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Special Report
Hard acts to follow
Pop story Bollywood-bound Channelising
passion Amateur beat Keyword:
Talent! The trend of young people making music, uploading it on the net, and holding gigs, has significantly increased By Maria Tirmizi Islamabad is famous for being either a retirement home for the elderly or a snotty bureaucratic haven. That perception should now be discarded, considering that the children of the 1990s are all grown up now and have discovered a penchant for ear-shattering, heavy rock. This discovery has resulted in the emergence of many underground bands here in the capital city, most of them into heavy rock. From lost lovers to disco themes to corruption, chaos and surrealism, music videos in Pakistan have evolved tremendously By Maheen Sabeeh There is always a debate going on in the minds of the viewers as well as musicians in Pakistan as to what a music video really is. In simple terms, a music video is about an attention-grabbing image. That said, the video is also an important tool of communication between an artist and the viewer. Radio and music have always co-existed, long before the onslaught of FM's... Radio and popular music have always had a very significant relationship. Radio has often acted as a barometre and trendsetter of musical taste, and radio airplay is one of the defining measures of success in the mainstream musical world today. In
concert with corporate sponsors
Editorial There came a time in our history when, alongside the music that was popular, came popular music. This wasn't our own, traditionally speaking, but was immensely liked by the young people. The likeness grew and more young people started making popular music and a lot more started listening to them. Together with
corporate sponsorships, media boom, FM radio channels, Call them glorified flukes, one-hit wonders, or out-of-tune dorks, if you like. The fact is that our pop stars make the biggest celebrities. The old guard can choose to disagree but they can't deny the cult following they enjoy. For one thing, they know how to market themselves well - a few of them have already broken into the ominously huge industry called Bollywood. This perhaps is a good time to review the phenomenon, to take stock of where we stand. Popularity ratings aside, a critical view of the quality of music, an assessment of where we stand internationally, is in order too. Here's an overview. Face the music...
By Maheen Sabeeh The last two decades have seen a tremendous growth in the local music scene. With media expanding like never before, music has become the slogan of the youth. Nowadays, musicians seem to be sprouting out from all over the place. Slowly, various styles and genres of music are coming into the scene. In the last few years, Pakistani pop/rock music has gone through a metamorphosis of sorts. Across the border, it is Atif Aslam, Ali Zafar, Strings, Rahat Fateh Ali Khan as well a plethora of rock/pop musical outfits who have penetrated the Indian music market which is otherwise flooded with albums of old songs remixed. Barring an occasional band like Euphoria, of course. However, beyond the Indian sphere, it is safe to say that Pakistani pop/rock music has not made it to the international music scene. The only Pakistani act that has considerable presence in the West is Nusrat Fateh Ali Khan. Nusrat Fateh Ali's collaborations with Peter Gabriel and Michael Brook gave him an opening in the Western music circuit that no other musician in Pakistan has enjoyed. Our musicians do enjoy some success in the West such as Junoon who in its heydays played to 25,000 fans in Central Park. But, essentially, our musicians cater to expats all over the world. There are various reasons why no major pop/rock music act from Pakistan has been unable to penetrate the Western market... Similarity in sound Rock and pop music didn't find its first footsteps in the East. It originated in the West. As brilliant as Pakistani pop/rock music is, it is not groundbreaking when compared to Western musical outfits. Our singing stars have yet to make an album that has a sound that hasn't been done in the West before. In places like USA and UK, the music scene is huge. When bands like 3 Doors Down, Nickelback, The Calling -- all of whom made a huge impact with their debut albums -- find it hard to repeat the same level of success, it seems unlikely, if not impossible, for our musicians to break through. And then there are similarities in the styles of music. The similarities between American rock and Pakistani rock are many. There are many examples. For every Roxen, there is a Nickelback, Maroon 5. Similarly for every Ali Azmat, they have a Red Hot Chilli Peppers, Foo Fighters; for every Ali Zafar, there is a Prince and a Madonna who are some of music's biggest names in the world. For every Abrar-ul-Haq, there is a band like RDB that fuses bhangra with hip-hop, electronic music. And these are just a few basic examples. On top of that, our bands (barring groups like Co-Ven and Sajid & Zeeshan) sing in Urdu. Vocal dexterity The reason why Nusrat Fateh Ali Khan became a name in the West was primarily because of his vocal virtuosity that to this day remains unmatched. In a country like Japan, Nusrat Fateh Ali Khan was known, not for his lyrics (they don't understand the language) but it was his voice that touched hearts. It is hard to imagine Atif Aslam spinning the same kind of magic! Marketing flaws With no proper record label present in the country, often, talented musicians don't get marketed. In fact, when musicians aren't marketed properly in Pakistan, how can they even move onto the international music circuit? The only way musicians find a bigger audience is when their album is released worldwide. But music, be it from the East or the West, has to be marketed, especially if the idea is to cater to the world audience. While some bands do manage to release their albums in the Middle East as well as in UK and USA, without a proper record label sending them on a high-profile world tour, it seems unlikely that things will change in the near future. Collaborative efforts One reason why Nusrat made it in the West is because of his teaming up with Peter Gabriel and Michael. These musicians belong to the West and collaborating with them gave Nusrat an opening. After Nusrat, no other musician has been able to collaborate with Western musicians. There is news that Salman Ahmed has recorded a song with some Western musicians but until it releases, all hail Nusrat Fateh Ali Khan.
