When asked about his future projects, Shaan said that he will be starting his first film in December this year. It’s called Chup, a minglish (Urdu English) film and the music of the film has been done by the talented duo Zeb & Haniya and Rahat Fateh Ali Khan is also there while Omran Shafique has arranged the music and the background score.

Says Shaan, “I was waiting for the winters to show up because I love shooting at that time of the year. It’s called Chup, a minglish (Urdu English) film in which Mashal Peerzada has done the scripting while the music has been done by Zeb & Haniya. Rahat is also there. Omran Shafique has arranged the music and the background score. We plan to release the film by the next year and then start working on the second project after a three to four month break.”

Shaan also expressed his views on the Pakistani singers like Ali Zafar, Atif Aslam (he is in Shoaib Mansoor‘s Bol) and Fawad Afzal Khan (Khuda Kay Liye) who have turned to acting. “Well, I think they can do what they feel like, it’s a free country! If they think they have acting talent, great! They have the freedom of speech! But I think, music itself is a separate life. If you look at Hollywood, the Doors never did a movie and neither did Bon Jovi! Singers should stick to their identity. If your album is not doing well, it doesn’t mean that you start doing films! I am not saying they shouldn’t act but see, I also play guitar and have a band. But, we never go commercial because it’s not our job. It takes a lifetime to become a big band or artist. The only thing lacking here is focus. If one doesn’t focus on his job, one can’t become a classic. One becomes a trend and trends change.”

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The reliable source also said, “no one is actually a lead in BOL they all have some specific role but no one is lead!!”

The film will not be releasing in early September but some time after EID.

But well whatever, we are still going to watch the movie because of Atif, won’t we?

Catch All Hot Stuff of BOL

Visit its Official Website and Facebook Page

[Thanks Gulraiz for sending this in]

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BOL – A film by Shoaib Mansoor
Starring : Atif Aslam – Humaima Abbasi – Iman Ali – Mahira Khan

Release Date: Early September, 2010

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Copyrights © kamijee. All rights reserved, 2010

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- Source:
Noah Ibrahim
Hadiqa FB Management

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Click on the image to download

Pal was taken as ‘ Jaine Jaine ‘ by Shoaib Mansoor for movie Khuda Kay Liye – song originally written and composed by Sami Khan (Lagan)

Band Members :

Sami Khan – Vocals / Compostions / Lyrics / Rhythm Guitars
Farhan Ali – Bass
Saad Ul Hassan – Keyboards / Backing Vocals
Vocals : Sami Khan
Keyboards : Saad ul Hassan
Bass : Farhan Ali
Guitars : Xulfi (Call)
Drums : Fahan Khan

Written & Composed by Sami Khan
Produced, Mixed & Mastered by Xulfi at Xth Harmonic Studio

Official Website : http://www.laganonline.net

Lyrics:

Tum Mano, Ya Na Mano
Dil Mein Kya Hai, Yeh Mere Jaane

Kitne Armano Se Aye Yeh Pal
Ak Main Hoon, Ak Tum Ho
Tesra Aur Koi Nahin Hai
Hai Khawab Se Gungunganate Yeh Pal

Tum Mano, Ya Na Mano

Sapno Mein Tha Paya
Yeh Pal Kaise Aya
Main Janon, Na Mera Dil

Tum Mera Haath Thamay
Is Pal Ko Sajao
Na Jane Kyun Chahe Yeh Dil

Dil Tu Dil Hai, Dil Ka Kya Hai
Yeh Apne Bus Mein Kahan Hai
Dar Hai K Bheet Na Jayein Yeh Pal

Tum Mano, Ya Na Mano

Tum Is Pal Ko Jaano, Kehna Tu Mano
Phir Yeh Sama Aye, Na Aye
Yeh Lamhein Suhane,Kal Houn Ya Na Houn

Tum Is Pal Ko Jaano, Kehna Tu Mano
Phir Yeh Sama Aye, Na Aye
Yeh Lamhein Suhane,Kal Houn Ya Na Houn

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Not that we don’t appreciate Call but since their days of Bollywood, the aggression and the passion that made the rock band and its lead singer Junaid Khan stand out from their first single, ‘Nishaan’ has all but disappeared.

Xulfi maintains that if Bilal Maqsood of Strings can sing and Gohar Mumtaz of Jal can sing (while being lead guitarists), why can’t he? He can but maybe flying solo would work best at least for him.

As is, EP is making a return minus Xulfi. EP’s Irtiqa was explosive stuff. And seeing them return is a welcome. Adding Junaid Khan – whose star shone high in the video of ‘Ho Jaane Do’ off the upcoming Call record Dhoom – would give Fawad Khan an interesting partner. The two can channel Scott Stapp like magic. And Junaid’s voice has that rough edge to it that would bode well with EP as opposed to Bollywood jingle-like tunes.
As for Xulfi, he’ll do just fine. As long as he can continue to create songs like ‘Laaree Chootee’, he’ll be just fine.

