There are two yearly events that literally bring life in Karachi to a halt. First is the monsoon that comes once a year and floods it to a standstill. The other annual event is not nature-related but is a musical force to reckon with: The Munchkins.
Performing for almost 10 years now, The Munchkins gig is something that you really don’t want to miss if you like live music. Aamir Alavi, Louis John Pinto (Gumby), Ali Jafri and Murtaza Jafar (KV) need no introduction as they’ve been doing gigs for a while now, and the crowd just keeps getting bigger each time. Even with their infamous ‘last gigs’ every now and then, they keep coming back for more.
During these sessions, Arkam Butt (keyboardist) and Khalid Khan (bassist) would also join the band as guest musicians.
Audioslave’s Cochise started off last week’s performance with a triumphant bang. It sort of said (read: hollered) that The Munchkins are back in town. And it was impossible to miss.
Sting and The Police were covered twice with Message in a Bottle and King of Pain, both enjoyable and electric in feel.
Rage Against the Machine has always been a regular for the band to cover, and this time around their cover of Bulls on Parade was much better.
Also a good cover that got the crowd singing along was Michael Jackson’s Beat It — a special highlight of the song was KV’s solo which took the newcomers by surprise. Another Jacko hit that was covered was Dirty Diana, which went on to show that you can’t go wrong covering MJ.
Duran Duran’s Come Undone could have been played better — another Munchkins’ staple track that they almost regularly play at gigs. This time, I think, they could’ve passed on.
Taking things slow, Aamir and Jaffar performed an acoustic version of Stay by U2 with a little help from the crowd. If there’s any band that The Munchkins are known to cover good, it’s U2. This time, besides Stay, they also covered Put on Your Boots and Hold Me, Thrill Me, Kiss Me, Kill Me. Both good covers but we’ve seen better from the band as far as U2 is concerned.
The band also covered Jimi Hendrix’s Fire, another highlight of the evening, thanks to some amazing guitar skills by KV and drums by Gumby.
Phil Collins’ In the Air Tonight was interesting. But one felt that the band could’ve chosen a different Collins’ track rather than this one — the band’s energy just didn’t suit the song.
The best song of that night, however, was Sex Machine simply because of the way Aamir Alavi channeled James Brown — not only in his singing but also in his stage presence. Humorously, no matter how many times Aamir would sing, “Get up, get on up” the crowd didn’t take the hint.
The PACC auditorium in Karachi is probably the perfect place to hold a concert. The Munchkins’ gigs, after all, are intimate affairs where the crowd really likes to get in with the music. However, the concert organisers/sponsors oversold the venue. According to the band, ticket sales were supposed to be limited to 200 only, but instead nearly 350 tickets were sold which lead to the venue being overcrowded — to add to the mix the air-conditioning was faulty.
A lot of first-timers got to see their first ever Munchkins’ performance. The problem with that is it brought in way too many yuppies and people who wanted to go to a Munchkins’ concert just so that they could say that they’ve been to one, rather than actually enjoy the music.
They seemed more concerned about what they were wearing and checking their BlackBerrys and iPhones rather than take in the amazing music — terribly insulting to a band such as this one. A lot of true Munchkins fans arrived late — some left because it was too crowded, others just stood where they were and watched their favourite band perform.
And if over crowdedness and faulty air conditioning weren’t enough, the band’s gear — which had been meticulously put together just before the concert — was unplugged so that the sponsors could run their own videos.
Why they did this boggles the mind, considering there was reasonably enough marketing done before the gig. Almost everybody had two to three goody bags with them —bags that would be strewn across the floor after it all ended. The only thing it achieved was that the much-awaited performance started late.
The Munchkins are the cornerstone of underground music in Karachi. Even this gig, with all of its faults, was a musical tour de force. The band played their hearts out with each song and thrilled the crowd with every number. But it’s a shame to see the Munchkins — of all bands — get stuck with a concert like this. Unfortunately, the maxim these days is: “In the era of music industry recession, the sponsor is king.”
Showing posts with label images. Show all posts
Showing posts with label images. Show all posts
8.8.10
27.11.09
The Golden Globe nominations are here
Every year Hollywood is abuzz with awards fever. The season culminates in the Academy Awards but ultimately begins with the Golden Globes held by the Hollywood Foreign Press Association. It honours the best of cinema and television from around the world.
The 67th Annual Golden Globes are slated to be held in January 2010, but the nominations that were recently announced have started to create buzz not only for the winners of the awards but also the eventual nominees for the Academy Awards. Take for instance the Best Picture (Drama) category. Though traditionally an honour bestowed upon heavy dramas, this year however there is a complete outsider in the group: James Cameron’s Avatar. A CGI heavy action adventure that tells the story of a clash between humanity and an alien race, Avatar seems completely out of place when you consider its competitors in this category; Inglorious Basterds, The Hurt Locker, Up in the Air, and Precious.
Whereas Avatar seems to be the complete outsider, it is Up in the Air and Precious that are clearly the favorites for the critics. Up in the Air stars George Clooney and Vera Farmiga, and is directed and co-written by Jason Reitman, son of director Ivan Reitman. Precious stars Gabourey Sidibe, Mariah Carey, Mo’Nique and Lenny Kravitz and tells the story of a young single mother whose life drastically changes with her second pregnancy. Both Precious and Up in the Air have characters that have their lives changed because of a single moment or decision. It’s that kind of conflict, both inner and outer that the Golden Globes, and even the Oscars, love to see.
Reitman, Cameron and Tarantino have also earned nods for Best Director, along with Eastwood for Invictus, and Kathrine Bigelow for The Hurt Locker. As always, the Best Screenplay category produces some of the finest collections of script writers, and this year it is no different. Another nod for Quentin Tarantino and Jason Reitman, who now have two nominations each, along with Neill Blomkamp and Terri Tatchell for District 9, another surprise that caught almost everyone off guard. Besides Reitman and Tarantino earning multiple nods, Sandra Bullock and Meryl Streep are heating things up in the Best Actress category. Both actresses have been nominated twice and if anything, it will be the most hyped about award of the night. Matt Damon also enjoys two nominations, one for Invictus, the story about how Rugby united South Africa and the other a comedy called The Informant!
The Best Animated Feature nominations include some of the highest grossing movies of the year. Both Up and Cloudy with a Chance of Meatballs have enjoyed tremendous box office success. More recent releases include Fantastic Mr Fox and The Princess and the Frog, which is the only traditionally 2D animated feature in the awards. Finally, there is Coraline, another surprise hit that may have not stirred much at the box office but definitely did well with DVD sales.
Over at television, things are as equally — if not more — exciting. Best Drama nominees include some of the year’s finest dramas, which include the highly popular Mad Men and Big Love. Also included here are two equally gory and fantastic dramas, Dexter and True Blood. Finally, what would drama be without House? The Hugh Laurie drama about a doctor inspired by Sherlock Holmes is also nominated.
Over in the Best Comedic TV show, awards include 30 Rock, Entourage, Glee, Modern Family and The Office. The favourite is 30 Rock, a TV show which has already been nominated 79 times and has won 29 awards out of which five have been Golden Globes. New shows Glee and Modern Family — while outsiders to the group of previous winners (30 Rock, Entourage and The Office) just might tip the balance in their own favour with their unique show formats.
Finally, after all the nominations, the Cecil B. DeMille Award; an award presented for lifetime achievement in motion pictures. This year this honour will be bestowed upon Martin Scorsese. After being avoided by the Academy Awards, Scorsese finally earns the highest honour from the Hollywood Foreign Press after an epic career in Hollywood. His critics have not accepted this quietly, stating that Scorsese had to sell out with films like The Departure and The Aviator; a considerable deviation from the man that showed us films like Raging Bull, Goodfellas and Casino. Nevertheless, his achievements cannot be ignored and hence him receiving the Cecil B. DeMille award this year. Robert DeNiro and Leonardo DiCaprio will be presenting the director with the award. Both DiCaprio and DeNiro have made landmark movies with Scorsese and it seems only fitting that they honour the man who gave them those opportunities.
All in all, this year at the Golden Globes will prove to be riveting, thanks in part to the inclusion of Avatar. Critics question the film, which has swept more than $73 million at its opening weekend, for its nomination. If such a film — which is clearly more hype that substance — can be allowed to get a nomination, then why not films like, for example, New Moon be nominated as well? The answer of course is not that simple, however it is the right of the Hollywood Foreign Press to nominate whom they choose to be the best of the year.
The Golden Globes will be held in January 2010 with comedian Ricky Gervais set to host the ceremony.
4.10.09
Shiraz Uppal presents Ankahi
To say that Shiraz Uppal is a musician of diverse talent would be an understatement — he’s composed, mixed, recorded and mastered his latest album, Ankahi, all by himself. He’s also had the privilege of working with A.R. Rehman, not once but twice.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
Before all this, he delivered Roya Re, a song dripping with the blues and melancholy that propelled him into the limelight, thanks to Mahesh Bhatt’s film, Dhoka (2007). Now, Uppal has returned with his third album which features the likes of Zeb and Haniya, Baqir Abbas, Kami and Ali Hamza of Noori, to name a few.
His first two albums, Tu Hai Meri (2001) and Tera Te Mera (2003), did well, but it was Jhuki Jhuki (2005) whose title track and Man Ja Ve made people sit up and take notice of Uppal’s music-making. And now on Eid-ul-Fitr, Uppal released Ankahi through Fire Records.
Ankahi starts off slow for a title track, showcasing that Uppal doesn’t want to follow a formula for opening an album. He’s joined on backing vocals by Zeb and Haniya, which adds a pleasant mix to the number.
Next, Rabba sounds like it’s been taken from or is part of an Indian movie soundtrack — you can almost picture the lovelorn hero scouring the landscape for his lady love. It is strangely melodic and its melancholy lyrics are accompanied by amazing flute play.
Munn Laga is where Uppal brings in the organic sound and mixes it delicately with the modern. Amir Azhar and Asif Ali carefully serenade with Uppal’s singing on bass and tabla and dholak, respectively. It’s a familiar track — not that it feels lifted or borrowed — as the composition pays respect to heritage and culture. Munn Laga is particularly refreshing in the sense that in an age where more and more Pakistani musicians jump on the guitar, drum and trance bandwagon, Uppal mixes the old with the new and keeps it focused at the same time.
There are two Roya Re tracks here with the first one from the film (the fact that Uppal put it on the album shows that he wasn’t afraid of it overshadowing the other tracks). The second subtitled Original Version is a stripped down, basic version of the original. Whereas the film version required the track to be big, the other one starts slow and then picks up at the chorus. It’s the same yet different because of Uppal’s careful composition. He did the original to prove he could withstand the Bollywood test and now with the original he’s out to prove that he can compose and sing on another level, too.
If there was anybody on this album who could overshadow Uppal it would be Baqir Abbas’ flute on Tere Bina. Abbas’ flute is like an undercurrent to the song, flowing through it in the background. And just when you think it’s gone, it’s back again. The only slightly annoying part is where Uppal interjects and sings a few verses in English. Clearly the song could’ve done without it.
Pehla Pehla Pyar is particularly well-composed. It has just the right beat and the mixture of backing vocals and guitars. Kami’s guitar here is particularly noteworthy, not too much and not too little, always there helping to carry the song ahead.