By Bilal Tanweer Pop in Pakistan has been quite a story. From fledgling beginnings, when it was taken to be no more than a passing fad of the young destined for the dustbin, to becoming the mainstream itself some thirty years onwards, pop has not only survived but has now established itself as synonymous to music. Its success, however, has not been a straight-lined path. It was a result of multifarious phenomena, including huge infusion of corporate money coupled with media and advertising boom, state policies, and not to mention, the attention gained in the neighbour-next-door. The arrival of pop Traditionally, films have been the incubators of popular music and cultural trends in general. And, it is generally argued that pop in Pakistan arrived with 'Koko Koreena' in 1966 from the film, 'Armaan'. However, films generally inclined towards traditional musical genres of ghazal and geet. That, of course, changed with Zia era, which is a watershed in Pakistan's cultural history. Aside from wreaking havoc with social and political institutions, Zia's cultural policies irreparably marred the formal and informal cultural institutions of the country in the name of religion. Artists found themselves vulnerable, and in need of financial patronage. Ironically, it was at this time, that pop found space in media and popular culture for expression. In India, part of the reason why pop has not taken off as it has in this country is because of the overwhelming dominance of the Bollywood music. Nadeem Farooq Paracha, one of Pakistan's most virulent cultural critics, agrees. "Due to the regime's myopic and reactive cultural policies, [most people] took their entertainment indoors (VCRs, etc.). This trend dragged them away from cinemas and, thus, local film music. They got closer, however, to Indian film music and western pop. The happening eventually started changing their taste and, by the time the Vital Signs arrived, the local music tastes had changed quite a bit." Closer to our times, it was again state policies which brought Pakistani pop music to the fore, when the Pakistani state banned Indian channels. Indus Music (IM) became a household name and Pakistani pop gained ground like never before. The media boom From the days of PTV to these times when channels have sprouted like procreating rabbits, TV channels have been the mainstay of the pop culture. Indeed, television programmes like Music Channel Charts (MCC) and Pepsi Top of the Pops are indelible signposts in the history of Pakistan pop-history. These programmes were instrumental, if not the sole instrument, in promoting and popularising young pop acts like Abrar-ul Haq, Najam Shiraz and Fakhr-e Alam. The swell in multinational companies' advertising budgets and increase in the number of channels pop took off, and with the arrival of MTV in Pakistan erased all doubts about the potential of the local pop industry. FM radios have been the other major reason for the recent boom in pop scene. Through the airwaves, radio stations provide the exposure that pop artists lacked in the days of the sole, state-sponsored station. Pop's honey, corporate money Pop, because of its resonance with the masses, is the favourite fodder of the corporate money, and nothing lures brands like a rising pop icon. Corporate money fuels, propels and claims the pop artists to the degree that the stars become synonymous with the brands. Hence, Vital Signs will always ring the name of a soft-drink label in Pakistan. Nadeem Farooq Paracha also believes that the rise of the pop in Pakistan is a direct result of the rise in the corporate money. "Even today, if, hypothetically speaking, most of the sponsors decide to pull out their money, a good 70 to 80 per cent of the so-called scene will dissolve and so will most music TV channels." Sameer Ahmed of Co-Ven says, "The only way that people can make money off music in this country is through concerts. And concerts can only offer a return if you have a sponsor to foot the bill. Otherwise, if left to our own devices, given the entertainment tax and other expenses (62 per cent on the total ticket sale of commercial concerts), we will never be able to make any headway." With the influx of corporate money, a related development has been packaging. With the rise of the stakes and the money involved in the music industry, the quality of music videos has changed immensely. Now one finds visually and conceptually rich videos like Ali Azmat's 'Na re na' or Sajid and Zeeshan's, as opposed to bland visuals and lifeless videos not so long ago. Same goes for the social stature of pop artists as well. Cultural ambassadors of Pakistan are no more those associated with classical or traditional arts, but pop stars. Ground beneath pop's feet If pop is so inextricably fixated towards luring corporate money, where does one look for those who make music for the love of it? Underground music is where critics point. Underground