What if
…Khuda Kay Liye was made with Junaid Jamshed and Ali Zafar as originally planned?

While the film was eventually made with Shaan and Fawad Khan in the lead roles, director Shoaib Mansoor originally planned for it to be made with Vital Signs singer Junaid Jamshed (playing Shaan’s role) and Ali Zafar (playing Fawad’s role). It would have been quite a dynamic combination, had Junaid not renounced entertainment and Ali Zafar not having gotten scared off by the plot. Ali Zafar’s already shown quite a dark side in his videos for ‘Aag’ and ‘Ek Pal’ and we imagine he’d have been quite suitable for the character of a man who gets brainwashed into fighting in Afghanistan and abducting a girl and forcibly marrying her. The icing on the cake would be that we’d all be spared from the war of words that Shaan and Iman Ali got into at the last Lux Style Awards! But then again, perhaps Iman Ali would have rubbed Junaid Jamshed the wrong way too… no… Junaid wouldn’t have acted up. He was and remains a gentleman, tableeghi beard notwithstanding.

What if
… Ali Noor and Ali Hamza go their separate ways ?

What would happen if Noori disbands? Great things we think. Don’t get us wrong, we completely dig Noori the band. However, both brothers Noor and Hamza are brilliant front men in their own right and in very different ways. Ali Noor is all fire and brimstone… an angry young man out to change the world, with an attitude to make it happen. Ali Hamza is softer, melodic, more on the spiritual side. If ‘Aik Alif’ and ‘Jo Meray’ at Coke Studio were the coming out of Ali Hamza as a superb singer, musician and songwriter, then ‘Saari Raat Jaaga’ bore testament Ali Noor’s angst-ridden genius. They are brothers for sure, but they sure aren’t two peas in a pod. They seem to have two very different sensibilities, both necessary to the music scene. Ali Hamza is winning hearts and minds of rozaydars with his rendition of the naat ‘Madinay Mein’ that his grandmother taught him and both brothers are working on the video of their upcoming single ‘Kedaar’. Long live Noori! But here’s hoping that both brothers also continue to follow their own individual paths as they’ve been doing of late.

Source: INSTEP Magzine

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Can Any One Deny it?

Hailed as a breakthrough film by critics and hoards of people who are still lining up for it outside cinema halls, Khuda Kay Liye unfortunately is not a very timely event. It is in fact a vivid example of how liberals (even the more intelligent ones like Shoaib Mansoor), though quick to predict cultural the trends and fads, are always slightly late in recognising social and political undercurrents.

The plague and trend of misinterpreting religion for political and commercial gains (a theme prominent in the film), is not such a new phenomenon in Pakistan. It was very much a growing part of society even before 9/11. Everybody knows how it was used politically by the Zia dictatorship and then by various intelligence agencies, but what most liberals missed out on was the creeping social fallout of this clandestine political act. People like Junaid Jamshed are a reflection of this social meltdown.

In a short director’s statement in the promotional booklet for the film, Mansoor briefly unravels one of the reasons that pushed him to making the film. He says that one day when he turned to TV and saw his former Vital Signs protégée, Juniad Jamshed, with a huge beard and preaching that music was not allowed in Islam, he was extremely disturbed, thinking that this former pop star who had gathered such fame and fortune from singing pop songs (penned by Mansoor), had no right to impose his “confused state of mind” over impressionable young listeners.

Mansoor complained that he had worked really hard in helping to shape Junaid’s pop career but was angered after watching the same man now using his new-found status as a preacher to condemn music.

Mansoor is well within his right and mind to be disappointed in this respect, but my question is, even though he is well known for being an observant and intelligent man with meticulous talents as a film and TV director, how come it took him such a long time in coming to this logical and obvious conclusion about Junaid?

Even though I, as a culture buff, spend a fair amount of time documenting the Vital Signs’ creative career in the early 1990s, Shoaib was, of course, far closer to the band, especially to Junaid. The point being that, to me, Junaid’s topsy-turvy journey towards a complete and at times apathetic submission to the fundamentalist strains had actually begun way back in 1996.

Soon after the release of the Vital Signs’ fourth and last album, Hum Tum, in 1995, Junaid had started to send letters to various newspapers complaining that their music pages were promoting and glorifying “druggie music” and bands whose members were “Satan worshippers.” This was long before there was any Tableeghi Jamaat in his life. I am absolutely sure Shoaib Mansoor knew about these letters.

Many years later, looking back I have no hesitation in also suggesting that Junaid’s band mates, Rohail Hyatt and Shahzad Hassan, and mentor, Shoaib Mansoor, did absolutely nothing to help him tackle the existentialist crisis plaguing him and whose solution he ultimately found in the shape of the Tableeghi Jamaat.

