was fit and acceptable to the audience as a leading lady, which is something unthinkable today.
It was during this phase that Shabnam rediscovered herself as an actress and began the decade with Nahin Abhi Nahin where she was paired opposite a teenaged Faisal Rehman, but the pairing was perfect since she played an older woman. She also played leading lady to Waheed Murad in the last five years of his life and while some of their
films did well and some didn’t, she was there with the producer who brought her over to Pakistan till his last breath. She continued to play romantic leads with Nadeem but also delivered hits with younger leading men like Ghulam Mohiuddin and Javed Sheikh who attribute their success to her. Both the actors have repeatedly said that had it not been for Shabnam and Robin Ghosh's support, they wouldn’t have been accepted as leading men, because other actresses didn’t want to work with newbies like them.
If Aaina was her biggest film in the 1970s, then Bandish from the same team kept her on top in the 1980s. She played the role of an air hostess who loses her husband to amnesia and is devastated when she finds out that he has remarried in a foreign land. She was also part of Nadeem's Hum Dono that reunited them with their Jalay Na Kyon Parwana co-star Syed Kamal after a decade), Qurbani (that was copied in India as Adhikaar featuring Tina Munim in Shabnam’s character) and Aahat where she played the love interest of Nadeem but was
married to Waheed Murad’s character. Her films with Nadeem – Dehleez and Faisla – were remade in India as Oonchey Log (featuring Rajesh Khanna and Salma Agha) and Paap Ki Duniya (starring Sunny Deol, Chunky Pandey, and Neelam) respectively, while Kabhi Alwida Na Kehna resembled Bollywood flick Masoom since they were based on the same novel. She played a mature character again in Naraz that also featured Nadeem and Faisal Rehman, while Kamyabi, and Love in Nepal were also successful at the box office. During this decade, she became so popular that despite being a leading lady, she called the shots instead of the producers. It was during that time that she rejected a Bollywood film featuring Amitabh Bachchan, Rekha and Shashi Kapoor, because she didn’t want to be cast as the second lead.
Phase four – Return from the sabbatical Shabnam took a break from films in the late 1980s and returned to Bangladesh to be with her ailing parents, however she did return occasionally to Pakistan to complete some of her films, Awargi being the most prominent one where she played a young to old character courtesy director Javed Fazil who used one of the songs from his earlier film Aahat to give her character a backstory. Her last film, however, was Aulad Ki Qasam that was released in 1997, and reunited her with Javed Fazil and Nadeem, the trio that was instrumental in the success of Aahat, Lazawal, Faisla, and Naraz as well. It was also Shabnam’s 50th film with Nadeem with whom she first worked in Tum Mere Ho in 1968.
After leaving Pakistan for good, Shabnam did one film in Bangladesh titled Ammajan where she played the titular character. The film went onto become one of the most successful films ever produced in the country and the credit goes to Shabnam who used all her experience to deliver a hit before her 60th birthday. Her innings as an actress didn't end with 150-odd Urdu films, because she returned to Pakistan two decades later as an actress and worked in Ali Tahir’s Mohini Mansion Ki Cinderellayain, that was aired on BOL Entertainment in 2018. In that Faseeh Bari play, Shabnam played a character that was a huge Shabnam fan and even believed that she resembled the yesteryear actress. For nearly 40 years, Shabnam kept entertaining the audience in Pakistan and would prominently feature in any book that covered the history of films in the country. Most of the memorable songs from the 1960s till the 1980s were filmed on her, and singers from Noor Jehan, Mala, Runa Laila, Mehnaz, and Naheed Akhtar lent their voice for the highly-respected actress. From Captain Ihtesham to Pervez Malik, Nazrul Islam to S Suleman and Suroor Barabankvi to Javed Fazil, she worked effortlessly with the best directors and was one of the many reasons that kept Pakistan’s film industry afloat till the 1980s.