music in Pakistan can be compared to 'good theatre' in this country; both are rare and survive on a small audience. Sameer Ahmed, while discussing underground bands said, "In days when there weren't sponsors, bands had to work really hard at being good at live performances... There was no other way to survive. Now, because there is so much money involved, people's focus has strayed from music." Indeed, underground music survives and thrives on live performances, and because the audience is so limited, artists have to work really hard to garner support and develop a fan-following. However, even if bands such as these come up with an album, their appeal is not wide enough to make the album a 'hit'. And aye, there's the rub! Turning to future "The future of pop music in Pakistan depends on the future of corporate capitalism in the country. As long as multinationals will be interested in sponsoring musicians, there will be pop scene," argues NFP. It is true, but it is worth pondering where is pop -- or music -- headed in this country? With positive arrivals on the pop scene of bands like Mekaal Hasan Band, Arieb Azhar and Fuzon, the corporate money does not seem to be the sole determinant of the direction that music is taking in this country. However, there can be no gainsaying the importance of state-patronage in moving and shaping the cultural consciousness; and even at the cost of sounding incredibly (even fantastically) optimistic, state needs to play a role. The need for cultural institutions and cultural infrastructure is urgent and pressing and the work done by reactionary government policies in the past has to be undone. That said, because corporate capitalism defines pop scene, NFP is right. But if nothing else, the growing diversity in the local pop scene is promising. The industry is in its infancy, and the ground for take-off is being prepared. How the flight will be, is anybody's guess. Bollywood-boundThe divas and doyens of pop industry are eyeing opportunities in India, and how By Usman Ghafoor It is now popular belief that a music band that wants to give its no-great-shakes career a shot in the arm, should beat the path to Bollywood's door. Ask Xulfi, Call's bassist, how the group crooned back into the limelight (overnight, literally!), thanks to just one 'single' for the recently released Indian film, 'Ek Chalees Ki Local' - after being almost annihilated from the face of the earth by the likes of Noori and even Karavan. What's more, the song, titled 'Laree chhootee', brought out the singer in Xulfi who had till now been seen strumming the guitar in the background. God knows, 'Laree...' has left Call's lead vocalist Junaid Khan to take serious stock of the situation. In much the same way, it took Shafqat Amanat Ali a mere 'Mitwa' (from Karan Johar's magnum opus of last year, 'Kabhi Alvida Naa Kehna') to make the most crucial decision of his career - that of going solo. Although rumour had long had it about the now-former vocalist of Fuzon growing apart from his band mates Immu and Shallum, it wasn't until Shafqat actually went to Mumbai and had a taste of Bollywood that we first heard of a 'split'. Perhaps, it was the hangover of having given playback for THE Shahrukh Khan(!). As 'Mitwa' mounted the popularity charts, so did Shafqat's excitement. Although his next filmi outing, 'Yeh honsla' could not repeat the magic of 'Mitwa', these are precisely the two tracks Shafqat now famously performs at any given concert. And, boy, does he make a crowd asking for more! The question that arises is: What is it about India that pulls these people in like nobody's business? Is it the lure of big bucks, or the kind of huge market that they are offered? According to renowned music journalist Fasi Zaka, "The ultimate pipedream of most artists, whose musical tastes have been developed through western rock, is to go international. Bollywood is metaphorically now the bad end of town in Hollywood, but it is just a street away. Nusrat Fateh Ali Khan went international into Eddie Vedder's work by first breaking into India and then getting references to the West from Indians who recommended him enthusiastically. Everyone else is hoping for the same story to play out in their careers through their foray in Bollywood." 