Pakistani Pop Music

Written by Faiza Kamal

Name: Faiza Kamal Article: “Pakistani Pop Music “

Pakistan is blessed with talent and when we talk about Pakistani Music, you can never stop picking up one ofrepparttar best Pakistani pop song uptill now because there are number of such hit songs nobody can judgerepparttar 110061 best one in past decades such as "Dil Dil Pakistan” , “Huwa Huwa”, “Mehndi ki Raat”, “Na Kaho”, “Dil Haray”, “Ankhain Milanay Walay”, “Wakt”, “Neeli Neeli Ankhain”, “Jaisay Chao Jeo”, “Garuj Burus”, “No More”, “Ankhoun ki Sagar”, “Na Tu Aigi”, “Addat” leftrepparttar 110062 audience agape and many more. Our artists' are popular all overrepparttar 110063 world. Many new talented artists in Pakistan are still working hard to bring quality Pakistani music. We can easily judge Alamgir asrepparttar 110064 pioneer of music industry who's first big hit was "DEKHA NA THA KABHI HUM NAY YEH SUMMA", and remainsrepparttar 110065 song he is still most identified with, though later songs such as "Yeh Shaam Aur Tera Naam" and "Mein Ne Tumhare Gagar Se Kabhi Pani" continued to add to his composition. Alamgir, it must be said, laidrepparttar 110066 groundwork that countless others used to break intorepparttar 110067 music industry. He not only sang well, he was a performer inrepparttar 110068 true sense ofrepparttar 110069 word. There is no denying Alamgir’s contribution torepparttar 110070 evolution ofrepparttar 110071 pop music genre in Pakistan. NAZIA HASSAN wasrepparttar 110072 first one to crossrepparttar 110073 forbidden Pakistan-India border to sing in an Indian film called "Qurbani" which was "APP JAISA KOI". And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release "DISCO DEEWANE" which becamerepparttar 110074 biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, "Boom Boom", in 1984. This second collaboration with Biddu,repparttar 110075 undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point inrepparttar 110076 pop history. And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named "Dil Dil Pakistan" in 1986. Their album released in 1987 with gems like "Yeh Shaam" and funky "Goray Rung Ka Zamana". Then came Jupitars with their evergreen hit songs “Yaroun Yehi Dosti Hai”, continued with Hassan Jehangir’s “Hawa Hawa” in 1990, "Sanwali Saloni" by Vital Signs in 1991, "Sar Kiye Yeh Pahar" in 1992 byrepparttar 110077 Strings, Sajjad Ali’s "Didi" ripoff "Babia" in 1993, Najam Shiraz’s "In Se Nain" in 1995, Junoon’s "Saeein" in 1996 or Awaz’s "Mr. Fraudiye" in 1997. Junoon came intorepparttar 110078 race with their World Cup Hit song “Jazaba-e-Junoon Tou Himat na Har”. This is only to be expected in a growing industry. Perhapsrepparttar 110079 biggest unexpected success of an experimental song, however, was Sajjad Ali’s street-wise 1995 hit "Chief Saab". Full of Karachi slang and tough imagery, "Chief Saab", perhaps more than anything else signifiedrepparttar 110080 coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion ofrepparttar 110081 pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gaverepparttar 110082 music for Hollywood movies and as well as for many Bollywood movies too. The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success withrepparttar 110083 haunting "Saeein" to recast itself as a completely different sort of band. Here we saw pop again intersecting with folk and vice versa.

Tired of trashy TV? Try an old-time treat!

Written by Ned Norris

Americans love to be entertained, though most of what passes for entertainment these days isn’t that good.

As almost every viewer and listener can attest, consumers seeking objectionable material need not look too far, says Ned Norris, president of RUSC (RU Sitting Comfortably?). "Too much of today’s television and radio is simply trashy. People get tired of that."

Almost every channel features a reality show that does not resemblerepparttar reality of most Americans. Daytime soaps and talk shows glorify lives and relationships built around sex and deceit, and prime-time shows offer prime examples of societal ills. Radio can be just as bad, with profanity in rock-’n-roll and rap lyrics, and talk shows that lean heavily on hatred and sexual innuendo to appeal to an increasingly cynical audience.

"This country has an insatiable demand for entertainment media," Norris says. "But adults who want to listen with their kids, or just to enjoy programming that’s well-written and creative, have fewer choices today than they once did.

"Fortunately, old-time radio has it all: Comedy that’s honestly funny without exceedingrepparttar 110060 bounds of good taste. Drama and suspense from an era when writers had to depend on their skill with words, rather than flashy special effects. Variety shows, quiz shows, westerns, and stories for kids."

RUSC has a library of more than 5,000 episodes of old-time radio shows for every taste. The company adds another 20 to 40 every week.

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