Kabhi Kabhi is a happy-go-lucky song where Uppal sings about all the positive things in life. It’s not him singing “don’t worry, be happy” but that’s the essential message we get to hear. It could’ve been much better but ends up sounding like a filler at best.
In Nadaan written by Noori’s Ali Hamza, the guitars and bass are all over the place, but in a good way. The track stands out as being the most jumpy on the album and it’s nice to hear Uppal taking this change of pace. Fareeha Pervaiz joins in on the vocals in Tum He To Ho and like Munn Laga, it is the old school sound of music in terms of arrangement and composition.
Shiraz Uppal is one of the underrated musicians in Pakistan and if you haven’t heard him before, well it’s about time you got started.
13.9.09
Nouman Javaid: Expect the Unexpected!
“I’ve been a struggling musician for nearly nine years now,” reflected Nouman Javaid. “I’m a self-taught musician with no professional training whatsoever.”
Javaid is the unsung Pakistani star of the Indian movie just out, Jashnn (The Music Within), whose music score has everybody talking these days. The film produced by Mahesh Bhatt and also starring Humayun Saeed recently had a select showing in Karachi. While they many not have liked the film overall, critics and audiences are nothing short of praises for both Sayeed and Javaid.
Originally from Lahore, Javaid’s journey has been long, tedious and at times frustrating as door after door was shut on him. His disappointment at not being able to find work locally echoes the frustrations of the many struggling musicians of Pakistan who are not given the chance or trust to make their mark. Finding no luck locally, he was advised to set his sights abroad. His first reaction was, “Why should I work abroad when I can work for and within Pakistan?” Then through a chance conversation with a friend he got his hands on Mukesh Bhatt’s phone number. He placed a call to the producer who told the young singer to email his song to him. A week later, Javaid got a call from the Indian producer, telling him that he loved it. When Mahesh Bhatt next came to Pakistan to promote his film Jannat, he met the young singer of the song Dard-i-Tanhai.
“When I met Mahesh, he asked me if I had any other songs and I told him about Mein Challa. He asked me to sing it to him right there and then. I sang it maybe six or seven times as each time he asked me to sing it again. Then he called up his brother right there and then and told him that he was taking my songs for Jashnn.”
Having struggled for nine years, Javaid was overwhelmed with Bhatt’s response. The floodgates had literally opened for him and he traveled to India where the songs were recorded. “They trusted me, they believed in me,” gushed Javaid, adding, “I just went in and recorded the songs as they were.”
He couldn’t believe how open and trusting they were, “I wasn’t taught by them, I wasn’t told how to record the songs, I just went in and did my thing and that’s very different from the reaction that I got in Pakistan where every single record company wanted me to record a particular song in a particular manner — something I’m not ready to do even now.”
Having delivered two popular songs — and that too across the border — he has now recently recorded his debut album. “I’m just waiting for the right deal,” he says about the complete change of attitude of record label executives. “They’re all now calling me up for a change, asking me to come over and bring my album to them.” For the moment, he hasn’t made up his mind who will release it, which by the way might or might not feature Dard-i-Tahnai and Mein Challa.
The once struggling Nouman Javaid is now well on his way to what might be the pinnacle of his career. He is open to collaborating on music, starring in movies and even appearing in commercials. “I have a few offers, but I’m not going to talk about them just yet.”
The one thing that I’ve also learned about him is that you can expect anything from Nouman Javaid. His initial songs reflect the hardship he felt upon the constant rejection of being a struggling musician in Pakistan. Now, since his luck has changed, what can we expect from his music? “To be honest, I don’t know. What I do know is that you’ll be hearing my album very soon and my fans can judge it.”
Speaking of fans and criticism in particular, Nouman is quite particular about both topics. “I always ask my fans to tell me what they think of my songs, of my singing.” And of criticism, “I appreciate well thought out criticism, to help me become a better singer. I don’t think anybody appreciates unfounded criticism.” Whatever the case may be — criticism or not — Nouman has fans on both sides of the border and even beyond. Through the course of his career he has struggled a lot, but now that he’s finally arrived on the scene, Nouman’s determined to stay.
Javaid is the unsung Pakistani star of the Indian movie just out, Jashnn (The Music Within), whose music score has everybody talking these days. The film produced by Mahesh Bhatt and also starring Humayun Saeed recently had a select showing in Karachi. While they many not have liked the film overall, critics and audiences are nothing short of praises for both Sayeed and Javaid.
Originally from Lahore, Javaid’s journey has been long, tedious and at times frustrating as door after door was shut on him. His disappointment at not being able to find work locally echoes the frustrations of the many struggling musicians of Pakistan who are not given the chance or trust to make their mark. Finding no luck locally, he was advised to set his sights abroad. His first reaction was, “Why should I work abroad when I can work for and within Pakistan?” Then through a chance conversation with a friend he got his hands on Mukesh Bhatt’s phone number. He placed a call to the producer who told the young singer to email his song to him. A week later, Javaid got a call from the Indian producer, telling him that he loved it. When Mahesh Bhatt next came to Pakistan to promote his film Jannat, he met the young singer of the song Dard-i-Tanhai.
“When I met Mahesh, he asked me if I had any other songs and I told him about Mein Challa. He asked me to sing it to him right there and then. I sang it maybe six or seven times as each time he asked me to sing it again. Then he called up his brother right there and then and told him that he was taking my songs for Jashnn.”
Having struggled for nine years, Javaid was overwhelmed with Bhatt’s response. The floodgates had literally opened for him and he traveled to India where the songs were recorded. “They trusted me, they believed in me,” gushed Javaid, adding, “I just went in and recorded the songs as they were.”
He couldn’t believe how open and trusting they were, “I wasn’t taught by them, I wasn’t told how to record the songs, I just went in and did my thing and that’s very different from the reaction that I got in Pakistan where every single record company wanted me to record a particular song in a particular manner — something I’m not ready to do even now.”
Having delivered two popular songs — and that too across the border — he has now recently recorded his debut album. “I’m just waiting for the right deal,” he says about the complete change of attitude of record label executives. “They’re all now calling me up for a change, asking me to come over and bring my album to them.” For the moment, he hasn’t made up his mind who will release it, which by the way might or might not feature Dard-i-Tahnai and Mein Challa.
The once struggling Nouman Javaid is now well on his way to what might be the pinnacle of his career. He is open to collaborating on music, starring in movies and even appearing in commercials. “I have a few offers, but I’m not going to talk about them just yet.”
The one thing that I’ve also learned about him is that you can expect anything from Nouman Javaid. His initial songs reflect the hardship he felt upon the constant rejection of being a struggling musician in Pakistan. Now, since his luck has changed, what can we expect from his music? “To be honest, I don’t know. What I do know is that you’ll be hearing my album very soon and my fans can judge it.”
Speaking of fans and criticism in particular, Nouman is quite particular about both topics. “I always ask my fans to tell me what they think of my songs, of my singing.” And of criticism, “I appreciate well thought out criticism, to help me become a better singer. I don’t think anybody appreciates unfounded criticism.” Whatever the case may be — criticism or not — Nouman has fans on both sides of the border and even beyond. Through the course of his career he has struggled a lot, but now that he’s finally arrived on the scene, Nouman’s determined to stay.
6.9.09
Going Kostal: Omran Shafique
A member of Co-Ven, frontman for the band Mauj, a guitarist for Ali Azmat, guest musician on Coke Studio (and part of the house band, a year later as well), and member of a musical collaboration known as Kostal. No, these aren’t a group of people, in fact, all of these musicians are actually one and the same; Omran Shafique.
When not playing music, Omran is laid-back and the epitome of comfort. Playing on stage, he is a beacon of raw musical energy, channeling it through his guitar. There’s absolutely no denying his musical talent, some of his fans have gone on to say he is the next Salman Ahmad, though musically they are worlds apart.
Omran, or Momo as he is called, started off with Mauj sometime in 2000 in Houston, Texas. In 2004, they released their first music video with Khushfehmi and soon after recorded an album which seems to be stuck in limbo. It’s a stigma that has attached itself with Omran, whose hard work is now buried somewhere in the annals of a record label company. “The point is that the label isn’t even telling me what the release status is, whether they will release it or not,” says Omran, “and that is incredibly frustrating.”
He refers to Mauj’s first album, Mauj in Technicolor, which so far has only seen the light of day on the internet through Amazon and iTunes, but has yet to see any form of release in Pakistan. “That’s the way it’ll be in the future,” says Omran, “more and more musicians will end up going through Amazon and iTunes, simply because it gives the control and the profit to musicians rather than record labels.” He quickly adds, “Being a musician in Pakistan is not about making money, you do it to make music and that’s about it.”
And that’s been the aim with Co-Ven, a true underground band that makes music for the sake of making music, and is in no way limited to Pakistan. But how does Omran balance his music between Mauj and Co-Ven? “I’m sort of an honorary member of the band, I don’t have to be there all the time, but when I do get the time, I’m always there.” Talking about Co-Ven’s new direction he said, “I’m loving the sound of the new songs they’ve been doing, and I hope to perform with them sometime soon.”
As if Co-Ven wasn’t enough, and the fact to deal and coordinate with a band in another city, Omran is now working hard on bringing Kostal, a band on another continent altogether, to our coast. Kostal began when Omran received an email from a producer/DJ in Texas who wanted to work with him. Omran replied and the two of them met up.
What followed was a small meeting where they decided that they should work together, but for Omran, Mauj was a priority. “I remember I was moving to Pakistan to try and get Mauj off of the ground,” he said.
Taha Malik (the producer/DJ) added, “And I was just about to get my set up off the ground, making my own personal studio. But once that was done, I started to work with other musicians to get Kostal off the ground.” These other musicians included the likes of Labh Janjua (Mundian Tuh Bachke-Punjabi MC feat Jay-Z), RDB, Punjabi Outlawz, Tehseen Javed, Sukhbir and others.
In 2005, they finally met up and recorded their first track together as Kostal. Jaan Jaye, which has also been made into a video recently (directed by Uns Mufti), was the result of that first recording. So what makes Kostal different from Mauj or even Co-Ven? “It’s more hip-hop based stuff, it has a very electronic sound,” says Taha. “I’d ask Omran to play a chord or he’d play me this progression and then I’d just mix it up.”
The experience for Omran was also surprising, “Normally, while recording music, I would play stuff and jam, but this was different. Whatever I played with Taha he’d just twist it around and place it in a different sequence entirely.” The resulting music is an elaborate mix of rock and hip hop, a genre of music unheard of locally thereby making it a breath of fresh air.
Once the song was recorded, Kostal finally took a form of its own. “We want to collaborate with everybody from around the world,” says Taha, and once they start listing down their recent collaborations one might think they already have done so. With collaborations with such diverse artistes such as Samy Elmousif, a French Morrocan rapper based in Canada; Shab Malih a Ra musician (a form of folk music mixed with Spanish, French, African-American and Arabic) and even the likes of Stereo Nation, whom they have recently worked with. “It was an exciting experience,” says Taha, “I mean, I was dancing to their music at weddings and now I’m working with him.” The track which will appear in a Gurinder Chadha film will bring Kostal to the global playground of musicians, one which has always been the goal of the band. “We want to work with as many different local and international musicians,” says Omran, “and that’s what Kostal is all about.”