23 years old Atif Aslam has already hired an agent in India. Besides, he has inked a highly lucrative deal with TIPS, a leading Indian recording company that released and promoted 'Doorie' in a big way. As a favour, Atif is also recommending the company fresh voices from Pakistan. Recently, he put them through to Ahmed Jehanzeb. Mustafa and Rafaqat Ali Khan also bagged Mahesh Bhatt's 'Awarapan' because of the Atif-connection. Atif's own cordial relationship with Bollywood goes back to the 'Aadat' days when the Bhatts, known for having a keen eye for Pak music prodigies, hit upon the mega successful track over the internet. The next we knew, they had called Atif over, and signed him on for a couple of more ditties. Today, two chartbusters ('Woh lamhey' and 'Tere bin') later, Atif is a household name in India and also in parts of the world wherever there is an audience for Indian film music. Arch rival Jal has followed suit, releasing its choicest tracks in India, with great success. Likewise for Ali Zafar whose fan base among the Bollywood-crazed nation has only grown bigger post-'Masty'. Strings have also carved a sophisticated niche for themselves, not just with their best hits but also a couple of film collaborations such as 'Yeh hai meri kahani' (from the Sanjay-Dutt-Anil-Kapoor-starrer 'Zinda'). Earlier, we saw Ali Azmat lending 'Garaj Baras' to Pooja Bhatt's 'Paap'. There are other Pakistani pop bands who are eyeing opportunities in India. They are planning gigs and hoping to cut albums across the border, in the hope of getting a larger market. However, this is not the only reason why they are raring to go to India. To quote Atif, "India also offers us better quality sound and a more effective publicity. Besides, their copyright laws are well protected." India also means "more creative freedom" (in Ali Zafar's words). If you saw the skimpily clad bar girls cavorting around Ali in 'Sajannia', you'd know what. Ditto for Atif's 'Doorie', 'Hum kis galli jaa rahe hain', and now 'Ehsaas' - all of which boast at least one screen hug or a dance sequence that would never escape PTV's censor clippers. But, these videos sell well. And, as long as they do, the pop stars have no complaints. Going to Bollywood also has its downside. When Jawad re-recorded 'Bin tere kya hai jeena' in India, he had to sacrifice the tone of the original, with the result that the track did not exactly become a superhit. In the words of Fasi, "The commercial scale of India allows artists to finance what they really want to do. Odd as it sounds but India ends up getting second rate commercial product from Pakistani artists. For example, Call does straight rock in Pakistan but filmi pop for India that could easily have been made by Sonu Nigam. There is no equivalent of a hard rocking Call in India, though. In the same way, Atif has an album release in India and another one for Pakistan, and the Pakistani material is the one in which he wants to take risks artistically."
By Aziz Omar Pakistani
television channels have come a long way in promoting the popular music
genres. Early popular music stars such as Runa Laila, Ahmed Rushdie and then
later Alamgir did get to have their videos receive airtime, albeit only in
random slots or injected in entertainment shows. However, it was with the
advent of a modernised form of Pakistani music in the late eighties that
popular music really took off on TV. Heralded by the likes of Nazia and Zoheb,
Vital Signs and, later, Junoon, music shows such as 'Music 89' set the stage
for regular doses of mainstream melodies. Another hugely popular show was the 1993 'Music Channel Charts'. Ironic, considering that there was no exclusive Pakistani music channel back then. Hosted by the original bhangra-rap boy Fakhr-e-Alam, the programme brought the now defunct bands such as The Sequencers, Fringe Benefits and Arid Zone into the limelight. Yet it was acts such as Junoon, Sajjad Ali, Hadiqa Kiani and Vital Signs that kept things alive and kicking by releasing their videos. It was them that fuelled the music shows of the late nineties such as 'VJ' and 'Top of the Pops', the latter being sponsored by a beverage company. The era of corporately sponsored programming had arrived. In a lamentable trade-off, although it provided the funding to launch infotainment television channels liberally sprinkled with gaana bajana, it significantly stifled idealistic compositions. These days, the concept of 24-hour music channels has sunk in quite well, what with four of them to boot. Initiated by one that has now had a face-change as a subsidiary of the global MTV network, annual award shows are now held to promote and acknowledge the musical palette of our country. The music mania is not just limited to the dedicated channels. Even those featuring infotainment, drama serials and sit-coms have frequent injections of music videos. TV plays are now having their soundtracks being put together by established musicians, whereby providing another avenue besides our local films. But, things were really shaken up when our gaanewalas started getting more and more airplay on Indian music channels, which was later followed by movie soundtrack deals. Strings' latest offering of 'Akhri alvida' is featured in the film 'Shootout at Lokhandwala', while Atif Aslam has had a number of his tracks adorn the music of different Bollywood flicks. With VJs becoming household names and celebrities in their own right, Pakistani music channels along with the featured videos are doing a fabulous job of weaving together fashion, art and various musical genres.
