Music and politics make nitroglycerine cocktail. It is nothing short of explosive, spreading like wildfire and fueled by the controversy it carries.
Whether it was the rhyme and satire of the bard or the pop song that rallied a returning politician, the combination of music and politics always brings out the best and worst in the masses.
And although we may think this is a relatively new concept, it has been around for quite some time now. Take the example of nursery rhymes, particularly the case of Four and Twenty Blackbirds and Yankee Doodle Came to Town. Both rhyme and song are deeply political in their meaning, and became embedded within the culture of their respective nations, namely Great Britain and the United States of America. And now it has become a part of their history.
Ultimately, the controversially political songs of today will shape the history of tomorrow. The more popular the song, the more it will shape history. Hence it is important for the song to strike a cord with the masses, such as Say it Loud (I’m Black and I’m Proud) by James Brown. During the racial turmoil of the ’60s, Brown came up with this theme that has empowered Black Americans for decades. Say it Loud dictates the need for respect and black self-reliance. This made Brown not only an icon in music, but the face of a movement that defined that era. Later on, Marvin Gaye’s 1971 hit, What’s Going On, depicted a nation’s division over the Vietnam War, racism and inner city struggle.
The ’60s and ’70s were ripe for political songs. Issues such as war and racism provided much ammunition to the ever-ready politically charged musician. As these times went by, old issues gave way to new ones, but war would remain constant for all musicians.
The Cold War era had its fair share of hits, too. Michael Jackson’s Man in the Mirror (1988) and 99 Luftballoons by Nena (1983) depicted a bleak future devastated by nuclear war.
Jackson’s venture into songs filled with political statements was short lived. Instead, he delved more towards social commentary and making statements about the current state of affairs. Songs like Black and White (1991) and Heal the World (1992) talked about issues like racism and ultimately the new issue at that time, global warming.
Now in this day and age, political forces have made use of music too. Take 1997’s Labour Party victory in England for example. The party re-branded itself as New Labour and more importantly it carried a theme song. D:Ream provided its song, Things Can Only Get Better, for the party’s soundtrack and ultimately it made more and more people aware of it. The song gave it a sense of accessibility to the people towards the Labour Party, something it’s opponents — the Conservative Party — didn’t have. And some say that it’s because of the song, Things Can Only Get Better, that the Labour Party won its first election in nearly 18 years!
Closer to home, music and politics have a different relationship. Some mixes are good, whereas others not so good. Columnist and music journalist Nadeem F. Paracha recalls that first ever incident: “Nazia and Zoheb Hasan’s first album, Disco Deewane (1980). It was a massive hit but soon attracted the wrath of the information ministry of Gen Ziaul Haq and the Jamat-i-Islami. Accusing the brother-sister duo and their music of ‘misleading the youth of Pakistan’ and as ‘un-Islamic’, both Nazia and Zoheb were banned from performing on the state-run PTV and Radio Pakistan. The ban was only lifted in 1982 after they met with Gen Zia and promised to “keep their music within the confines of acceptability.”
Ultimately, it would be songs like Dil Dil Pakistan by Vital Signs (1987) that would pave the way for a smooth relationship between music and politics. But in 1988, when Benazir Bhutto returned from exile, she brought with her a powerful weapon that would literally unclamp the clamped environment of Military rule. That weapon was a song called Jiye, Jiye Bhutto Benazir. Shazia Khushk recorded the famous Balochi song in a rundown studio in Karachi’s Lyari area. “The song became a massive hit and became an important part of the PPP election campaign for the November 1988 elections,” remembers NFP. This was perhaps the first-ever incident where local politics used the sway of music to turn the tide of an era. Political parties have not looked back since, and over the years many more soundtracks have accompanied various political marches and campaigns.
Junoon is perhaps the pinnacle of Pakistani music bands. Along with Vital Signs, few have ever achieved the level of fame these two bands have. Junoon’s politically-influenced songs seemed like they would be the band’s undoing. Their songs were often subject to censorship, which led to their eventual ban from the state-run electronic media. Songs like Ehtesab (1997) hardly even saw the light of day as music videos, though now thanks to the likes of YouTube it can be remembered as a historical piece of commentary on those times.
Though we came to see the might of military rule once again in October 1999, this time around there was more leeway in terms of what was acceptable and what wasn’t. What was acceptable and what did do incredibly well was Shehzad Roy’s Laga Reh. Roy’s track from the album Qismat Apnay Haath Mein, is a satire that pokes fun at the establishment and bluntly attacks it too. The song received a moderate airing, but was quickly spread through portals like YouTube and became the talk of the town and ultimately the nation. He has since recorded a new video of the title track from the same album, which picks up exactly where the last one left off. Again, the tones of the video are sharply political and satirical.