The band is finishing up on their debut album and will most likely be released electronically, worldwide, through Amazon and iTunes later this year. Jaan Jaye’s music video has already been shot, and according to Omran and Taha it’s a video that shouldn’t be taken too seriously. “It was Uns’ concept and it’s just me and Taha acting like a bunch of rappers,” Omran said about the video.
Although now that even Kostal is seeing some sort of finality, what about Omran himself? According to the musician, he is on the fence as to whether he stays in Pakistan or relocates back to Houston. It all depends on the fact whether or not he still enjoys being a musician. “It’s just so different now. I’m finding myself picking up the guitar for reasons other than just playing music and having fun.” Granted, extra frustration must come from an album which he worked on so hard to release, and is now stuck nowhere. “I’m actually sick of the album, I’ve heard it so many times,” he says, which is naturally true. Omran isn’t the kind of musician that sticks around with one kind of sound for long. It would seem that the status of the album is no deterrent for Omran who already has started to work on another Mauj album. “I have about five demos ready and waiting,” he said. “I just need to take some time out for this and start work on it. And naturally, we want to be doing more shows.”
More seems to be a key word with Omran. Whatever the format, whatever the band, he is continuously looking forward to making more music. And although an unreleased album might be an anchor of frustration for him, Omran’s not the kind of musician that is deterred by such an anchor. In fact, more than anything, it’s given him more and more opportunities as a musician. Let’s just hope he sticks around in Pakistan and continues to explore more music opportunities, so that his audience has a chance to see and hear him.
When not playing music, Omran is laid-back and the epitome of comfort. Playing on stage, he is a beacon of raw musical energy, channeling it through his guitar. There’s absolutely no denying his musical talent, some of his fans have gone on to say he is the next Salman Ahmad, though musically they are worlds apart.
Omran, or Momo as he is called, started off with Mauj sometime in 2000 in Houston, Texas. In 2004, they released their first music video with Khushfehmi and soon after recorded an album which seems to be stuck in limbo. It’s a stigma that has attached itself with Omran, whose hard work is now buried somewhere in the annals of a record label company. “The point is that the label isn’t even telling me what the release status is, whether they will release it or not,” says Omran, “and that is incredibly frustrating.”
He refers to Mauj’s first album, Mauj in Technicolor, which so far has only seen the light of day on the internet through Amazon and iTunes, but has yet to see any form of release in Pakistan. “That’s the way it’ll be in the future,” says Omran, “more and more musicians will end up going through Amazon and iTunes, simply because it gives the control and the profit to musicians rather than record labels.” He quickly adds, “Being a musician in Pakistan is not about making money, you do it to make music and that’s about it.”
And that’s been the aim with Co-Ven, a true underground band that makes music for the sake of making music, and is in no way limited to Pakistan. But how does Omran balance his music between Mauj and Co-Ven? “I’m sort of an honorary member of the band, I don’t have to be there all the time, but when I do get the time, I’m always there.” Talking about Co-Ven’s new direction he said, “I’m loving the sound of the new songs they’ve been doing, and I hope to perform with them sometime soon.”
As if Co-Ven wasn’t enough, and the fact to deal and coordinate with a band in another city, Omran is now working hard on bringing Kostal, a band on another continent altogether, to our coast. Kostal began when Omran received an email from a producer/DJ in Texas who wanted to work with him. Omran replied and the two of them met up.
What followed was a small meeting where they decided that they should work together, but for Omran, Mauj was a priority. “I remember I was moving to Pakistan to try and get Mauj off of the ground,” he said.
Taha Malik (the producer/DJ) added, “And I was just about to get my set up off the ground, making my own personal studio. But once that was done, I started to work with other musicians to get Kostal off the ground.” These other musicians included the likes of Labh Janjua (Mundian Tuh Bachke-Punjabi MC feat Jay-Z), RDB, Punjabi Outlawz, Tehseen Javed, Sukhbir and others.
In 2005, they finally met up and recorded their first track together as Kostal. Jaan Jaye, which has also been made into a video recently (directed by Uns Mufti), was the result of that first recording. So what makes Kostal different from Mauj or even Co-Ven? “It’s more hip-hop based stuff, it has a very electronic sound,” says Taha. “I’d ask Omran to play a chord or he’d play me this progression and then I’d just mix it up.”
The experience for Omran was also surprising, “Normally, while recording music, I would play stuff and jam, but this was different. Whatever I played with Taha he’d just twist it around and place it in a different sequence entirely.” The resulting music is an elaborate mix of rock and hip hop, a genre of music unheard of locally thereby making it a breath of fresh air.
Once the song was recorded, Kostal finally took a form of its own. “We want to collaborate with everybody from around the world,” says Taha, and once they start listing down their recent collaborations one might think they already have done so. With collaborations with such diverse artistes such as Samy Elmousif, a French Morrocan rapper based in Canada; Shab Malih a Ra musician (a form of folk music mixed with Spanish, French, African-American and Arabic) and even the likes of Stereo Nation, whom they have recently worked with. “It was an exciting experience,” says Taha, “I mean, I was dancing to their music at weddings and now I’m working with him.” The track which will appear in a Gurinder Chadha film will bring Kostal to the global playground of musicians, one which has always been the goal of the band. “We want to work with as many different local and international musicians,” says Omran, “and that’s what Kostal is all about.”
The band is finishing up on their debut album and will most likely be released electronically, worldwide, through Amazon and iTunes later this year. Jaan Jaye’s music video has already been shot, and according to Omran and Taha it’s a video that shouldn’t be taken too seriously. “It was Uns’ concept and it’s just me and Taha acting like a bunch of rappers,” Omran said about the video.
Although now that even Kostal is seeing some sort of finality, what about Omran himself? According to the musician, he is on the fence as to whether he stays in Pakistan or relocates back to Houston. It all depends on the fact whether or not he still enjoys being a musician. “It’s just so different now. I’m finding myself picking up the guitar for reasons other than just playing music and having fun.” Granted, extra frustration must come from an album which he worked on so hard to release, and is now stuck nowhere. “I’m actually sick of the album, I’ve heard it so many times,” he says, which is naturally true. Omran isn’t the kind of musician that sticks around with one kind of sound for long. It would seem that the status of the album is no deterrent for Omran who already has started to work on another Mauj album. “I have about five demos ready and waiting,” he said. “I just need to take some time out for this and start work on it. And naturally, we want to be doing more shows.”
More seems to be a key word with Omran. Whatever the format, whatever the band, he is continuously looking forward to making more music. And although an unreleased album might be an anchor of frustration for him, Omran’s not the kind of musician that is deterred by such an anchor. In fact, more than anything, it’s given him more and more opportunities as a musician. Let’s just hope he sticks around in Pakistan and continues to explore more music opportunities, so that his audience has a chance to see and hear him.
Hadiqa: The Sky's The Limit
Hadiqa Kiyani’s latest album, Aasmaan, is aptly titled. If you think about it, the sky’s really the limit as far as she’s concerned simply because of the amount of distance she has covered musically in her career.
Her music may not be everybody’s cup of tea, but then again, how many Pakistani female musicians have actually performed abroad and alongside international artistes, won accolades, and have had a consistent career for the past 14 years?
Her first album Raaz was released in 1995 to much fanfare but she was quickly shrouded under the shadow of the late Nazia Hasan, who herself had only just stopped singing two years prior. Kiyani persevered and went on to appear on TV channels abroad, work with the likes of Bally Sagoo and appear on stage with stars such as Lisa Stansfield, Wet Wet Wet, Michael Learns to Rock, All 4 One and The Brand New Heavies.
All this and just after releasing her first album. Two more albums followed; Roshni and Rung, and during this time she also appeared on television and billboards across the country. Soon one saw her performing for international dignitaries at political and social conferences. She was also part of a rather interesting collaboration with guitarist Aamir Zaki in the form of an album titled Rough Cut. The English album for Hadiqa was yet another avenue of diversity since the singer has already sung in numerous dialects and languages.
Putting things into perspective, it would seem that her career is one of many firsts and no matter what happens, as bands break up and musicians come and go, Hadiqa has been a constant musical presence in the country and abroad.
That constant presence now takes the form of a fourth album, Aasmaan, albeit six years later. British producer JKD and Ifran Kiyani, her brother, act as producers for it. They establish a myriad of sounds, a dash of dance, a spatter of rhythm and blues, all added up to the distinctly eastern voice of Hadiqa herself with which she sings in Urdu, Punjabi, Hindko, Pushto and many other dialects. Thanks to her past experiences in the West, she can carefully blend that same voice from eastern to western effortlessly. Take Az Chashme Saqi for instance, a distinctly eastern poem penned by Allama Iqbal moulded by Hadiqa in song and a vocal performance.
There are good songs and there are songs that prove she can sing, and the same is the case with Sajna Sajna. The song proves that she can but knowing Hadiqa, we know she can do better. Sohnya features rapper Nas-T, whose sporadic interruptions make you wish Hadiqa had left him out. Nevertheless, Hadiqa is not one to shy away from experimentation which this track clearly does with it delving in funk and rap.
Tuk Tuk is a bouncy, tongue-in-cheek track all about being silly. The song will surely be a crowd-pleaser at live performances. Zara Zara shows indications of too much tinkering. It has diverse beats which rollercoaster through to being wired and techno, but it still sounds much better than its own remix which was clearly unnecessary. Baqir Abbas brings in his powerful and resonating flute on Wanjhli and Hadiqa brings her own singing up a notch to meet Abbas. Together on this track, the two of them take the album on another level. On Jab Se Tum, producer Irfan Kiyani joins in for a duet and the result is a sweet little number that also shines through the rest of the songs in the album. Could it be that Hadiqa sings best when she sings with others? These last two tracks are a clear indication of that.
This is Hadiqa’s first foray into the music scene in almost six years. Other than this, she has been around in terms of concerts and as brand spokesperson. Aasmaan is probably the most drastic image change for Hadiqa so far, and she’s taken on these changes throughout the course of her career on each of her albums.
Much like the changing of her image, her sound changes too, as this album shows that being away from making music for so long has scattered her direction on this album. It seems like she wants to go all over the place rather than concentrate on one direction or sound.
Perhaps this is yet another experiment by Hadiqa, who has crossed borders all her musical life. First by being a female musician in a predominantly male musician dominated industry and being a constant presence in it, then by performing abroad with musicians over the world and now by crossing borders within her own musical world where the sky is perhaps not the limit.
Her music may not be everybody’s cup of tea, but then again, how many Pakistani female musicians have actually performed abroad and alongside international artistes, won accolades, and have had a consistent career for the past 14 years?
Her first album Raaz was released in 1995 to much fanfare but she was quickly shrouded under the shadow of the late Nazia Hasan, who herself had only just stopped singing two years prior. Kiyani persevered and went on to appear on TV channels abroad, work with the likes of Bally Sagoo and appear on stage with stars such as Lisa Stansfield, Wet Wet Wet, Michael Learns to Rock, All 4 One and The Brand New Heavies.
All this and just after releasing her first album. Two more albums followed; Roshni and Rung, and during this time she also appeared on television and billboards across the country. Soon one saw her performing for international dignitaries at political and social conferences. She was also part of a rather interesting collaboration with guitarist Aamir Zaki in the form of an album titled Rough Cut. The English album for Hadiqa was yet another avenue of diversity since the singer has already sung in numerous dialects and languages.