By Sarah Sikandar Teenagers dancing feverishly in dim lights to loud music tell you that you are at a gig. Gig nights or jam sessions -- usually arranged by amateur bands -- is a platform for young musicians and a way for them to show their work to others. But Murad, 27, who has been playing for many years, thinks not everyone who plays music should be considered amateur. "Today, it has become a fad, anyone can pick up a guitar and start playing. Technically, if you do not have proper education for a certain thing you are an amateur." Murad says that in the West one gets proper training for music in schools and homes and one is even able to study music. "Over here you learn on your own and only a few move on. But because of the rapid expansion that the industry has experienced over the last five years, you have many amateur bands coming up like Noori. Secondly, it has gone a lot into school level. Earlier it was only underground." He says that there are many amateur musicians but most of them are mediocre. "Even those who become famous are not so because they are good." 21 year old Mustafa's claim to fame is that he learnt to play keyboard from Adnan Sami Khan as a young boy. He plays at college functions or friends' get-togethers and has composed many times. He says, "It is amateur musicians who are now making up the whole pop scene. Jamming and gig nights bring them into the limelight. When a group of different musicians who play guitar or piano drums get together they definitely produce something good. "Since we don't have any music academies," he continues, "these people should really be appreciated. Earlier, listening to Pakistani music was considered boring and old-fashioned but now if a person stands up and starts playing guitar people actually acknowledge him. This is mainly because people are doing good work and making money also." Mustafa believes that it was amateur musicians who put the Pakistani pop on the map. Very optimistic about amateur music scene, he says, "our amateur musicians will go far and the examples are the people who were amateur six years ago but now they are celebrities." Yawar Ali Khan, 20, plays guitar with an amateur band named Jackit Potato and they play classic rock. He says that youngsters like him are interested in playing music and listening to it, and that is where the love for music comes. "That is how musicians eventually rise. It basically depends on how determined they are to take it further." Yawar doesn't agree with the notion that the bands that are successful are essentially good. "There are many amateur bands that are better than the professionals. It just depends on the publicity and the sponsors." Talking about managing finances, Yawar says, "As far as the maintenance of the studio or instruments is concerned it is every man for himself. For gigs we pool in money." But it seems not all parents are willing to accept their children as professional musicians. According to Yawar, his "parents are fine with it as long as I take it as a hobby." Saad Awan, 21, a young musician, refuses to be called an amateur "...because I have been playing for a very long time. I have composed music but I don't do music to become famous." He critisises mainstream singers like Ali Zafar and Atif saying they need to learn a lot about music. "People around the world would laugh at their videos." "Bad amateurs are not contributing rather distorting. It is amateur bands like Mekaal Hasan and Mizraab that are truly contributing." Saad is quite cynical about the amateur music scene in Pakistan. He believes that amateur musicians in the country can't come up because the industry is not supportive. "No one is willing to spend capital on amateurs to make them professionals. They cannot excel unless they are given an environment where they can practise." Saad's parents are among a few people who encourage and support their children's serious interest in music. His father says that he needs to prove himself first for them to spend any money on him. Saad, on the other hand, says if they want him to be successful they need to spend on him. Saad's passion for music is evident when he declares, "Music lives in me." Ahmed Shahzad Masood, 17, played for some time with the band named Zeek and plays alternative rock. He did a couple of net courses and got help from young musicians like Xulfi. "I saw them play and tried to copy them. I learnt a lot this way." Ahmed says that amateurs make a name for themselves by playing at concerts, free of cost. Once they get themselves noticed they start charging for the concerts. "Amateurs are people who have a passion for music. To show people that you are doing something you need a lot of practice." He says that there are many amateur bands right now "but they don't know what they want to do. There are many bad bands who defame those who are doing good work." He believes that TV channels should audition amateur musicians first and only the good ones should be promoted. Ahmed wants to be a professional musician but not without keeping his options open. Although amateur music scene seems to be thriving, it also makes one realise the disparity between classes. Most of the youngsters from privileged backgrounds appear to be spending money and time on music. Keyword: Talent! A majority remains self-taught -- constantly trying to improve their productions By Sonya Rehman What really makes a 'good' musician or singer? Is it the ability to hit higher octaves? To perhaps play an instrument with such fluid vigour that it leaves audiences enthralled? Or is it the knack of 'performing' to captivate? See, the terms 'good' or 'bad' are highly subjective -- as both are slightly tainted and perhaps just too 'black and white' for