17 memorable Shabnam songs
1. Yeh Samaa Pyara Pyara – Mala - Darshan
2. Mere Dil Ki Mehfil - Noor Jehan & Ahmed Rushdi - Andaleeb
3. Kuch Log Rooth Kar Bhi - Noor Jehan - Andaleeb
4. Saawan Aaye - Runa Laila & Ikhlaq Ahmed- Chaahat
5. Chitti Zara Sayaan Ji Ke Naam Likh De - Noor Jehan - Dosti
6. Humain Kho Kar - Runa Laila – Ehsaas
7. Mera Babu Chail Chabeela – Runa Laila – Mann Ki Jeet
8. Dinva Dinva Main Ginoon – Runa Laila – Mann Ki Jeet
9. Bol Ri Gurya - Nayyara Noor - Aas
10. Tera Saaya - Nayyara Noor - Gharana
11. Waada Karo Saajna - Mehnaz & Alamgir - Aaina
12. Mujhe Dil Se Na Bhulana - Mehnaz & Alamgir - Aaina
13. Roothe Ho Tum Tum Ko Kaise – Nayyara Noor - Aaina
14. Humari Sanson Main Aaj Tak Woh - Noor Jehan - Mere Huzoor
15. Do Pyaase Dil – Mehnaz & Mehdi Hasan - Bandish
16. Mera Tujh Se Aisa Bandhan - Naheed Akhtar - Qurbani
17. Waada Hai - Mehnaz & A Nayyar - Aahat
In the first place, it looks to be a formidable task to figure out the starting point for reducing the piles of waste generated through a number of means. However, things can easily be sorted out after getting to the root of the problem, which has more to do with our irresponsible attitude and lack of concern towards the environment than proving our green credentials through cosmetic measures merely to win public acclaim and nothing else.
Instead of being caught in the grip of a recycling rage, one can play a pivotal role by keeping a watchful eye on all non-biodegradable materials that are normally used in various forms of packaging such as plastic, polystyrene, tetra packs, etc. By the same token, one can keep a check on the dustbin in use to determine how to reduce the waste by taking some
basic steps, as mentioned below.
Set realistic goals
Going zero waste or even reducing its amount won't happen overnight and one need’s to initiate one’s waste-reducing journey from the bottom up. In this regard, one needs to make sure that one is using household items, personal belongings and the rest of the fast-moving products and everyday items to the fullest extent possible in place of throwing away every after a brief use.
Avoid binge-shopping
Rather than going shopping for the same things one already has, try to use them as much as possible. For instance, old glass jars can be used to store dry food items such as beans, lentils and rice. In the similar vein, used, old clothes can be utilized as a dusting cloth or a rag for cleaning furniture. Similarly, empty candle jars can be repurposed as a vase. Also, used plastic bottles can be employed in a num-
ber of ways and means to serve various objectives. .
Say ‘No’ to single use plastics
Despite its partial degradation attribute, a polyethylene bag is the most common item used for commercial purposes. Instead of using polythene bags, one must try carrying reusable mesh produce bags or tote bags during the shopping.
In lieu of using plastic toothbrushes, one may opt for plastic-free toothbrush made of bamboo wood. An eco-friendly material, bamboo is biodegradable and it takes a minimum time to grow.
Single-use plastic straws can also be replaced by a reusable metal or glass straw.
Buy second hand
One’s rubbish is another’s treasure. Therefore, buying second hand is the best way to preserve the environment across generations. When it comes to causing environmental damage, fast fashion is one of the biggest culprits, producing unnecessary waste and sending tonnes of waste to landfills each year. Thus, a visit to nearby thrift shop will save money and will also extend the lifetime of a clothing item before it ends up in landfill sites. Similarly, used cloths can be donated to a charity or could be passed on to one’s siblings or friends. . Used items such as curtains, crockery, bags and purses, refurbished furniture, books, exercise gear, tableware, etc., are also in high demand. .
Compost kitchen waste
The simplest way one can turn one’s kitchen waste into compost is by using a stackable, tiered compost bin, also referred to as “Khamba”. All one has to do is put one’s organic kitchen waste into one of the tiers along with some old paper or cardboard pieces until it is full. Then keep rotating the tiers with the next one. In a few months, one would be able to make oneself some environment-friendly homemade compost.