Putting things into perspective, it would seem that her career is one of many firsts and no matter what happens, as bands break up and musicians come and go, Hadiqa has been a constant musical presence in the country and abroad.
That constant presence now takes the form of a fourth album, Aasmaan, albeit six years later. British producer JKD and Ifran Kiyani, her brother, act as producers for it. They establish a myriad of sounds, a dash of dance, a spatter of rhythm and blues, all added up to the distinctly eastern voice of Hadiqa herself with which she sings in Urdu, Punjabi, Hindko, Pushto and many other dialects. Thanks to her past experiences in the West, she can carefully blend that same voice from eastern to western effortlessly. Take Az Chashme Saqi for instance, a distinctly eastern poem penned by Allama Iqbal moulded by Hadiqa in song and a vocal performance.
There are good songs and there are songs that prove she can sing, and the same is the case with Sajna Sajna. The song proves that she can but knowing Hadiqa, we know she can do better. Sohnya features rapper Nas-T, whose sporadic interruptions make you wish Hadiqa had left him out. Nevertheless, Hadiqa is not one to shy away from experimentation which this track clearly does with it delving in funk and rap.
Tuk Tuk is a bouncy, tongue-in-cheek track all about being silly. The song will surely be a crowd-pleaser at live performances. Zara Zara shows indications of too much tinkering. It has diverse beats which rollercoaster through to being wired and techno, but it still sounds much better than its own remix which was clearly unnecessary. Baqir Abbas brings in his powerful and resonating flute on Wanjhli and Hadiqa brings her own singing up a notch to meet Abbas. Together on this track, the two of them take the album on another level. On Jab Se Tum, producer Irfan Kiyani joins in for a duet and the result is a sweet little number that also shines through the rest of the songs in the album. Could it be that Hadiqa sings best when she sings with others? These last two tracks are a clear indication of that.
This is Hadiqa’s first foray into the music scene in almost six years. Other than this, she has been around in terms of concerts and as brand spokesperson. Aasmaan is probably the most drastic image change for Hadiqa so far, and she’s taken on these changes throughout the course of her career on each of her albums.
Much like the changing of her image, her sound changes too, as this album shows that being away from making music for so long has scattered her direction on this album. It seems like she wants to go all over the place rather than concentrate on one direction or sound.
Perhaps this is yet another experiment by Hadiqa, who has crossed borders all her musical life. First by being a female musician in a predominantly male musician dominated industry and being a constant presence in it, then by performing abroad with musicians over the world and now by crossing borders within her own musical world where the sky is perhaps not the limit.
23.8.09
The Original Guitar Hero
Think of the name Les Paul and images and sounds of an electric guitar that bears his name comes to mind.
One of the foremost influences on 20th century rock and roll sound, and responsible for the world's most famous guitar, the Les Paul model, Les Paul's prestigious career in music and invention spans seventy years. Though he's indisputably one of America's most popular, influential, and accomplished electric guitarists, Les Paul is best known as an early innovator in the development of the solid body guitar. His groundbreaking design would become the template for Gibson's best-selling electric, the Les Paul model, introduced in 1952.
Today, countless musical legends still consider Paul's iconic guitar unmatched in sound and prowess. Were it not for his invention, guitarists like Jimmy Page, Pete Townshend, Slash, Billy Gibbons, to name a few, would never be who they are now. Their unique sound and their approach to making music was determined by the guitar and sound technologies crafted by Paul. He developed the technology that would become hallmarks of rock and pop recordings, from multitrack recording that allowed for layers and layers of "overdubs" to guitar reverb and other sound effects. His playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many of the guitarists of the present day. Among Paul's most enduring contributions are those in the technological realm, including ingenious developments in multi-track recording, guitar effects, and the mechanics of sound in general.
Born Lester William Polsfuss, the man who would ultimately be known as Les Paul was both a musician and an inventor. This unique combination led him not only to become an innovator in the music industry in terms of performances but also creating new technologies and sounds. By age 13, Paul was performing semi-professionally as a country-music guitarist. Four years later, Paul played with Rube Tronson's Texas Cowboys, and soon after he dropped out of high school to join a traveling radio band. The year was 1931 and the sound of music would never be the same.
Paul was dissatisfied with the acoustic guitars that were sold in the mid 1930s and began experimenting at home with a few designs for an electric model on his own. Famously, he created "The Log," which was nothing more than a length of common lumber with a bridge, guitar neck, and pickup attached. He solved two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body.
In the mid 1940s, Paul moved to Hollywood and played music with legends such as Nat King Cole and Bing Crosby. The latter would ultimately fund Paul’s experiments and the two also produced chart topping music together at the same time.
Paul initially approached the Gibson Guitar Corporation with his idea of a solid body electric guitar. The company showed no interest until their rival Fender produced a solid body guitar of their own. Gibson then immediately took Paul's suggestions and designed a guitar in the early fifties and presented it to him to try. He was sold on the guitar instantly, so much so that the model bore his name – the Les Paul – and Paul himself signed a contracted stating that he would never to be seen playing in public, or be photographed, with anything other than a Gibson guitar. The rest, as they say is history.
All over the world, musicians, guitarists, are paying their tributes to the father of the electric guitar. Keith Richards, the guitarist from the Rolling Stones and a friend, lead the tributes. “We must all own up that without Les Paul, generations of flash little punks like us would be in jail or cleaning toilets,” he said.
“All of us owe an unimaginable debt to his work and his talent.” Richie Sambora, Bon Jovi's guitarist and also a friend, said Paul was “revolutionary in the music business”.
"A legend of the guitar and a true renaissance man, Les Paul disproves the cliche that you can only be famous for one thing," said U2 guitarist The Edge. "His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten."
Former Guns and Roses guitarist Slash said Paul was a vibrant person who was full of positive energy.
“Les Paul was a shining example of how full one's life can be,” he said. “I'm honoured and humbled to have known and played with him over the years, he was an exceptionally brilliant man.”
Paul’s influence was not limited to the international scene, even local guitarists acknowledged the influence of his invention in their music. Aunty Disco Project frontman Omar Bilal Akhtar said, "I think Les Paul was the first person to truly raise the electric guitar to the iconic status it enjoys today. Before it was a mere instrument, and after Les Paul, it became a work of art, much like a Stradivarius violin.”
Maaz Maudood, guitarist for Kaavish added, “Without him, rock and roll would have probably never sounded the way it does. Despite the fact that he went through a horrible accident, he never stopped believing in himself, and just because of that faith music is what it is today.”
Fuzon guitarist Shallum Xavier said, “I’ve never owned a Les Paul myself, but all of the musicians that I looked up to were Les Paul players; guitarists like Zakk Wylde and Randy Rhodes, were a particular influence for me as far as Rock and Roll. If they wouldn’t have played a Les Paul, they’re sounds would’ve been totally different and I don’t know if I would’ve listened to them.”
Perhaps it is Joe Satriani’s comment that best describes Paul’s contribution and musical achievements: “He was the original Guitar Hero.”
Les Paul passed away on August 13, 2009, due to complications arising from Pneumonia.
15.8.09
Don't you forget about me— The life of John Hughes
If by any chance, you were a teenager growing up during the 1980s, you've probably seen a movie or two by John Hughes. Though you would have seen many movies during that time, you probably remember Hughes' movies because they spoke your language. Sixteen Candles, Ferris Bueller's Day Off, Home Alone 1 & 2, and the Breakfast Club are just some of the movies that have inspired, captured, enthralled and entertained a movie going generation. Particularly the teenagers.
Hughes was known for this shockingly frank dialogue and quirky ensemble driven comedies which was a hit with the teen crowd of the era. And it just wasn't that, many actors and actresses owe their careers to the writer director, in particular, Judd Nelson, Matthew Broderick, Macaulay Culkin, Molly Ringwald, Anthony Michael Hall, Ally Sheedy, John Cusack, Steve Carell, and Lili Taylor, just to name a few. It wasn't that he had a talent of spotting a young actor's potential, he could literally bring the best in them shine through on the screen. It's not just actors and actresses that owe their careers to Hughes, directors like Wes Anderson and Kevin Smith have clearly been affected by Hughes' career and filmmaking.
Hughes began his career as an advertising copywriter in Chicago. He would later pen a story for Lampoon Magazine, about the adventures of his family during their vacation trips. That story would ultimately become his first movie credit as a writer and was called, National Lampoon's Vacation. Starring Chevy Chase and directed by Harold Ramis, the movie would spawn sequels and ultimately become the successful comedy of its time. That was 1983 and a movie here and there later, in 1984, he branched out into directing. His first directorial effort, Sixteen Candles, won almost unanimous praise when it was released, due in no small part to its more realistic depiction of middle-class high school life, which were attracting more audiences than the screwball and slapstick comedies being made at the time. It was also the first in a string of efforts set in or around high school, including The Breakfast Club, Pretty in Pink, Weird Science and Ferris Bueller's Day Off.
Instead of continuing to make teen drama/comedies, Hughes showcased his other comedic storytelling skills by directing Planes, Trains & Automobiles starring Steve Martin and John Candy. Followed by Uncle Buck, viewers didn't appreciate these Hughes films as his previous ones, but they did laugh. It was however, a comedy adventure about a boy who was accidentally left home when his parents went on vacation that would bring John Hughes to worldwide acclaim. Home Alone made a star out of its star, Macaulay Culkin. Home Alone would be the top grossing film of 1990, and remains his most successful live-action comedy.
As a director, he has only made 8 movies. His recent movies have been through writing, rather than directing. Drillbit Taylor, Maid in Manhattan, Beethoven's 5th, were all either his scripts or stories. Even his previous movies—which had found a home in the hearts of the teen of the 80s—the teens of the 90s and the 2000s needed the edgier comedies, such as the American Pies and the Van Wilders to make them laugh.
In 1994, Hughes retired from the public eye and moved to Wisconsin, rarely granting or giving interviews or photographs to the media save a select few interviews. In the later years of his life, he was a farmer in Illinois.
At the news of John Hughes demise, his close friends paid tribute to the writer director. Culkin expressed his profound sadness at the news of Hughes' demise, "I was a fan of both his work and a fan of him as a person. The world has lost not only a quintessential filmmaker whose influence will be felt for generations, but a great and decent man."
Molly Ringwald added to the tributes. "I was stunned and incredibly sad to hear about the death of John Hughes," Ringwald said in a statement. "He was and will always be such an important part of my life. He will be missed – by me and by everyone that he has touched," she added. "My heart and all my thoughts are with his family now."
Another actor Hughes made famous, Matthew Broderick, who starred in Ferris Bueller's Day Off, also shared his condolences with the director's family. "I am truly shocked and saddened by the news about my old friend John Hughes. He was a wonderful, very talented guy and my heart goes out to his family."
Much can be said about Hughes, but it is his own writing, or the characters that he created rather, that can speak for him. Take Ferris Bueller for instance. He's the epitome of coolness in a teenager, has good friends, drives a nice car—which isn't his—and an all round decent but clever guy, and he says, "Life moves pretty fast. You don't stop and look around once in a while, you could miss it." And there lies the essence of John Hughes.
John Hughes died suddenly of a heart attack on August 6, 2009, while walking in Manhattan, where he was visiting his family. Hughes is survived by his widow, sons and four grandchildren.