comfort. But, being a 'good' (in every sense of the word) musician or singer requires the gift as well as the passion for the art. Without each, the artiste is sure to face uncomfortable pitfalls and jolts in frequent succession throughout his/her career. Which brings us to another vital question: does professional training in the arts (in this case, music), aid in honing and 'fine-tuning' the artiste? While some may state that it does and others, that it doesn't. Allow the question to dangle in mid-air for a while -- because it solely depends from musician to musician, singer to singer. Answering the question in an affirmative (or negative) would again mean being utterly subjective -- just as you'd juxtapose 'bad' with 'black' and 'good' with 'white' (what a riot!). Regarding Pakistan, a majority of its musicians and singers are purely self-taught. In the mid '90s, for example, Lahore's 'underground' acts learnt guitar tabs, notes, riffs from one another as the 'scene' at the time was small -- where each musician not only knew one another, but also played and jammed with each other at gigs and concerts. And today, while some musicians and singers still undergo training (or have been under the tutelage of an ustaad or teacher), a preponderance remains self-taught... constantly bettering and reforming their productions via self-instruction. In the present day, with the ever-so-rapid technological advancements -- playing, producing and modifying songs/albums is not as 'start from scratch' as it used to be (welcome to the digital world!). The assortment of software/mixers available to musicians is limitless in addition to being constantly upgraded and advanced. However, mind you, doing everything on your own from start to finish gives the final product so much more depth rather than snaking through the short cuts! The options for professional training in the art and delivery of music within Pakistan are vast -- as in and around each city, sit pockets of little art and music schools to aid amateurs (and even the skilled). For example, in Lahore, Alhamra, for years on end, has offered a variety of music classes (each summer) along with Lahore Chitrkar which provides singing, dance and music lessons. In Karachi, too, the National Academy of Performing Arts (NAPA), stands as the chief nucleus for the arts in the country. Therefore, it would be safe to state that the training options for aspiring musicians and singers are not few and far between. So, the question here really is not how imperative being a trained musician/singer is -- rather, how genuine, creative and original the individual as an artiste is... as one can remain run-of-the-mill even under professional tutelage. Being original, with a flair for playing a particular instrument or singing a song (for that matter) in a certain way is inherently 'in-built' -- nestled within the core of the artiste. And that is what is crucial. Tweaking the talent comes later. Much later. The trend of young people making music, uploading it on the net, and holding gigs, has significantly increased By Maria Tirmizi Islamabad is famous for being either a retirement home for the elderly or a snotty bureaucratic haven. That perception should now be discarded, considering that the children of the 1990s are all grown up now and have discovered a penchant for ear-shattering, heavy rock. This discovery has resulted in the emergence of many underground bands here in the capital city, most of them into heavy rock. Taking inspiration from classic rock bands like Pink Floyd, Metallica and Led Zeppelin, these underground band members are mostly students with many conflicting priorities. Though they want to make it big in the world of show business, they seem to be taking it slow and easy -- some busy with school, others with work. Lahu, Saturn, Irtash, Nafs, Sketch, Silver Smoke and Needlework are just some of the well-known underground names around town, with the list ever growing. Here in the capital, you find no bhangra and almost minimal pop. Heavily concentrated on rock, most of these bands take offence to the word 'underground'. That term, they insist, apply to bands who want to remain a cult phenomenon. These musicians, on the other hand, do want a large fan following, but preferably on their own terms, without compromising on the content and style of their music. Though these bands are making great original songs like Lahu's 'Daira', Saturn's 'Rakh' and 'Kuch Nahin', Nafs' 'Nafs' and 'Khwab' and Irtash's 'Kali Raatain', you will find most of them complaining about Islamabad being a neglected city, with no sponsorships to crack and negligent media attention. Some, like members of Saturn, call it a bias; others like Lahu, feel that there is no such music industry in the country as a whole, with no royalties or artist management companies to promote emerging talent like the one developing in Islamabad. Sarmad Ghafoor, a well-known music producer and guitarist, feels that there is no commercial market for rock music in Pakistan. Maybe musicians in Islamabad haven't gotten the limelight they crave because their music doesn't appeal to a widespread commercial crowd. Another famous music producer and guitarist of the capital city Zeejah Fazli, feels that Islamabad has its own unique take on rock, which is mostly grunge and metal, and that a lack of music industry presence in Islamabad has a positive side, too, making the city free from celebrity wars and needless snobbery. Because of that, you will find different bands sticking up for one another and supporting each other's music, as if trying to prove a point: that Islamabad has talent. Venues are very important for underground bands, since they need to practice and perform. Apart from practicing