By Zehra Batool KARACHIDo you know someone who thinks he or she is better than everyone else and hits the roof at the slightest criticism? To understand the traits and behaviours of a narcissist hanging around with you, you must always have a ‘Narcissist Checklist’ with you to handle the possible situations better. In a selfie-obsessed culture like ours, the word ‘narcissism’ is often thrown around as a caustic descriptor for those who seem to be egocentric and are excessively selfabsorbed. But what is it in reality?
In psychological terms, the personality trait of narcissism does not infer self-love — even though not of a healthy kind. Narcissistic Personality Disorder (NPD) is a complex personality disorder, which is more accurately defined as an obsession with an idealized, grandiose image of the self. As a consequence, the inflated self-image grants them an escape from underlying feelings of insecurity. However, perpetuating a delusion of grandeur calls for a lot of things to deal with, and this is where a narcissist’s dysfunctional behaviour neurotic attitude kick in.
Individuals with narcissistic personality disorder are selfcentred and often behave in manipulative and patronizing ways, and lack empathy and consideration for others. A narcissist thinks and behaves this way in every moment of his or her life, be it a home or workplace, interacting with friends to be it love and marital relationships.
Some common personality traits, as mentioned below in the Narcissist Checklist, may help you identify that you are in fact dealing with a narcissist:
Having a self-absorbed, self-enamoured attitude
Being very controlling
Demonstrating lack of empathy
Exhibiting an attitude of entitlement
Suffering from chronic repression or suppression of anger
Engaging in manipulative or exploitive behaviour
Behaving with a sense of superiority over others
• Living in an alternate reality
• Demonstrating a pathological defensive attitude
While the checklist may not be exhaustive, it can still provide you with a basic idea of the various ways a narcissist can interfere with your quality of life.
1) Dichotomy between public and private selves
While narcissists may appear charming in public, many characteristics do not reflect well on them. For a narcissist, maintaining a positive public image is crucial. For this purpose,
they frequently provide a false or erroneous image of themselves to impress others. Frequently, what you observe in a person's private life differs from what other people observe of them from the outside.
2) Showing superficial loyalty to others
Narcissists insist that you should be loyal to them yet they do not reciprocate since they are so consumed with themselves. Your purpose is to demonstrate how grateful you are to have them
as an ally while also serving to boost their inflated egos. They might exhibit a certain level of loyalty towards you only if you are useful enough to meet their needs.
3) A false sense of infallibility
Narcissists are so preoccupied with being better than anyone else that they refuse to acknowledge their shortcomings, lay blame on others for their mistakes and defend themselves with wrong information and concocted alibi. Worst of all, they tend to keep making the same errors time and again because they find it extremely difficult to admit their mistakes.
4) Lack of emotional sensitivity
When asked to display sensitivity, compassion or obedience, narcissists may feel out of their element. They may pretend to care about others but on a deep level they show very little interest in truly connecting with people. Emotional sensitivity necessitates empathy, which they lack and favour partnerships that are practical rather than emotionally invested.
5) No respect for personal boundaries
Narcissists are constantly preoccupied with themselves and feel they should be able to have a say in the personal matters of others’ lives and feel outraged when you are adamant to define yourself and exercise your right to carry out your plans as per your aspiration. Narcissist may even become bossy and humiliate you when things don’t take place the way they want. Diversity is a quality that narcissists do not value.
6) Double standards
The criteria that apply to others do not necessarily apply to narcissists since they think that they are special and superior. For instance, they find it quite offensive when someone is upset with them, but they feel completely justified when the opposite happens. "My grasp of life is far superior to yours," they argue.
Suffering from a kind of ‘I-am-the-best’ psychosis, narcissists, in a word, tend to see the world only through their own lenses. It is exhausting to deal with their self-serving attributes such as stark manipulations, consequential silences, gaslighting manoeuvres, baseless criticisms, nitpicking, and the rest. By and large, narcissists have a warped perception of what a good life can be as their primary purpose is self-gratification and nothing else. Let them feel threatened by your right to live your life the way you want it to be.