Hughes was known for this shockingly frank dialogue and quirky ensemble driven comedies which was a hit with the teen crowd of the era. And it just wasn't that, many actors and actresses owe their careers to the writer director, in particular, Judd Nelson, Matthew Broderick, Macaulay Culkin, Molly Ringwald, Anthony Michael Hall, Ally Sheedy, John Cusack, Steve Carell, and Lili Taylor, just to name a few. It wasn't that he had a talent of spotting a young actor's potential, he could literally bring the best in them shine through on the screen. It's not just actors and actresses that owe their careers to Hughes, directors like Wes Anderson and Kevin Smith have clearly been affected by Hughes' career and filmmaking.
Hughes began his career as an advertising copywriter in Chicago. He would later pen a story for Lampoon Magazine, about the adventures of his family during their vacation trips. That story would ultimately become his first movie credit as a writer and was called, National Lampoon's Vacation. Starring Chevy Chase and directed by Harold Ramis, the movie would spawn sequels and ultimately become the successful comedy of its time. That was 1983 and a movie here and there later, in 1984, he branched out into directing. His first directorial effort, Sixteen Candles, won almost unanimous praise when it was released, due in no small part to its more realistic depiction of middle-class high school life, which were attracting more audiences than the screwball and slapstick comedies being made at the time. It was also the first in a string of efforts set in or around high school, including The Breakfast Club, Pretty in Pink, Weird Science and Ferris Bueller's Day Off.
Instead of continuing to make teen drama/comedies, Hughes showcased his other comedic storytelling skills by directing Planes, Trains & Automobiles starring Steve Martin and John Candy. Followed by Uncle Buck, viewers didn't appreciate these Hughes films as his previous ones, but they did laugh. It was however, a comedy adventure about a boy who was accidentally left home when his parents went on vacation that would bring John Hughes to worldwide acclaim. Home Alone made a star out of its star, Macaulay Culkin. Home Alone would be the top grossing film of 1990, and remains his most successful live-action comedy.
As a director, he has only made 8 movies. His recent movies have been through writing, rather than directing. Drillbit Taylor, Maid in Manhattan, Beethoven's 5th, were all either his scripts or stories. Even his previous movies—which had found a home in the hearts of the teen of the 80s—the teens of the 90s and the 2000s needed the edgier comedies, such as the American Pies and the Van Wilders to make them laugh.
In 1994, Hughes retired from the public eye and moved to Wisconsin, rarely granting or giving interviews or photographs to the media save a select few interviews. In the later years of his life, he was a farmer in Illinois.
At the news of John Hughes demise, his close friends paid tribute to the writer director. Culkin expressed his profound sadness at the news of Hughes' demise, "I was a fan of both his work and a fan of him as a person. The world has lost not only a quintessential filmmaker whose influence will be felt for generations, but a great and decent man."
Molly Ringwald added to the tributes. "I was stunned and incredibly sad to hear about the death of John Hughes," Ringwald said in a statement. "He was and will always be such an important part of my life. He will be missed – by me and by everyone that he has touched," she added. "My heart and all my thoughts are with his family now."
Another actor Hughes made famous, Matthew Broderick, who starred in Ferris Bueller's Day Off, also shared his condolences with the director's family. "I am truly shocked and saddened by the news about my old friend John Hughes. He was a wonderful, very talented guy and my heart goes out to his family."
Much can be said about Hughes, but it is his own writing, or the characters that he created rather, that can speak for him. Take Ferris Bueller for instance. He's the epitome of coolness in a teenager, has good friends, drives a nice car—which isn't his—and an all round decent but clever guy, and he says, "Life moves pretty fast. You don't stop and look around once in a while, you could miss it." And there lies the essence of John Hughes.
John Hughes died suddenly of a heart attack on August 6, 2009, while walking in Manhattan, where he was visiting his family. Hughes is survived by his widow, sons and four grandchildren.
8.8.09
The Price of Freedom
What do a lawyer, a PR manager, an editor and an aspiring politician have in common? Well, it's not the set up for a punch line, far from it. These four represent the subjects of a documentary titled Made in Pakistan.
It features a raw, unedited and a verbatim look into the lives of these four Pakistanis and how they react to the ever volatile situations around them. Volatile situations that had led Pakistan to be labelled by a magazine as "the most dangerous nation on earth."
Nasir Khan, the writer and director, recalls his reaction when he read the infamous article. "I read it from start to finish—each and every word, and I had an instant emotional reaction, and that reaction is this documentary." Immediately Nasir began to work on the documentary which would become Made in Pakistan, and Nasir is no stranger to filmmaking, especially documentaries. A graduate from McGill University in Canada, Khan started work in television at the World Affairs TV Production shortly after he returned to Pakistan and established a production house, Talking Filmain. His first documentary was Muslim Gear, which documented Muslim fashion in the western world. In Pakistan, his reality television show “Pounds” was aired on a local satellite channel in 2008 and his serial “Na Jane Kyun” is currently on air on national television channel.
In Made in Pakistan, almost immediately, one can figure out that the two men and two women show a distinct bifurcation of Pakistan as a whole. The working class man and the struggling, minority—yet growing—working woman. In this case, its two working women, Tara Mahmood, the PR manager and Rabia Aamir, the teacher and magazine editor. They represent the modern Pakistani, the glamorous elite whose worlds are either hidden from prying eyes or at the forefront of 21st century Pakistan. Tara's world is perhaps the most modern of them all. She casually admits how socially advanced the parties are but at the same time, she's dedicated to her work, which she carries through many hurdles.
Rabia is Tara's complete polar opposite—save the fact that they are both dedicated to their jobs. As a magazine editor, she carefully manages her team and as a working mother, she takes care of her young daughter. Together Rabia and Tara show that while it may not be easy being a woman in man's world, they both are quite comfortable in their shoes. Hence, their lives do not reflect the true struggle of the Pakistani woman working in a Pakistani man's world. "We went in not knowing how Rabia or Tara would be, it was by pure chance that we got two women whose lives were successful and they overcame all the obstacles," said Nasir Khan, also agreeing that the documentary missed out the opportunity to highlight the difficulties. And though the documentary does miss out on this key aspect, there are many others that it covers at the same time.
Mohsin Warriach, the aspiring politician, and Waleed Khalid, the lawyer, represent the real Pakistan—at the grass roots level. They are the struggling class and the ruling class; the two of the largest and powerful classes in Pakistan. Warriach's political aspiration is captured at every moment, from him meeting with reluctant and hesitant voters to him meeting the people living in destitute areas. The look on people's faces range from hope to hopelessness. They either trust him or do not—whatever the case, Warriach keeps his head high.
As a lawyer amidst a situation of lawlessness, Waleed is probably the most interesting of the lot. His determination shows with every scene he's in—someone truly affected by the crisis of the emergency rule on a personal level and wanting to do something about it. Waleed can best be described as the everyman who wants to make a difference. Not only is he a practicing lawyer, he also teaches law, and it is his discussions with his students that we are privy to are the some of the most interesting moments on film.
Nasir Khan captures many galvanizing moments from each of the individuals in this documentary, against the backdrop of the nation under a state of emergency. And from the start it's pretty clear that these subjects were not chosen at a random. Each of them had their purpose and each of them makes this documentary interesting to watch. As a Pakistani myself, I found myself smiling to the ironies presented here and often thinking about the all too familiar troubles faced by each of the subjects. Thankfully, Nasir steers clear from mimicking Michael Moore's guerrilla style documentary filmmaking and only lets the subjects speak for themselves.
One might think that Made in Pakistan paints a very rosy and serene picture of the country, even with all the trials and tribulation, a fact that Nasir quickly addressed. "The thing is, we wanted to portray everything, even the negativity, but our subjects were so positive, their tone was so positive, that at the end of the day, when you look at it, they really are the spirit of Pakistan—and show that no matter what, they, us, we'll all get through this."
The only downside to the whole documentary screening was perhaps the lack of enthusiasm shown by the audience. After a much hyped first day, Karachi showed a muted response to the documentary during its remaining days and missed out on a great documentary. Nasir said, "Sadly, we don't have much of a documentary culture going on here, perhaps it'll pick up because of this, at least we hope so."
The production house, Talking Filmain and Nasir's team, have had tremendous support from the production company that have released the documentary across the three cities, Lahore, Karachi and Islamabad. "I can't stress enough how much Still Waters Production have helped us carry this through," said Nasir Khan. "Their support has made these shows possible—and we're looking forward to showing the film in Lahore and Islamabad."
Speaking about the release of Made in Pakistan, Head of Productions at Still Waters, Naad-e-Ali Zaidi has said, "Made in Pakistan brings forward Pakistan's upper middle class in a documentary which explores the country through four individuals. It allows us to perceive this under-represented class as a realistic part of our social fabric, which despite modern misconceptions, co-exists within the same space as the stereotypes of terror and fundamentalism with which Pakistan has come to be associated. Made in Pakistan accepts that we are living amidst social, political, religious and economic unrest from one situation to another, and shows that life goes on."
Made In Pakistan is a tremendous effort that speaks for itself in volumes. Easily one of the better if not best documentaries made, it is neither shocking or unsettling, in fact, it provokes the viewer into thinking, as a good documentary should, about what it really means to live in Pakistan and to be made in Pakistan.
It features a raw, unedited and a verbatim look into the lives of these four Pakistanis and how they react to the ever volatile situations around them. Volatile situations that had led Pakistan to be labelled by a magazine as "the most dangerous nation on earth."
Nasir Khan, the writer and director, recalls his reaction when he read the infamous article. "I read it from start to finish—each and every word, and I had an instant emotional reaction, and that reaction is this documentary." Immediately Nasir began to work on the documentary which would become Made in Pakistan, and Nasir is no stranger to filmmaking, especially documentaries. A graduate from McGill University in Canada, Khan started work in television at the World Affairs TV Production shortly after he returned to Pakistan and established a production house, Talking Filmain. His first documentary was Muslim Gear, which documented Muslim fashion in the western world. In Pakistan, his reality television show “Pounds” was aired on a local satellite channel in 2008 and his serial “Na Jane Kyun” is currently on air on national television channel.
In Made in Pakistan, almost immediately, one can figure out that the two men and two women show a distinct bifurcation of Pakistan as a whole. The working class man and the struggling, minority—yet growing—working woman. In this case, its two working women, Tara Mahmood, the PR manager and Rabia Aamir, the teacher and magazine editor. They represent the modern Pakistani, the glamorous elite whose worlds are either hidden from prying eyes or at the forefront of 21st century Pakistan. Tara's world is perhaps the most modern of them all. She casually admits how socially advanced the parties are but at the same time, she's dedicated to her work, which she carries through many hurdles.
Rabia is Tara's complete polar opposite—save the fact that they are both dedicated to their jobs. As a magazine editor, she carefully manages her team and as a working mother, she takes care of her young daughter. Together Rabia and Tara show that while it may not be easy being a woman in man's world, they both are quite comfortable in their shoes. Hence, their lives do not reflect the true struggle of the Pakistani woman working in a Pakistani man's world. "We went in not knowing how Rabia or Tara would be, it was by pure chance that we got two women whose lives were successful and they overcame all the obstacles," said Nasir Khan, also agreeing that the documentary missed out the opportunity to highlight the difficulties. And though the documentary does miss out on this key aspect, there are many others that it covers at the same time.