in front of live audiences at college functions and NGO sponsored events, most of these musicians head out to Civil Junction, the small snackbar that lets these bands perform for free. It is a magnanimous effort by cafe owner Arshad Bhatti to promote local talent. Even then, the room provided by CJ is small and stuffy and doesn't allow a crowd of more than 50. To fix this problem, Zeejah Fazli has just received approval from CDA for a project called The Rock, which is a one acre land that will have a 24-hour, fully-equipped stage for an audience of almost one thousand, jam rooms for practice sessions, cabins for recording around 10 to 20 copies of CDs and plans of turning the place into a music institute. A very ambitious plan, it would go a long way in helping the rock scene here grow even further. Not only is Islamabad producing different bands and artists, there are also talented musicians like Sajid & Zeeshan hailing from a deeply conservative place like Peshawar. Then there is Shahab and Nazeed from Peshawar who define their music as e-rock (electronic rock). The trend of young people taking music in their own hands, writing and composing it themselves, and putting it up on the internet to control their own promotion has significantly increased. It remains to be seen how many of these underground acts will actually make it big someday, but for them the struggle will continue while they simultaneously juggle other priorities in life. From lost lovers to disco themes to corruption, chaos and surrealism, music videos in Pakistan have evolved tremendouslyBy Maheen Sabeeh There is always a debate going on in the minds of the viewers as well as musicians in Pakistan as to what a music video really is. In simple terms, a music video is about an attention-grabbing image. That said, the video is also an important tool of communication between an artist and the viewer. In this era of technology and graphics, music videos have become more stylish and sophisticated than ever. Interestingly, despite not having access to world-class facilities, our directors are not lagging far behind. In fact, it is safe to say that last year alone was a testament to how far this medium has come. Remember the videos of 'Meray Log', 'Teri Parchaiyan' and 'Chal Rein Dey'? Music videos have been infinite in number over the last decade. But the trend actually began here in the eighties when the brother-sister duo Nazia and Zoheb Hasan came onto the scene. With exquisite graphics, flying carpets, lions and interesting storylines -- it was these two who gave the genre of video-making a new lease on life in Pakistan. The videos of 'Aag' and 'Pyar Ka Jadoo' come to mind. As music progressed, so did videos. The nineties saw bands like Vital Signs, whose videos
while not always original in concept had a beautiful quality to them. They
showcased the natural beauty of Pakistan, the lush mountains, the 'gaon ki
gori', the various cultures and again, some fantastic graphics. The mid and late nineties saw bands like Junoon, Awaz and soloists like Sajjad Ali, Najam Shiraz and Ali Haider make it big. Junoon's video of 'Sayonee', with its themes of pain, agony, lack of education and poverty made a thought-provoking statement. Another video from the nineties worthy of mention is 'Mr Fraudiye' that was the first collaboration between directors Saqib Malik and Asim Reza. Featuring style guru Tariq Amin as a bad man, it took a swipe at corruption that exists in the country. The new millennium has seen a wave of music video directors like Saqib Malik, Zeeshan Parwez, Sohail Javed, Asim Reza, Babar Shaikh, Ahsan Rahim and Amena Khan who have collectively given music videos to audiences that offer food for thought and a leg to stand on. Over the years, Pakistani music videos have taken cues from history and moulded them in such a way that it remains a delight. One video that did so exceptionally well was Shoaib Mansoor's 'Anarkali'. To recapture the Mughal era in just five minutes of screen time is no easy feat but Shoaib Mansoor did it. And with a bang! The video did not focus on Anarkali's love for Prince Salim but her defiance against Akbar the Great. And now there are the bold gestures of videos like Ali Azmat's 'Na Re Na' that was directed by Saqib Malik. A cross between heaven, hell and purgatory with demons and angels - it was surreal and interestingly enough, a video that showed life on the edge. As hard as it is to believe, animation has also found its calling in the Pakistani music video genre. In 2005, Zeeshan Parwez created an animated video for 'Freestyle Dive' that touched themes of poverty, suicide and societal pressure -- in one go and managed to strike a chord with audiences. Zeeshan created animated magic yet again last year with 'Teri Parchaiyyan' that showed a drowning city with a young boy lost in the world but he survives as dolphins and an eagle continue to rescue him. It was another gem of a video. Over the years, music videos have come to symbolise human emotions of all forms, societal norms, illusions and reality. They are a far cry from the simple yet stunning art that was given to us by Nazia and Zoheb Hasan and Vital Signs. Today, it is videos like 'Teri Parchaiyan' with a storyline that set the path for others to follow. Radio and music have always co-existed, long before the onslaught of FM's...Radio and popular music have always had a very significant relationship. Radio has often acted as a barometre and trendsetter of musical taste, and radio airplay is one of the defining measures of success in the mainstream musical world today. When Pakistan gained Independence in 1947, it inherited two radio stations. One in Lahore and the other in Peshawar, with another one that started