In a world where anything and everything is readily monetised, it is unsurprising that corporations and fashion brands are ever-eager to take advantage of religious occasions –even solemn ones – in an attempt to have unbridled access to a larger market. The ability of religions to illicit a deep-rooted emotional reaction amongst their followers provides firms with a capitalist incentive to align their brand ideology with the religious sentiments of the masses.
This phenomenon is readily on display in Pakistan throughout the year. However, perhaps the most questionable usage of this brand policy occurs during the month of Muharram. Suddenly, mannequins across the country are wearing more black garments for a period of thirty days than they do over the course of the other eleven months combined. Websites become inundated with articles and advertisements highlighting the latest expensive designs in the black and white garments range. The ‘all black’ aesthetic comes to dominate the fashion landscape. Some brands blatantly label their entire clothing lines during the month as the ‘Muharram collection’. Evidently, based on the speed at which such outfits fly off the shelves, this marketing strategy draws consumers in droves.
However, while exploiting religious fervour and sentiments in order to gain revenue is neither a new nor a novel concept, it appears to be in particularly bad taste during the month of grief. For millions, this month is defined by a sense of mourning and grief, heralding back to what can be surmised as one of the most tragic chapters in Islamic history. Muharram represents sacrifice and the courage to stand firm in the face of tyranny. These values are a far cry from
what fashion brands in this country are trying to turn Muharram into. But the distinction which must be understood here is that catering to the clothing needs of those who dutifully observe this month is not the issue. The problem lies in the abhorrent and gimmicky tactics used by fashion houses to market these products, and the astronomical pricing of these outfits makes the entire affair come across as a mere exploitation tool. The driving factor here is neither grief nor a desire to serve the community. The primary objective is simply profit.
This same principle was on display during the onset of the coronavirus pandemic when several brands produced their own expensive protective face
masks while simultaneously laying off hundreds of their employees during a time of great uncertainty. Ultimately, it is only about the rich becoming richer through a vicious cycle of feeding on the sentiments of the consumer while doing nothing of substantial value to help the community at large.
Recently, a number of brands came out with their ‘completely coincidental’ monochrome prêt-à-porter collections. Big names like Images, Ideas, Ego, Zeen, Thredz and many more all happened to come out with such clothing ensembles just as the month of Muharram was about to commence. Whereas the rest of their festive, summer and prêt collections have gone on 30% to 50% on sale. The irony of
course is that this exorbitantly priced, extravagant designer couture is to be worn during a month which should be defined by simplicity. Not only does this strip Muharram off of its true essence but it also makes a mockery of the spirit of this month.
Taking part in this monetised façade is downright disrespectful, but doing so covertly – by slyly marketing inconspicuous-looking monochrome collections – is even worse. The latter suggests that brands know what they are doing is wrong and will be met with criticism. However, since they don’t want to sacrifice their profits, they market their collections in such a way so as to escape any possible repercussions or accusations of religious insensitivity.
It is also worth asking whether these brands, all of which are chomping at the bit to roll out their Muharram attire, do anything of actual note to mark the solemnity of this month. In a country where minorities find themselves faced with increasing oppression each day; one would think that these fashion houses would prioritise using their platforms for advocacy. But, since there is no revenue to be generated through such acts, all such capitalist enterprises pay little heed to these matters.
As a Shia Muslim, one would feel the need to wear black clothes throughout the month of Muharram, however buying from a brand that one knows will cost one’s arm and a leg is extremely abominable. These clothes are not on sale until Muharram is over and each suit costs from Rs. 8000 (exclusive taxes) to the excruciating amount one can imagine.
This issue has seldom been brushed under the carpet to keep the game on. Even if we think this from a designer’s perspective, give it the benefit of the doubt and see it as a policy or move of them to show solidarity with shias even then, from nowhere on earth, this makes sense to the people they are trying to show solidarity with as why would they pay through their teeth.