Mohsin Warriach, the aspiring politician, and Waleed Khalid, the lawyer, represent the real Pakistan—at the grass roots level. They are the struggling class and the ruling class; the two of the largest and powerful classes in Pakistan. Warriach's political aspiration is captured at every moment, from him meeting with reluctant and hesitant voters to him meeting the people living in destitute areas. The look on people's faces range from hope to hopelessness. They either trust him or do not—whatever the case, Warriach keeps his head high.
As a lawyer amidst a situation of lawlessness, Waleed is probably the most interesting of the lot. His determination shows with every scene he's in—someone truly affected by the crisis of the emergency rule on a personal level and wanting to do something about it. Waleed can best be described as the everyman who wants to make a difference. Not only is he a practicing lawyer, he also teaches law, and it is his discussions with his students that we are privy to are the some of the most interesting moments on film.
Nasir Khan captures many galvanizing moments from each of the individuals in this documentary, against the backdrop of the nation under a state of emergency. And from the start it's pretty clear that these subjects were not chosen at a random. Each of them had their purpose and each of them makes this documentary interesting to watch. As a Pakistani myself, I found myself smiling to the ironies presented here and often thinking about the all too familiar troubles faced by each of the subjects. Thankfully, Nasir steers clear from mimicking Michael Moore's guerrilla style documentary filmmaking and only lets the subjects speak for themselves.
One might think that Made in Pakistan paints a very rosy and serene picture of the country, even with all the trials and tribulation, a fact that Nasir quickly addressed. "The thing is, we wanted to portray everything, even the negativity, but our subjects were so positive, their tone was so positive, that at the end of the day, when you look at it, they really are the spirit of Pakistan—and show that no matter what, they, us, we'll all get through this."
The only downside to the whole documentary screening was perhaps the lack of enthusiasm shown by the audience. After a much hyped first day, Karachi showed a muted response to the documentary during its remaining days and missed out on a great documentary. Nasir said, "Sadly, we don't have much of a documentary culture going on here, perhaps it'll pick up because of this, at least we hope so."
The production house, Talking Filmain and Nasir's team, have had tremendous support from the production company that have released the documentary across the three cities, Lahore, Karachi and Islamabad. "I can't stress enough how much Still Waters Production have helped us carry this through," said Nasir Khan. "Their support has made these shows possible—and we're looking forward to showing the film in Lahore and Islamabad."
Speaking about the release of Made in Pakistan, Head of Productions at Still Waters, Naad-e-Ali Zaidi has said, "Made in Pakistan brings forward Pakistan's upper middle class in a documentary which explores the country through four individuals. It allows us to perceive this under-represented class as a realistic part of our social fabric, which despite modern misconceptions, co-exists within the same space as the stereotypes of terror and fundamentalism with which Pakistan has come to be associated. Made in Pakistan accepts that we are living amidst social, political, religious and economic unrest from one situation to another, and shows that life goes on."
Made In Pakistan is a tremendous effort that speaks for itself in volumes. Easily one of the better if not best documentaries made, it is neither shocking or unsettling, in fact, it provokes the viewer into thinking, as a good documentary should, about what it really means to live in Pakistan and to be made in Pakistan.
26.7.09
How well do yo know Harry Potter?
Harry Potter and the Half-Blood Prince has had its premiere and HP fans are flocking to the cinemas with their brooms and wizard hats in tow. Here’s come cool trivia about the movie itself; see if you can break the spell and figure out the answers.
Which director turned down the opportunity to work on Harry Potter and the Half Blood Prince so that he could work on Hellboy 2? The answer is director Guillermo del Toro.
Hero Fiennes-Tiffin, who plays Tom Riddle, is actually related to one of the cast members. Who is it? Fiennes-Tiffin is Ralph Fiennes’ nephew and was specifically hired for the part because he resembled his uncle.
Who was J K Rowling’s personal favorite for directing this film but didn’t do so because of a dispute with Warner Brothers? Director Terry Gilliam, who reportedly said, "Warner Bros. had their chance the first time around, and they blew it."
Much of the movie’s ending has been changed, what was the reason the filmmakers gave? The end act was removed to avoid repetition with the forthcoming adaptation of Deathly Hallows. The funeral was removed as it was believed it did not fit with the rest of the film.
At the time of the release of the book, Half-Blood Prince, it broke the record for most books sold in 16 hours, which was three million copies, can you guess which book would break this record? The final book, Harry Potter and the Deathly Hallows.
This is the second Harry Potter film not to open with events involving Harry. Which was the first? Harry Potter and the Goblet of Fire opened with a scene from a chapter of the fourth book, "The Riddle House".
A special event returns to this movie after making its last appearance in fourth installment? The popular wizard game Quidditch.
Which director, while in negotiations to direct the first film, wanted it to be completely animated and wanted Haley Joel Osmet for the lead role? Steven Spielberg.
Was Harry Potter Daniel Radcliffe’s first screen role? No, his first role was in the Tailor of Panama, alongside Pierce Brosnan.
If you watched all of the Harry Potter films, from the first one right down to the last, how much time would it take? An astounding 903 minutes. Though this figure might change, since the last film Harry Potter and the Deathly Hallows has not yet been films—and is scheduled to be filmed in two parts.
Which actor’s children were a fan of the series and ultimately became a hero to them and their schoolmates? Gary Oldman, who played Sirius Black.
Which director turned down the opportunity to work on Harry Potter and the Half Blood Prince so that he could work on Hellboy 2? The answer is director Guillermo del Toro.
Hero Fiennes-Tiffin, who plays Tom Riddle, is actually related to one of the cast members. Who is it? Fiennes-Tiffin is Ralph Fiennes’ nephew and was specifically hired for the part because he resembled his uncle.
Who was J K Rowling’s personal favorite for directing this film but didn’t do so because of a dispute with Warner Brothers? Director Terry Gilliam, who reportedly said, "Warner Bros. had their chance the first time around, and they blew it."
Much of the movie’s ending has been changed, what was the reason the filmmakers gave? The end act was removed to avoid repetition with the forthcoming adaptation of Deathly Hallows. The funeral was removed as it was believed it did not fit with the rest of the film.
At the time of the release of the book, Half-Blood Prince, it broke the record for most books sold in 16 hours, which was three million copies, can you guess which book would break this record? The final book, Harry Potter and the Deathly Hallows.
This is the second Harry Potter film not to open with events involving Harry. Which was the first? Harry Potter and the Goblet of Fire opened with a scene from a chapter of the fourth book, "The Riddle House".
A special event returns to this movie after making its last appearance in fourth installment? The popular wizard game Quidditch.
Which director, while in negotiations to direct the first film, wanted it to be completely animated and wanted Haley Joel Osmet for the lead role? Steven Spielberg.
Was Harry Potter Daniel Radcliffe’s first screen role? No, his first role was in the Tailor of Panama, alongside Pierce Brosnan.
If you watched all of the Harry Potter films, from the first one right down to the last, how much time would it take? An astounding 903 minutes. Though this figure might change, since the last film Harry Potter and the Deathly Hallows has not yet been films—and is scheduled to be filmed in two parts.
Which actor’s children were a fan of the series and ultimately became a hero to them and their schoolmates? Gary Oldman, who played Sirius Black.
19.7.09
Kaavish: Full Circle, at last
Kaavish are finally ready to release the album that has been in the making for about six years. Once can only imagine the efforts put in by Maaz Maudood and Jaffer Zaidi (also former member Raheel Manzar Paul) for these past years, along with their current producer, Faisal Rafi. As a producer, Rafi was the captain of the ship that is Gunkali, so why did it take so long to reach the harbour of listeners? “The album in essence was redone; the original had been done in Jaffer’s home studio. Anything that is redone usually takes twice the time so that justice can be done to the original compositions.” He also mentioned that the entire album is played live and hence, the recording of the album was dependant on the schedules of the musicians.
For one thing, straight away upon listening to the album, you can actually tell that the hard work, blood, sweat and tears, put into it have actually paid off.
The band starts the album off with Chand Taare a track that sounds nothing like the rest of the album itself — though not in a bad way. This is the sort of song that you’d have in any commercial album but it’s pretty clear that the band are not comfortable performing this song, because this is not who they are. When we last spoke to the band (Kaavish: Speaking to the soul, October 5, 2008, published in Images, Dawn), they insisted on a need for such a track, to have it as their first track and so got it over quickly, perhaps so they could get down to the ‘real business’ of their music.
Things get really moody real fast with the onset of Chaltay Rahein. But it’s not sad, it’s the sort of melancholy track that reminds you of the bittersweet things in life and how no matter what happens, life goes on. Even the poignant lyrics reflect the sound of the track, “Kaisay kahein, kissay kahein, kehna ha kya, chaltay rahain.”
Sunn Zara is where things become a bit moody. The dark undertone of the keys is only kept alight by the powerful and mesmerizing flute. As the song picks up, the darkness is gone; thanks to the beacon of light that is the vocals. Jaffer’s voice is carefully placed so when he sings the listener hangs on to every word.
When Faisal Rafi spoke about the music being performed live, one would think about how different it would make to the sound. Bachoan and Tere Pyaar Main are where one notices that difference the most. These tracks are definitely slower than the first few tracks and perhaps for obvious reasons, we’re almost half way into the album and the band is settling into itself nicely. Out of the two, Bachoan is better, simply because it seems less overdone and tinkered with, rather than Tere Pyaar Main — which, although good, it seems as if too many cooks spoiled the broth on that one.
Where Jaffer went all over the place in Tere Pyaar Main, he seems very focused in Piya Dekho Na. In fact, his voice is the star of this track as it carefully serenades the music around it.
At this point in time, starting with Moray Sayyan through to Dekho, there is a distinct lack of variety of songs on the album. Nearly all tracks so far are classical, which makes the second half of the album sound as one continuous track. These songs are all great and have their own merits on their own, but just don’t sit well with each other.
Finally Dim Main Meray and Koi Hai Toh Sahee close the album; both the mood and the pace of the album change slightly as the band says goodbye to the listener. It is indeed a sweet parting, but after listening to the album in its entirety, there’s a feeling of emptiness — or something missing. Perhaps it’s the wait and the expectations that are to blame here; after all, this album was six years in the making. It is only natural for the listener to expect more.
Those expecting to find pop or commercialism on this album will be severely disappointed. Kaavish have already made clear they are about music at its purest form. Gunkali is all about Pakistani music at its core; it celebrates its history and heritage brought into a new era.
On another aspect, Rafi notes that in the time span of six years, the band itself has improved drastically. “The band has matured immensely through the recording and production process, their true potential is becoming more and more evident.”
Indeed, if this is just the first effort of the band, Gunkali is just the beginning of their journey.
For one thing, straight away upon listening to the album, you can actually tell that the hard work, blood, sweat and tears, put into it have actually paid off.
The band starts the album off with Chand Taare a track that sounds nothing like the rest of the album itself — though not in a bad way. This is the sort of song that you’d have in any commercial album but it’s pretty clear that the band are not comfortable performing this song, because this is not who they are. When we last spoke to the band (Kaavish: Speaking to the soul, October 5, 2008, published in Images, Dawn), they insisted on a need for such a track, to have it as their first track and so got it over quickly, perhaps so they could get down to the ‘real business’ of their music.