in Karachi in 1948 and till the early 1990's the state run Radio Pakistan was the pre-dominant radio station in the country. Music was one of the major cultural traditions affected most by the division of the sub-continent. Pakistan inherited a large number of front ranking artists but the large network of patronage rooted in the wealthy Hindu and Sikh middle class was lost. Radio was the only established institution at the time to which musicians could turn to. For music, radio was the most important state institution that emerged in the British era and continued to retain this unique and influential position well after Independence. It substituted the princely states' patronage towards musicians of note. Well known musicians had a princely lifestyle and only states could afford them. Radio made such musicians more accessible to the masses. Z.A Bokhari who was the first head of radio in Pakistan is deemed to be the crucial figure behind popularising music through radio. He had a keen interest in classical music. His musical interest ensured that music had a handsome contribution in all radio programmes, and radio was thus able to provide jobs to a lot of musicians as members of orchestra and composers. Till the advent of television in 1964 and much later (not everyone afforded a television set) radio was king, and under it popular music that mostly included ghazals, geets and film songs thrived. Radio made stars of singers such as Farida Khanum, Noor Jehan, Amanat Ali Khan, Mehdi Hassan and many others. However, with the onslaught of technology in the coming years of bludgeoning video cassette players, widespread televisions of English music videos and internet email boxes, it seemed that somehow the state run radio with its slow, articulate voices and songs of yesteryear got lost in its own nostalgia, foregoing what was popular among people in terms of music. It seemed that the radio's honeymoon with popular music was over. But, in 1995, a new radio station emerged. With its famous intro 'Assalam-O-Alaikum Pakistan' FM 100 captured the hearts of hundreds of people. Its success came from the fact that its hosts commonly known as RJs (Radio Jockeys) were young and energetic and, most importantly, they played music which they heard around them. Other features that helped its success was playing English music and the inclusion of listeners through live calls where a listener could talk about a given subject and request any song. The rate of popularity in reviving radio can be judged from the fact that since 1995, 8 new radio stations have started operating in Pakistan, infusing new life into popular music. A whole market has formed in radio stations such as FM89 and Radio One that cater mostly to high end English speaking crowds, while others such as FM101 and FM103 try and cater to the general population.
In
concert with corporate sponsors
The debate on the independence of the musician being affected by the market has been raging forever, and the queue of musicians outside the doors of corporate sponsors seems to be similarly never ending.
While it is difficult to put a price tag on creativity, most sponsored
musicians claim to find a balance. These musicians claim to give in to
corporate influence only for a small number of songs, the rest are based on
their own creative instincts. This arrangement allows them to use the money
from the sponsors to continue indulging in their creative passion, which
allows them to produce music loved by us all. So, the next time you see Ali Azmat crooning about the lowest charges of a local telecom operator or Ali Noor raving on about the utilities of a sweet with a hole, please realise they are doing this only for your listening pleasure -- only a means to an end. It is only natural then for us to witness sponsored songs, sponsored albums, sponsored videos and even sponsored concerts. Jamshed is a 20 years old student of engineering, who has a passion for music and an even greater passion for money. Over the last three years Jamshed and his friends have arranged four concerts and generated a total of Rs.0.6 million. "Our first concert was the biggest success but earned us the lowest amount of money, because we had little sponsorship. No one was willing to invest in our endeavour as we were absolutely unknown in the field. Once we had successfully pulled off a major concert with two of the biggest names in the music industry, we were in a better position for our next concert. One of my friends, who is an IT student, created a presentation with footage from our first show, and we gave this presentation to almost 13 corporate sponsors, ending up with four major sponsorships for the concert," Jamshed tells TNS. According to Jamshed, money generated from the four sponsors was enough to cover the costs for marketing the event, booking the venue and even making the payments to the bands. "This meant that the entire proceeds from ticket sales went into our pockets, less the portion we donated to charity of course," explains Jamshed. Jamshed claims to have sold more than 1200 tickets for that particular concert at a rate of Rs 300, which means a cool profit of Rs 360000. According to Jamshed, all the sponsors got was brand placement and a hundred tickets each. Not bad business sense for a group of 18-year-olds, and the event was a huge success -- the fans were happy, the sponsors were happy, the bands were happy and the organisers, well, they've never been happier. So, as far as Jamshed is concerned, it's 'Long live corporate sponsorship and musicians that embrace it!'
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concerts, underground bands, hundreds of thousands of amateurs running a
parallel show, we are witnessing a phenomenon. 