For designers, the aim is not to show solidarity with those who wish to remember the sacrifice which occurred at Karbala 1400 years ago. Their objective is to monetise despair and grief. Brands wanting to cater to the demands of their consumers is not problematic, but the contextual nature of Muharram, coupled with the fact that it has been turned into a money-making scheme, is deeply shameful. It represents not only a complete disregard for the consumer but, more importantly, an inability to grasp the true message of Muharram.
The bottom line; Capitalism and a thinly veiled morality clause that lets these brands carry on with this pattern of oblivious monetisation of grief. Not that there is anything wrong with brands wanting to meet their consumer demands, but the contextual nature of Muharram coupled with the high revenue factor surrounding it makes the entire circumstance reek of a complete disregard for respect and moral legitimacy.
This August, Independence Day celebrations will be particularly special since Pakistan is going to mark its Diamond Jubilee, commemorating 75 years since the Partition of the subcontinent into two countries: Pakistan and India.
While the monsoon season might be disturbing our day-to-day affairs, it hasn’t stopped vendors from setting up stalls across the nation selling Pakistani flags, badges and other such items. It’s only a matter of time before the green flags dominate the landscape in each part of the country.
And of course, wearing the right outfit on Independence Day is equally important as on this occasion the whole nation comes together to celebrate the moment with national spirit and fervour, donning hues of green and white.
In case you have no clue what to wear this 14th August, BOLD brings you a round-up of the best-dressed Pakistani celebrities on Independence Day to make it easier for you to find your perfect outfit for the day!
Mahira Khan
An all-white outfit can never go wrong on Independence Day. The superstar looked elegant yet chic in this solid white pleated shirt paired with a white pair of pants. Wearing her hair down to the left, she accessorised the outfit with a small Pakistan flag badge on the rightside of her shirt, ensuring a perfect blend of panache and patriotism to flaunt on 14th August.
Ayeza Khan
Dressed in a white chikan kari pishwas with front button-down closure and white lace, Ayeza Khan managed to boast a new level of elegance. The outfit is so gorgeous that you don’t need flashing jewellery to stand out from the crowd. To showcase her love for Pakistan, Ayeza, like Mahira Khan, accessorised her outfit with a Pakistan flag badge. We are absolutely in love with this look!
Maya Ali
If you wish to exude a more traditional look this Independence Day, Maya Ali has the perfect outfit for you. The diva looked breathtakingly bewitching in this deep green lehnga and shirt with gold embellishments and gota work paired with an organza dupatta of the same colour.
Feroze Khan
Most men can’t pull off a dark green coat, but Feroze Khan is an exception. The Khuda Aur Mohabbat star looked dapper in a white button-down shirt paired with a solid green coat; another style inspiration for Pakistani men this 14th August.
Humayun Saeed
Humayun Saeed is not just a pro at playing a wide range of characters since he also knows how to rock every outfit that comes his way. Keeping it traditional yet stylish, he turned heads wearing a white shalwar suit and a dark green waistcoat accessorised with a white pocket square. This is a perfect outfit for all the men out there looking to channel their inner patriotism for the country.
Fahad Mustafa
Known for his extravagant fashion sense and ability to always amp up the style game, Fahad Mustafa is a sartorial inspiration for men looking for a formal but trendy outfit to wear on Pakistan’s 75th Independence Day. The multitalented star wore a solid white shalwar suit and paired it with a fancy off-white coat and a deep green silk pocket square. With a wristwatch on one hand and a beaded bracelet on the other, Fahad denotes the most dapper look men can go for this Independence Day.
Mehwish Hayat
Keeping it simple yet chic on Independence Day, Mehwish Hayat was spotted wearing a white chikankari shirt as she posed for some stunning pictures under the Pakistan flag to inundate social media feeds with some awesome contents.