Things get really moody real fast with the onset of Chaltay Rahein. But it’s not sad, it’s the sort of melancholy track that reminds you of the bittersweet things in life and how no matter what happens, life goes on. Even the poignant lyrics reflect the sound of the track, “Kaisay kahein, kissay kahein, kehna ha kya, chaltay rahain.”
Sunn Zara is where things become a bit moody. The dark undertone of the keys is only kept alight by the powerful and mesmerizing flute. As the song picks up, the darkness is gone; thanks to the beacon of light that is the vocals. Jaffer’s voice is carefully placed so when he sings the listener hangs on to every word.
When Faisal Rafi spoke about the music being performed live, one would think about how different it would make to the sound. Bachoan and Tere Pyaar Main are where one notices that difference the most. These tracks are definitely slower than the first few tracks and perhaps for obvious reasons, we’re almost half way into the album and the band is settling into itself nicely. Out of the two, Bachoan is better, simply because it seems less overdone and tinkered with, rather than Tere Pyaar Main — which, although good, it seems as if too many cooks spoiled the broth on that one.
Where Jaffer went all over the place in Tere Pyaar Main, he seems very focused in Piya Dekho Na. In fact, his voice is the star of this track as it carefully serenades the music around it.
At this point in time, starting with Moray Sayyan through to Dekho, there is a distinct lack of variety of songs on the album. Nearly all tracks so far are classical, which makes the second half of the album sound as one continuous track. These songs are all great and have their own merits on their own, but just don’t sit well with each other.
Finally Dim Main Meray and Koi Hai Toh Sahee close the album; both the mood and the pace of the album change slightly as the band says goodbye to the listener. It is indeed a sweet parting, but after listening to the album in its entirety, there’s a feeling of emptiness — or something missing. Perhaps it’s the wait and the expectations that are to blame here; after all, this album was six years in the making. It is only natural for the listener to expect more.
Those expecting to find pop or commercialism on this album will be severely disappointed. Kaavish have already made clear they are about music at its purest form. Gunkali is all about Pakistani music at its core; it celebrates its history and heritage brought into a new era.
On another aspect, Rafi notes that in the time span of six years, the band itself has improved drastically. “The band has matured immensely through the recording and production process, their true potential is becoming more and more evident.”
Indeed, if this is just the first effort of the band, Gunkali is just the beginning of their journey.
12.7.09
Ice Age 3: On Thin Ice
It's always difficult not to enjoy animated films. They're a bundle of fun; whether you're an adult or a kid, you always get something that's funny or poignant and most of all, anyone and everyone can watch it together.
In the third installment of the Ice Age franchise, it's all about mammoths versus dinosaurs; clearly a metaphor for clashes between the old generation and new. Ice Age 3 is one of the many franchises that have developed over the years with computer generated animated films; such as Toy Story (whose third installment is due next year), Madagascar, and Shrek to name a few. With such competition, it is often tough for animated features to find their own footings and stay clear of comparisons. Ice Age 3 suffers from the brunt of the competition, in which, it doesn't have exactly the same star power as the Shrek or Madagascar films nor does it have the same comedy as most Pixar films.
The Ice Age franchise—though successful—has always suffered from a "not-too-funny by funny" stigma. The movies which have been praised by families as being heart warming and fun to watch have been panned by critics as dull and lifeless.
Ray Romano, Queen Latifah, Denis Leary and John Leguizamo all return for their respective roles as, mammoths, sabre-toothed tiger, and sloth. Also returning are the opossum brothers, Crash and Eddie voiced by Seann William Scott and Josh Peck, respectively. The story continues from where the last film, Ice Age: Meltdown, left off. Ellie (Latifah) and Manny (Romano) are expecting their first child, and Manny is fixated on making life safe for the family. Ray Romano identifies with Manny’s anxiety, “It wasn’t that different from my own life,” he notes. “Getting crazy preparing for a new arrival comes with the territory.” Likewise Queen Latifah found much of herself in Ellie’s character and opposite of Manny. “Manny and Ellie are opposites in the way they’re handling imminent parenthood,” says Latifah. “Manny is nervous and neurotic, trying to make sure that everything is perfect and safe for the baby. Ellie is more nurturing and begins to assume the mantle of matriarch of this family of friends.”
At the same time, Diego (Leary) has been feeling more like a kitty cat than a fearsome feline, and fears that joining the herd is making him lose his edge. Instead of participating in the preparations for the baby’s arrival, Diego heads out on his own in search of adventure, wondering if it’s time for him to move on from the herd. “He’s breaking off on his own,” says actor-comedian Leary. Sid (Leguizamo) feels left out from the group and decides to adopt babies of his own; in this case, three eggs that he discovers—but it's when the eggs hatch that the real fun begins. Leguizamo returns to that distinctive voice while finding inventive ways to add new dimensions to the character. “Sid wants to be taken seriously, get some respect, and be treated like an adult,” says Leguizamo.
What follows is an epic chase by a ferocious Tyrannosaurs Rex, an encounter with a crazy weasel fighting Baryonyx, an attack by a Ankylosaurus and rivers of lava ripping apart landscapes. Out of all, it's the moments with the crazy weasel, Buckminster or Buck, that are the funniest to watch. Voiced by Scottish actor Simon Pegg, Buck's lines and characteristics are something that will tickle audiences. In casting the role, the filmmakers wanted a voice that stood out from their previously established characters. “Every character in the ‘Ice Age’ films has a distinct voice, but they all somehow fit together,” says producer Lori Forte. Ultimately, it was British actor Simon Pegg who got the nod to voice Buck. “Simon has great comedic timing, and his work brought a completely different flavor to Buck,” Forte continues. “We wanted a quality that conveyed a worldliness and range of experience that hadn’t yet been heard in an ‘Ice Age’ movie.” Parents might not understand or differentiate one dinosaur from another, but children will be delighted to see the introduction of dinosaurs into the fray of Ice Age.
The previous Ice Age films show Scrat (Chris Wedge) who does everything he can to retrieve his precious acorn. In fact, he was the first character we ever saw and his story is interlinked with the main story as he tries to get the acorn he is so vehemently after. This time around however, his efforts are complicated by the presence of Scratte (Karen Disher), a female of his species, who cajoles his entire attention. Scratte outsmarts him a number of times, which leaves Scrat to decide which is more important; his acorn or his love?
Though Ice Age 3 discusses about evolution its storyline hardly evolves. Thanks to some terrific animation this time around, there’s actually something worthwhile to watch, but animated movies aren’t all about the animation; as films like Wall-E and UP have shown us. Sadly this is not the case with Ice Age 3. We are instead dealt with more of the same stuff we’ve seen from the previous two films and more.
Another aspect of Ice Age 3 is that originally the movie has a special 3D version, something we probably won’t get to see here, but the added dimension does change the viewing of the film.
Finally, with all its merits of funny and poignant moments, Ice Age 3 just simply does not live up to the mark as set by its competition; particularly UP and Wall-E. But that doesn’t mean that it isn’t worthy of watch, especially with family goers who will be delighted to watch the many adventures of Ice Age and its characters.
6.7.09
Where’s the Harmony?
Filmed without a live audience, this year Coke Studio feels rather cold and almost mechanical. Gone is the intimate relationship between the music and its audience, and instead we’re meant to listen to music that’s very carefully controlled and tinkered with. However, this time around there is much more to be listened to, more artists mean more collaboration and more collaboration means more music from the crimson studio.
Dastaan-e-Ishq (Nachna Peinda) by Ali Zafar with Baqir Abbas
An interesting track to say the least, here Ali combines his own song writing with a few verses of poetry from Baba Bulleh Shah. But it isn’t the fusion of the poetry or lyrics that spurs the listener—it’s the mesmerizing almost haunting sound of the flute, by the brilliant Baqir Abbas. Though he is not alone in setting the stage for this track, the award winning Babar Khanna leads the house band with his Dholak. Ali’s singing, although at his best, is simply not enough to match the work put in by the two classical instrument maestros. Even he admits their immense contribution, “Baqir Abbas has always been a great support and a magical flute player. His participation brought much more than I had expected.”
Jaaney Do by JoSH
There’s a lot of potential in this track. Both Qurram and Rup bring in their A-games as far as their performances are concerned and this is one of the few tracks we’ve heard so far where we hear much of the house band, but somewhere along the way, this track falls short of being a perfect blend of fusion music.
Ankhon Key Saagar by Shafqat Amanat Ali featuring Gul Mohammad on the Sarangi
If there’s someone who is completely at home with Coke Studio and its concept, it’s Shafqat Amanat Ali. His foray with Fuzon and its music have completely prepared him for Coke Studio but the track that brought him and Fuzon much fame doesn’t sound special anymore than it did the first time around. Granted we have Gul Mohammad on the Sarangi, but the song is taken to another level not a higher or better one.
Kinara by Atif Aslam with Riyaz Ali Khan
Thanks to Coke Studio, we’ve seen a completely different side of Atif Aslam. Whether you love him or hate him, his singing talent and voice cannot be denied. Kinara is actually a tricky track in itself—being of the Rock and Grunge genres. But throw in Rohail Hyatt’s careful direction and Riyaz Ali Khan’s soulful performance and the track actually takes a life of its own.
Saeein Zahoor featuring Ali Hamza on the Banjo – Toomba
Probably one of the best tracks that we’ve heard so far from Coke Studio 2, proving that if anything that was missing from the first installment of CS, it was the venerable Saeein Zahoor. Toomba was composed and written by Saieen himself, he reveals, "This song speaks of Hazrat Amir Khusrau, Baba Farid Ganj Baksh, Baba Bulleh Shah and other great Sufi poets and saints and is a tribute to their dedication and belief to spreading the correct faith and the right path." Ali Hamza’s contribution, while sizable, is completely eclipsed by Zahoor’s performance.
No matter what the criticism, Coke Studio 2 is being heard everywhere by everyone. People are already looking forward to its future installments and have their own personal favorites. Goes to show that once again, the magic of Coke Studio has enthralled audiences with the fusion of music and once again brought people together.
14.6.09
From Rome to Dhaka – Fuzon Rocks the East and West
Fuzon have been living up to their second album's title by journeying across the globe for various concert performances for bureaucrats, dignitaries and even the general public.
The band recently performed concerts in Rome and Dhaka, where they enthralled their audiences. These shows come in the heels of their recent India tour which was also very successful.
"It was an amazing experience," recalls Shallum. "Rome was a dream and so was Dhaka." Emu states that both the cities caught him off-guard, "I wasn't expecting the crowd to actually know of the songs and sing along as loud as they could; which they did!" Emu said. He added, "Both cities welcomed us with open arms, and we've made fans abroad." Rameez replied, "It was a fun experience, especially for the fact that we were performing for the ambassadors and all the dignitaries." And is Rameez at home now as the lead singer? "I'm much more comfortable now," said the singer, acknowledging the fact that he's not worried anymore about filling anyone's shoes. "The fans have accepted me and that's all that matters," said Rameez. Shallum added, "He's been getting great feedback from all over, even when we went to India before this and now Rome and Dhaka."