Both Roy and director Ahsan Rahim continue exactly where they left off in Laga Reh, when the former is surrounded by a group of armed guards that look like a cross between men in black and a Swat team. In it, Roy is captured and brought to prison where it seems that he is joined by others who share his views and opinions. Like all prison stories, ultimately there is rebellion and then a prison break. The short action sequences — with almost over-the-top violence — reflects how desensitised society has become, and how news items like prison breaks or riots have been the norm.
Finally, in the video, Roy meets the men incharge, who decided his fate. And just when we think that Roy has escaped their clutches, Ahsan shows that he may be able to run but thanks to state-of-the art drones and military intelligence, he can’t hide.
The video is almost immediately compared to the numerous prison videos that have come before it, such as Elvis Presley’s Jailhouse Rock or the comedic number from the Austen Powers’ film. The production of the video is elaborate and doesn’t seem like a cardboard cut-out of a prison. Ahsan creates a stark comparison between the all-black establishment and the brightly-coloured orange boiler suits of the prisoners.
As conditions and state of affairs continue to deteriorate all around, Roy remains determined to get his message across. It’s interesting to see what he will do next, but from the looks of his previous work it surely will stir up controversy and debate… and be the talk of the town.
It is too soon to see the ramifications of such videos yet, but if current popularity has any say in the outcome of history, music and politics will mix even more yet. In an era where politics uses as many avenues it can to reach the people, it is ultimately the words of song and rhyme that will attract the attention more, than speeches ever will.
It is a matter of relation between the human psyche and the written/spoken word and perhaps it is comic book writer Alan Moore who describes this relationship the best. In his documentary on his views about the modern world, writing, art and entertainment, he states: “Words when written or spoken well can have an almost magic-like effect on the listener. They are literally the spells that conjure up images and feelings within the human psyche.”
Indeed, if anything, the combination of music and politics can be described as magic. Whether it is good or bad remains for history to judge.
5.4.09
Crimson Tide: The Return of Coke Studio
It's back. Some say it's bigger and better, some say it's more of the same—in a good way. Whatever the case may be, one cannot deny the force Coke Studio has become. Sure it had its fair share of critics but that, and tumultuous times, did not waver the determination the forces behind Coke Studio.
The concept of Coke Studio is pretty simple, take a contemporary artist and a regional one, add a dash of production courtesy of Rohail Hyatt, sprinkle with a lavish set up and you achieve the perfect blend of fusion that bridges barriers, celebrates diversity, encourages unity and instills a sense of Pakistani pride. And that perfect combination, is about to return – with some old pieces and new ones too.
Coke Studio 2 was announced at a press conference, held by members of soft drink giant Coke and members of the crimson concert. Surprisingly, the event started fairly on time and was smooth sailing all the way through. Unlike the previous arrangement, this time around there was easy access, the entire set was elaborate and reflected the spirit of Coke Studio.
Speaking at the conference, the country manager for Coca-Cola Export Company, Rizwan U Khan has said “Coke Studio prides itself on providing a musical platform which bridges barriers, celebrates diversity, encourages unity and instills a sense of Pakistani pride.”
Rohail Hyatt started off being associated with Vital Signs, but long after
After the announcement, Images on Sunday was invited backstage, in the Red Room, a small section of the studio converted into a small eatery, complete with lavish sofas for the who's who of Coke Studio.
This year's line up includes, Ali Zafar, Arieb Azhar, Atif Aslam, Javed Bashir, Riaz Ali Khan, Saieen Zahoor, Shafqat Amanat Ali Khan, Strings, Josh, Zeb & Haniya. Accompanying these formidable is the power-house band, which includes the talents of Babar Khanna on dholak, Kamran Zafar on Bass, Gumby on Drums, Omran Shafique on guitar, Saba Shabbir on backing vocals and Zulfiq “Shazee” Ahmed Khan on multi percussions. In addition, they are joined by Assad Ahmed, also on guitar, Jaffer Zaidi on the keyboard, Javed Iqbal on Violin, Natasha De Sousa as backing vocalist, Sikander on dholak and Waris Baloo on multi percussions. This year also welcomes guest musicians Gul Mohammad on Sarangi, Gurpreet Chana on tabla, Rakae Jamil on Sitar and Sadiq Sameer on Rabab. And they’re all mingling together, laughing, smiling and anxious for the world to hear their music.