Mawra Hocane
What’s more comfortable and equally stylish than wearing a lawn kurti with a plain shalwar? Mawra Hocane looked adorable in this green-and-white digitally printed kurti, which she paired with a white tulip shalwar as she posed in front of the Pakistan flag to showcase her love for the country.
Ali Rehman Khan
Take Pakistan’s diamond jubilee celebrations up a notch by wearing a white silk sherwani with an embroidered green pocket square. Ali Rehman Khan effortlessly flaunted this beautiful outfit, raising the fashion bar for all the men out there.
Zahid Ahmed
Zahid Ahmed may just have the perfect look for all those men who want to don a patriotic outfit, which is both cool and stylish. Wearing an impeccable white button-down shirt over a green T-shirt, Zahid was spotted flashing a pair of glasses and a beaded bracelet on one hand as he posed outdoors with the beloved green flag.
With some fashion inspiration from top Pakistani celebrities, you may also come up with the perfect Independence Day outfit to ensure that you celebrate the momentous occasion with grace and confidence.
When it comes right down to gardening at the backyard of house, the lemon happens to be one of the most soughtafter options, particularly for food lovers and cooking enthusiasts. From garnishing a variety of dishes to adding a tantalising taste to the meals, the lemon is a must-have condiment both for main courses and side dishes, be it a squeeze over an oily Nihari, a plateful of appetizing Haleem or be it a healthy crunchy portion of salads. A cold lemonade as well as it local but salty variant ’Shikanjbeen’ provide us the required nutrients in a sweltering afternoon. For South Asian dishes, honestly speaking, lemons have the same importance as green peppers and coriander and mint leaves, and even more. Called ‘Limun’ and ‘Nimbooda’ in Urdu and Hindi languages, lemons can be easily grown at home in ample quantities by following some very easy tips and methods, as mentioned below.
Type of plants
The first step to grow a lemon plant is to plant lemon seeds, a process which is quite long and time consuming. On an average, for instance, it takes a period of 4 to 5 years for a lemon plant to start producing its fruits, a significant amount of time when most people tend to give up their gardening hobby before it turns into a full-blown habit. For this reason, it is better to purchase the lemon plant from a nearby nursery. In Karachi,
many varieties of lemon plants are easily available, including the local variety of kaghazi lemons, desi lemons, eureka, seedless and Chinese lemons. The presence of more thorns on the plants, the underlying texture of the lemon skin and size of the plant helps one differentiate lemon plants from the others. Locally, these varieties are grafted over wild citrus plants. As shown in the photographs, the writer has more than a dozen lemon plants at home, producing us lemons for more than 7 years.
How to pot
Lemon plants are usually available in a small pot of a 4-inch size or in a plastic bag. Potting and shifting of the plant in the kitchen garden can go a long way in actually getting a lot of lemon harvests. First of all, the diameter and the length of the pot should be at least 12 inches. Before shifting the plant, put in a 2-inch layer of soil at the base of the pot, possibly along with a layer of crushed egg shells and dried banana peels, used tea, decomposed cow manure and tripe fertilizer. All the added elements will help the plant to increase foliage, grow more leaves and flourish quickly. Now, the plant can be shifted to the bigger pot. However, it is essential to keep removing already dried twigs or branches on the lemon plant now and then.
Watering and sunlight requirements
The plant should be watered only to the extent of keeping the soil moist. In place of showering the plant and watering directly on the stem, the plant must be watered from the sides of the pot. Premature fruit dropping occurs due
Lemon plants are usually available in a small pot of a 4-inch size or in a plastic bag. Potting and shifting of the plant in the kitchen garden can go a long way in actually getting a lot of lemon harvests. First of all, the diameter and the length of the pot should be at least 12-inches.
Before shifting the plant, put in a 2-inch layer of soil at the base of the pot, possibly along with a layer of crushed egg shells and dried banana peels, used tea, decomposed cow manure and tripe fertilizer
to excessive watering. It is also necessary to water the plant at regular intervals, however, the watering quantity needs to be gradually decreased when flowering and fruiting begins. For its sufficient exposure to sunlight, there is no need to keep the pot under a shade and it must be kept facing the sun till 1pm.