There was nothing wrong with him finding solace in the Jamaat, but the problem was that since Junaid had already tasted the fruit of success and fame as a pop star, his need for attention did not evaporate even when he decided to bid farewell to music.

On the contrary, his rather obvious desire to remain in the picture saw him continue to make news by first dipping in and out of music, varying the length of his beard according to where he stood on the subject of music and Islam, and then ultimately announcing that music was not allowed in Islam.

This is what apparently took both Shoaib and Rohail by surprise and also caused disappointment because both had planned important future projects with Junaid. Junaid was always supposed to be Shoaib’s leading man in a film and Rohail was contemplating a reformation of the band. But again, I am surprised that both these gentlemen who were so close to Junaid were so shocked by his final fatwa on music.

Because Junaid’s conversion was not sudden. It was a gradual, slow and rather painful process, unfolding piece by piece right in front of his band mates and Shoaib Mansoor. Were they ever really noticing?

Even during the early days of Vital Signs, Junaid was a tricky business. He was always a volatile character, as emotionally impressionable and contradictory as he is today as a tableeghi. He went about like a man tormented by a sense of burdensome guilt; a guilt about something no one, not even he himself, was able to define.

Ironically, he was also the hungriest for success and stardom, not only in pop music but also in film and television. This made him one of the hardest working members of the band who actually wanted to continue playing beyond Hum Tum. He is on record as saying that music was his life as he went on to release two impressive post-Signs solo albums.

But more and more he was falling rather willingly to his existentialist frusterations, as his desire to work again with Vital Signs got no serious response from Rohail and his dream to star in a Shoaib Manoor film only got him lazy chuckles from the director.

Though his two closest allies in the music business had by now become aware of the growing conservatism in the religious and social ideas held by Junaid, they still couldn’t see through the obvious fact that in front of them was a man spiralling downwards towards a situation in which he would ultimately start questioning their faith.

Even though Rohail’s liberal mindset, tastes and lifestyle always clashed with Junaid’s idea of being an artiste (even though he himself was leading a rather posh and lavish life), this undercurrent eventually turned into open resentment by the time Rohail did come around and agreed to reform the band in 2002 for a special Nazia Hassan tribute concert.

It was interesting to note how Junaid responded to Rohail’s call. Only a few days prior to the concert, Junaid had already announced to the press that he was joining the Jamaat full time and would quit making music. In fact he had been spending his time preaching and being preached at a congregation in Raiwind, when he suddenly reappeared on the day of the concert flanked by two members of the Jamaat but with his long, flowing beard now trimmed into a neat, stylish goatee.

When asked by the press about his earlier statement regarding his retirement from music, Junaid said that after consulting with some elders in the Jamaat, he has been assured that there was nothing wrong with playing music.

Wearing a T-shirt, denims and with a stylised goatee, Junaid played an excellent set with Rohail, Shahzad and the original VS guitarist, Salman Ahmed. However, by the end of the concert he looked anguished as he started making his way towards his two tableeghi comrades waiting in the wings to gather him back.

A common acquaintance of Salman and Junaid told me that Junaid boiled when Salman Ahmed declined his offer to join the Jamaat and he was never happy with the kind of band Rohail wanted Vital Signs to become. He said Junaid thought that Rohail, who was trying to ring in bands like Pink Floyd and Fleetwood Mac as influences in the Signs’ music, was trying to turn VS into a “druggie” band. Junaid even shared these views with Shoaib as well, and yet the latter saw nothing wrong with the way his prodigy was turning out to be.

Junaid has publicly criticised the way Mansoor has portrayed jihadis and Islamic evangelists in Khuda Kay Liye. He has alluded that it is Shoaib who is confusing the youth about Islam and not him. But of course, Junaid’s own confusion regarding the subject is now well documented and his lectures and statements never fail to sound contradictory as he goes about denouncing the material and the ungodly nature of music and showbiz, but continuing his long-standing stint as an expensive clothes’ designer and a naat-reciter. He releases his naat albums through exactly the same immoral promotional and distribution channels used by the pop music counterparts.

After finally deciding to let go of his need for fame and attention through music, he has found almost an equal amount of fame and fortune as a naatkhuaan, televangelist and designer. It was here that he finally came to the concerning attention of Shaoib Mansoor, but maybe ten years too late?

Thus, the time for the sensitive and informed liberals to culturally and artistically address a reactionary political act that was fast becoming a social phenomenon came and went a long time ago. Long before 9/11. That’s why maybe Khuda Kay Liye might now only be preaching to the already converted, as the rest let out ecstatic nods of Subhanallah every time an evangelist like Junaid contradicts his way through preachy rhetoric. Perhaps Shoaib would have been better off making Khuda Kay Liye a decade ago instead of trying to resurrect Anarkali for a multinationa.

Written By: Nadeem Paracha

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