The band was one of three Pakistani acts performing at the Pakistani High Commission at Rome. "We were invited to Rome by the Pakistani High Commission to perform at a special concert highlighting the modern Pakistan and its music for western audiences. It was an honor to do so and exciting at the same time," Shallum explained about the Rome concert. Emu further explained the nature of the performance at Rome, "As Pakistani musicians or entertainers, it is our responsibility to promote a positive image of Pakistan, something that they don't see every day, especially on the news." Rameez added, "We just had to give them the best of us, as Pakistani muscians, and that's why we played the songs that we did." They performed Neend Na Aye, Tere Bena, and Dewanay.
In Dhaka, they performed two shows, back to back, one show for dignitaries whereas the other for the general public. Again, the band was met by positive feedback, from both audiences, but it was the second concert which had a very special performance by the band for the Bangladeshi audience. "We performed a very special song in Dhaka and the crowd there just went nuts," recalls Shallum. "Rameez's performance was a key factor there, he worked especially hard to get it just right," says Emu about Rameez's performance. The singer himself was quite shocked at the reaction, "The crowd wasn't expecting us to play a Bengali song, so when I started singing the first few lines, they just erupted with jubilation." The song they performed was a Bengali version of an old Indian tune, Dil Mein Hon Tum, Ankhon Mein Ho Tum, a version performed by the great Kishore Kumar entitled, Shoone.
Finally, after so much, what is next for the band? "We have a US tour coming up soon," says Shallum. "And after that we'll start focusing on our next album," says Emu. Which when they do, Fuzon should release their third album sometime in mid 2010.
The band recently performed concerts in Rome and Dhaka, where they enthralled their audiences. These shows come in the heels of their recent India tour which was also very successful.
"It was an amazing experience," recalls Shallum. "Rome was a dream and so was Dhaka." Emu states that both the cities caught him off-guard, "I wasn't expecting the crowd to actually know of the songs and sing along as loud as they could; which they did!" Emu said. He added, "Both cities welcomed us with open arms, and we've made fans abroad." Rameez replied, "It was a fun experience, especially for the fact that we were performing for the ambassadors and all the dignitaries." And is Rameez at home now as the lead singer? "I'm much more comfortable now," said the singer, acknowledging the fact that he's not worried anymore about filling anyone's shoes. "The fans have accepted me and that's all that matters," said Rameez. Shallum added, "He's been getting great feedback from all over, even when we went to India before this and now Rome and Dhaka."
The band was one of three Pakistani acts performing at the Pakistani High Commission at Rome. "We were invited to Rome by the Pakistani High Commission to perform at a special concert highlighting the modern Pakistan and its music for western audiences. It was an honor to do so and exciting at the same time," Shallum explained about the Rome concert. Emu further explained the nature of the performance at Rome, "As Pakistani musicians or entertainers, it is our responsibility to promote a positive image of Pakistan, something that they don't see every day, especially on the news." Rameez added, "We just had to give them the best of us, as Pakistani muscians, and that's why we played the songs that we did." They performed Neend Na Aye, Tere Bena, and Dewanay.
In Dhaka, they performed two shows, back to back, one show for dignitaries whereas the other for the general public. Again, the band was met by positive feedback, from both audiences, but it was the second concert which had a very special performance by the band for the Bangladeshi audience. "We performed a very special song in Dhaka and the crowd there just went nuts," recalls Shallum. "Rameez's performance was a key factor there, he worked especially hard to get it just right," says Emu about Rameez's performance. The singer himself was quite shocked at the reaction, "The crowd wasn't expecting us to play a Bengali song, so when I started singing the first few lines, they just erupted with jubilation." The song they performed was a Bengali version of an old Indian tune, Dil Mein Hon Tum, Ankhon Mein Ho Tum, a version performed by the great Kishore Kumar entitled, Shoone.
Finally, after so much, what is next for the band? "We have a US tour coming up soon," says Shallum. "And after that we'll start focusing on our next album," says Emu. Which when they do, Fuzon should release their third album sometime in mid 2010.
Inner voice - Shcaz Khan - Jalan
"It's taken me six years to finish this album," says Schaz Khan, her voice filled with determination, her words echoing the hard work she's put in.
Jalan – the music video – was released four years ago, directed by Wajahat Rauf, and was the talk of the town. Though it was quickly labelled as controversial, Schaz herself didn't understand the controversy that it stirred. "It was just a video about a woman in a government job who gets pressurised by her male peers and develops a split personality," Schaz recalls. "There was nothing controversial about it and yet people labelled it controversial."
Still, she was undeterred and has since then been hard at work on the album, Jalan. Produced by Emad ur Rahman, the album features a host of other musicians, namely Shallum Xavier, Omar Bilal Akther and Aamir Zaki on the guitars. What was it like for her to work with them? "To me, they're all friends so I never had any boundaries working with any of them, I didn't limit myself in terms of being a musician." In fact, she went on to say, she's learned from working with them as well. "Once you're working with so many talented people, the learning process begins both ways, I've learned from them, and they've also learned from me."
Speaking about the album itself, Schaz reveals that at its core the album is about herself. "Since I've written the tracks myself, I'm a very down to earth person, very common. This album is about loving, enjoying the feeling of being in love and ultimately, about losing the love. It's about all the difference situations of being in love."
The album starts with Mastana. A groovy number with a catchy beat, it starts off slowly but once it peaks up steam, it doesn't stop till the end. It's not fast, but it has its own pace and carries the listener through. The title track Jalan is next and ultimately reminds you of the song, Fever with a hint of Strings thrown in (especially their first album). Though we've heard this before, this is the first time we hear it in the context of this album. It may be old, but surprisingly it fits in well. The serenade of the guitars – especially the solo in towards the end – makes this track a worthy listen.
Teri Ratain is a ballad with a lot of potential, but loses its way somewhere. It definitely could've been a better track at a much lesser length. Hamain kya hogaya is probably the best tracks on the album. Emad and Schaz both complement each other's vocals and carry the song – and the listener – along with poignant vocals and lyrics.
Aye sanam sounds like it's been stretched as it starts off with a slow pace and works its way towards a slightly faster one and ends rather abruptly. A good song which could've been better with pace control. Meray yar is upbeat and catchy, something you don't hear these days and catches the listener off guard as they find themselves tapping their feet along to the beat.
Meray he raho takes the longing and melancholy a bit further as you can literally hear the sadness in Schaz's voice as she sings about losing love. This is the slowest track on the album and its lyrics reflect Schaz's personality the most. It's pretty clear that she's singing from her heart. Jan e jana is a loud desi disco track, which sounds almost obnoxious if compared to the rest of the tracks. It fits nowhere in the album and should've been left off. The album ends with a remixed version of Jalan which compliments the original track.
Jalan by Schaz Khan is an impressive first album. It may not be everyone's cup of tea, but it is definitely a worthy listen. An insight in a singer's life, of her hard work put into the album and the things she has gone through. Emad carefully sprinkled his input all over the album, and though it may not have worked on all the tracks, it does create a synergy within the album and gives it Schaz's inner voice.
Jalan – the music video – was released four years ago, directed by Wajahat Rauf, and was the talk of the town. Though it was quickly labelled as controversial, Schaz herself didn't understand the controversy that it stirred. "It was just a video about a woman in a government job who gets pressurised by her male peers and develops a split personality," Schaz recalls. "There was nothing controversial about it and yet people labelled it controversial."
Still, she was undeterred and has since then been hard at work on the album, Jalan. Produced by Emad ur Rahman, the album features a host of other musicians, namely Shallum Xavier, Omar Bilal Akther and Aamir Zaki on the guitars. What was it like for her to work with them? "To me, they're all friends so I never had any boundaries working with any of them, I didn't limit myself in terms of being a musician." In fact, she went on to say, she's learned from working with them as well. "Once you're working with so many talented people, the learning process begins both ways, I've learned from them, and they've also learned from me."
Speaking about the album itself, Schaz reveals that at its core the album is about herself. "Since I've written the tracks myself, I'm a very down to earth person, very common. This album is about loving, enjoying the feeling of being in love and ultimately, about losing the love. It's about all the difference situations of being in love."
The album starts with Mastana. A groovy number with a catchy beat, it starts off slowly but once it peaks up steam, it doesn't stop till the end. It's not fast, but it has its own pace and carries the listener through. The title track Jalan is next and ultimately reminds you of the song, Fever with a hint of Strings thrown in (especially their first album). Though we've heard this before, this is the first time we hear it in the context of this album. It may be old, but surprisingly it fits in well. The serenade of the guitars – especially the solo in towards the end – makes this track a worthy listen.
Teri Ratain is a ballad with a lot of potential, but loses its way somewhere. It definitely could've been a better track at a much lesser length. Hamain kya hogaya is probably the best tracks on the album. Emad and Schaz both complement each other's vocals and carry the song – and the listener – along with poignant vocals and lyrics.
Aye sanam sounds like it's been stretched as it starts off with a slow pace and works its way towards a slightly faster one and ends rather abruptly. A good song which could've been better with pace control. Meray yar is upbeat and catchy, something you don't hear these days and catches the listener off guard as they find themselves tapping their feet along to the beat.
Meray he raho takes the longing and melancholy a bit further as you can literally hear the sadness in Schaz's voice as she sings about losing love. This is the slowest track on the album and its lyrics reflect Schaz's personality the most. It's pretty clear that she's singing from her heart. Jan e jana is a loud desi disco track, which sounds almost obnoxious if compared to the rest of the tracks. It fits nowhere in the album and should've been left off. The album ends with a remixed version of Jalan which compliments the original track.
Jalan by Schaz Khan is an impressive first album. It may not be everyone's cup of tea, but it is definitely a worthy listen. An insight in a singer's life, of her hard work put into the album and the things she has gone through. Emad carefully sprinkled his input all over the album, and though it may not have worked on all the tracks, it does create a synergy within the album and gives it Schaz's inner voice.
7.6.09
Serenading the Swiss
The hills are alive with the music of Ali Zafar. The singer recently performed at a Pak Swiss cultural show in
How did the singer find the experience? "I'm thinking what other words to use, because "amazing", "splendid" and "out of this world" have been used to death. Well, it was all these nice words mixed together!" The singer went on to elaborate the experience further, "I was having so much fun singing that I didn't realize that it'd been over 2 and a half hours to our live set and I ended up singing songs which I might've never sung on stage before just because someone from the crowd would pop and scream a song and I would try to incorporate that into our set from the top of my head. I sang all my popular songs. I sang "Dekha" twice because we had a very nice flamenco dance group dancing to it and the people wanted to see them some more. For "Sajania" we had a group of chorus girls who sang the chorus parts . So all in all, the musical on stage experience was a distinct one for me."
Ali went on to explain that the event had prestigious organizers, "The event was organized by Swiss Pakistan Society which is also affiliated with the Pakistan Women's Association of Geneva, together with the Pakistani Embassy in
And why was the event organized in the first place? "The reason to organize this event was to highlight the musical activity for the Pakistani families settled in
All the proceeds from the show will be donated and be used for rehabilitation program in northern areas of
The event was held on 16th of May, at the Theatre du Leman, Salle du Grand Casino Kempinski Hotel,
After the show, Ali found time to celebrate his birthday, not once, but thrice. "My birthday was a memorable one . It was celebrated thrice and I had to bite on three different cakes on three different dinner. A few friends also drove me to
As for future performances, after dazzling audiences in Switzerland Ali now has his sights firmly set on travelling around the world. "We're touring the
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