Fertilisers for plant nourishment
As the lemon plant continues to settle in the new soil, it is recommended to add a fertilizer weekly, such as compost tea, to the plant. For this purpose, fish scraps, which are generally thrown away, can also be used. The scraps can be placed and covered with the soil after digging up a half to a 1-inch layer of soil around the plant. Always place the fish scraps deep in the soil so that its odour does not attract any cats, mouse or other rodents, which may dig it up while destroying the plant as well.
How to a avoid pest attacks
Lemon plants are relatively safe from pest attacks. However, when new leaves grow on the plant, butterflies might pay a visit but as such they don’t cause any significant damage. To play it safe nonetheless, the Organic Neem Oil pesticide can be sprayed on the leaves, under-leaves and stem to avoid any potential pest attacks. This procedure can be repeated every 10 to 15 days depending upon the severity of the attack.
Fruiting and harvest
In favourable weather conditions, a lemon plant takes about 6 months to grow in a plastic bag just a period of 3-month in a small pot by adhering to the above-mentioned procedures. Lemon plants are of perennial variety and keep producing fruits throughout the year. The summer is an exception as when lemons ripen in this season earlier than the winter.
The writer is a physician and avid traveller.
He hosts a YouTube channel ‘DocTree Gardening’ promoting organic farming and kitchen gardening in Pakistan. He tweets @Ali_Shahid82 and can be reached at kalishahid@hotmail.com
On the 23rd death anniversary of Akhlaq Ahmed, BOLD remembers the versatile singer who ruled the world of film music in 1970s and 80s
By Omair Alavi KARACHIWhenever the history of Pakistani cinema would be written, Akhlaq Ahmed’s name would be there as one of the most prolific singers the country has ever seen. Not only did he feature in most of the hit filmi numbers during the 1970s and the 1980s, but his voice also suited all the actors of his era, making him suitable for Nadeem, Waheed Murad, Rehman, Faisal, and even Sultan Rahi.
Along with A. Nayyar, Akhlaq Ahmed dominated the film industry for more than two decades before his life was cut short in 1999, due to blood cancer. Even then, from the better part of the 1970s and the 1980s, he was the leading playback singer for Pakistani cinema and kept his fans entertained with his soothing vocals.
Born in the Indian city of Delhi in 1946, Akhlaq Ahmed migrated to Pakistan with his family in the 1950s and began his career as a vocalist in the city of Karachi. At that time, Ahmed Rushdi dominated the film music scene, and youngsters like Akhlaq wanted to emulate him. Although Ahmed Rushdi was considered unstoppable due to his popularity as well as his ability to render sad and happy numbers, Akhlaq Ahmed brought two things with his performances that Ahmed Rushdi lacked – trained vocals and punctuality.
The youngster made his film debut as a playback singer with Lal Mohammad Iqbal’s Pazaib in 1972, and after struggling for a few years, dethroned the very Ahmed Rushdi from the top position he idolized. From Sohail Rana to Nisar Bazmi, M. Ashraf to Kamal Ahmed, leading music composers of the era began composing songs with Akhlaq in his mind, and since he had a sweet voice and sounded more like Mohammad Rafi, romantic ballads came his way.
However, it was his association with another music composer Robin Ghosh that saw him reach the pinnacle of his career. From their first film together in 1974 till his last song 22 years later, the duo delivered countless hits that included Saawan
Aaye from Chaahat (1974), Dekho Yeh Kaun Aagaya from Do Saathi (1975), Sona Na Chandi from Bandish (1980), Samaa Woh Khwaab Sa Samaa from Nahin Abhi Nahi (1980), and Kaise Jieeyain Tere Bin from Ghoonghat (1996).
Akhlaq Ahmed sang most of his songs for veteran actor Nadeem and East Pakistani actor Rehman who decided to stay in Pakistan and produce
By Taha Kehar KARACHI
By Omair Alavi KARACHI