Rohail Hyatt was visibly tired but seemed relax when speaking about his experience, "It's been awesome. Tiring, but awesome. My reward this year is just watching these gifted artists perform." How difficult is it to get people for Coke Studio and did they not get anybody this time around? "It's a simple choice really, you look at the artist and hear their music, you hear what they can bring to the table and then you invite them. We got everybody that we wanted this year." And how did he finally manage to get a hold of Saieen Zahoor, a legendary artist, who was supposedly in the first season, but then not? "We didn't go through the proper channels," admits Rohail, "apparently he had made commitments elsewhere and the timing of the schedules was conflicting."
The venerable artist Saieen Zahoor admitted that last year the timings were off, but this year everything is in tune and on track. "Every generation has its colors," Saieen Zahoor said, "and it's only natural that this one has its own. And it's been an exhilarating experience working with all the new colors of this generation."
Emerging from absence this year is rock band Noori. "This is exactly the kind of thing we were looking for," says Ali Noor, "The level of sound quality here, the production, it's just way beyond to what we're used to." There is also talk of their new album, which Ali Noor confirms, "We're ready, we have to get some final touches in, but we're ready." Ali Hamza’s contribution isn’t just limited to the music, in fact, he’s also part of the sound team. “I don’t feel like I’m just part of the music team, I feel like I’m a part of Coke Studio on a whole.” CS2 brought about an interesting collaboration, one that was now difficult to imagine, that of the temporary re-unification of Gumby and Noori. Both the band and drummer are excited about the re-union of sorts, but make it clear that it is only for Coke Studio and not for any future Noori albums.
CS2 also sees the likes of Atif Aslam into the fray of the Crimson Concert. "I've completed work on my new album which I've worked on all by myself, right down to the arrangements.” What can his fans expect to hear? “My performances will be a complete surprise to my fans." JoSH have been a popular band in
Also joining in from abroad is the Tabla maestro Gurpreet Chana. "It's quite exciting, this is my first time here in
It's not the returning and new bands people are looking forward this year. CS2 also marks a change in production direction thanks to the likes of Zeeshan Parwez and Adnan Malik. "I was part of the band last year, but this year Adnan and me are overlooking the look and feel of the project," says Zeeshan.
Coke Studio 2 has proven that no matter what it is that divides us, the sound of music unites us all. The warmth and the genuine passion present in the air in and around Coke Studio gives hope. To see such diverse stars gathered amid times like these gives hope to those who shall listen to them.
Coke Studio 2 will be aired later this year, during the summer.
29.3.09
Umar Anwar - From Gloom to Glam
His music videos introduced us to Jal and to EP, and ever since then Umar Amwar has not looked back. Shooting commercials and music videos alike, he is known for bringing his unique touch into all of his videos.
And this time he brings it to Call's new video ‘Ho Jaane De.’ Colorful, bright, funny and energetic, although these are some of the things you won't expect from Call or Umar Anwar, it brings about an interesting turn for both the band and the director. It has been over a year for the director since his last music video, having been busy with commercials since and he expressed his anticipation upon getting the opportunity to direct one after such a break.
Anwar is known for his moody videos; most notably Jal's ‘Aadat’ and EP's ‘Waqt’, both reflect abstract concepts with an almost gritty approach to the final result. But we see none of that here. "Since the song is very fun to listen to and very catchy," Anwar says, "the concept has to reflect that." And although Call used to be grim, gritty and a very loud rock sound, they have changed their styles recently.
This change can be attributed to its trips across the border and contribution to Bollywood. “It’s a pop song, it’s a very awami song from a band that is known for doing rock songs,” says Anwar. “The key was to finding the balance of the style of the song and the style of the band.”
But isn’t this style something that contrasts to what he’s done before? “It is a contrast to my style, but I’ve brought in a few of my signature shots – especially the corridor one.” He also cites the current climate, political and economical, as a factor in making the video. “These days people don’t want to see something abstract or gritty, they’re more interested in something colorful and happy.”
In the video we see the Call, Sultan , Xulfi & Junaid, as college friends, enjoying life and being happy go lucky. Then comes the love interest, and pretty soon we see a sort of competition between Xulfi and Junaid. The both of them soon vie for the attention of the model, who probably has the weakest role in all of this – stand by and look pretty. For a change, it’s interesting to see a band like Call actually enjoy themselves in one of their own videos rather than scream and sulk around. Granted, Call was about rock’n’roll, but here they’re all about pop.
The set design and production are very well executed, almost indistinguishable from any standard Indian videos that we see. Anwar is confident that such designs and the look and feels can be achieved right here at home. “If you work hard,” he said, “and follow the processes involved in making a video, then you can achieve anything. And we can make better quality videos than
So what’s next for the virtuoso director? “Well, I’ve been trying to make this video for Strings since last June, and finally we’re about to start shooting very soon. It’s a song from their last album, ‘Keh Diya’ and we’re going to shoot it right here in
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