Rhyme and redemption
By Ahmer Naqvi
More so than language, ethnicity and even shared belief systems, music exists as one of the most universal and unifying aspects of the Pakistani people. Even today, those who vehemently oppose music for a variety of reasons still manage to put out songs themselves — music which is wrapped under the conventions of devotional genres, but which is still very much music.
Vote – your favourite political song
Consequently, it should come as no surprise that political aims and messages have often been an overt part of various songs which made their mark on our society. Of course, in one sense it is impossible for any creative work to not make a political statement — the means of its production, the worldview of its maker, the cost of access and the strength of its impact are all factors that are a result of (and create further) specific socio-political relationships. But our discussion here is focused towards that music which has actively sought to discuss and evaluate political situations and conditions.
In terms of music, it is perhaps instructive to divide it into songs that are ‘patriotic’ versus those which are ‘subversive’. Again, it can be argued that ideally the most patriotic song is the most subversive one, but in this context ‘patriotic’ is used to mean those sorts of songs which are meant to bolster and support the existing state, society and nation while a subversive song would be one that seeks to critique, upend or condemn all those things. Another way to look at this is to consider ‘patriotic’ songs as pieces of propaganda.
Certainly the earliest examples of popular patriotic songs are little more than highly effective propaganda. One of the most iconic examples would be the songs of Madam Noor Jehan released during the 1965 War.
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Played endlessly on state TV and radio, the songs sound-tracked the conflict in an extremely effective way, converting the perception of what was a rather ill-advised military encounter into a valiant stand by a young heroic nation.
Sar Faroshi Hai Imaan Tumhara
Juraatoon Ke Parastar Ho Tum
Jo Hifazat Karey Sarhadoon Kee
Woh Falak Bos Deewar Ho Tum
Aye Shujaat Ke Zinda Nishaanoon
Mairey Naghmey Tumharey Liye Hai
~ Aye Watan Ke Sajeelay Jawano
Famously sung by: Noor Jehan
The trick was repeated during the 1971 War, and perhaps went a long way towards expunging the shock and shame of a civil war and consequent dismemberment of the country.
The Pakistan that emerged from the embers of a second partition saw patriotic songs (milli naghmay) gain popularity and indeed become a genre in and of themselves. Given that the modern nation state was itself a recent phenomenon, it is interesting but not surprising to see a musical genre moulding itself around celebrating the concept. More importantly, the secession of East Pakistan represented a considerable challenge to the very idea of Pakistan, and thus efforts to celebrate the imagined nation became more obvious.
However, 1971 also saw the legendary poet Faiz Ahmed Faiz compose Dhaka Se Wapsi Ke Baad, more popularly referred to as Hum Ke Thehre Ajnabi, which expressed the tragedy of the dismemberment of the country.
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Indeed, poetry already had a very well established reputation for speaking on politics, and poets like Faiz and Habib Jalib were at the forefront of anti-state protests and movements throughout the 1950s and 1960s.
The establishment of the Progressive Writers’ Movement in British India had already imbued local literature with a powerful political impetus, and the horrors of partition had added further layers to the exploration of politics and its consequences via creative forms.
‘Protest poetry’, to coin a phrase, continued to gain strength through the ’70s, and enjoyed a heyday during the military dictatorship of General Ziaul-Haq, where it was used as a cultural tool against the regime.
There is a famous recording of Iqbal Bano singing Faiz’s Hum Dekhenge where the crowd erupts mid-rendition as the more politically provocative verses are sung.
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Jab Zulm-o-Sitam Ke Koh-e-Garan
Rooi Ki Tarah Ur Jaenge
Hum Mehkoomon Ke Paaon Tale
Ye Dharti Dhar Dhar Dharkegi
Aur Ahl-e-Hakam Ke Sar Oopar
Jab Bijli Kar Kar Karkegi
~ Hum Dekhenge
Poet: Faiz Ahmed Faiz
Most famous version sung by Iqbal Bano
However, the 1980s also saw the beginning of the decline of cinema with both the new regime and the loss of East Pakistan causing tremendous damage to the industry. At the same time, pop musicians began to emerge as popular entities, an occurrence that heralded not only a great flowering of political songs in Pakistan but also of pop music as a political act in of itself.
To begin with, nationalistic songs had continued to be a popular genre, and critics note singers like Shehnaz Begum, Imanat Ali Khan, Habib Wali Muhammad, Alamgir and Shyhaki who all released popular and well-received nationalist songs in the era.
Along with those, the Zia era also saw an outburst of satirical content — perhaps the only way to avoid the rigorous censors — and shows like 50-50 set the template for politically subversive songs, often using skits and sketches that lampooned the national state of affairs in a cloaked manner.
Dubai Janay Walay, to quote one example of their songs, captured both the hopes and aspirations of the labour migration to the UAE as well as critiquing the causes for it.
Tujh Ko Qasam Hai Meri
Na Aana Haat Khali
Dubai Janay Walay
Kehti Hai Yeh Gharwali
Kamray Ka Air Condition
TV Rangeen Lana
Mere Wastay Sanam
Sheeday Ke Liye Visa
Gamay Ke Liye Gari
Billo Ke Liye Baali
Jo Hai Tumhari Saali
~ Dubai Janay Walay
Lyrics: unknown
Performance: 50-50
However, it was pop music — especially in the form of ‘bands’ who really took on the mantle of making the patriotic song, an act which also had a dash of subversiveness to it.
Nadeem F. Paracha, the foremost authority on Pakistani pop culture, had the following to say on the phenomenal success of the Vital Signs’ Dil Dil Pakistan, perhaps the most iconic Pakistani pop song of all time:
“Dil Dil Pakistan was an entirely rhetorical pop exercise derived fromstate propaganda about Pakistani nationhood. But interestingly, on asocial level, the song’s video become mildly, albeit unintentionally,subversive because at that time videos of guys in jeans, ridingmotorbikes, was not quite the norm on state-owned television — eventhough a lot more startling exhibition of youthful fashions were quitecommon on TV in the 1970s, or before the Zia dictatorship.”
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Aisi Zamee’n
Aur Aasma’n
Inkay Siwa
Jaana Kahan
Bhadti Rahay
Yeh Roshni
Chalta Rahay
Yeh Karvan
Dil Dil Pakistan
Jaa’n Jaa’n Pakistan
~ Dil Dil Pakistan
Lyrics: Shoaib Mansoor
Band : Vital Signs
The absolutely mind-boggling success of Dil Dil Pakistan set a template which would last for the rest of the decade and strongly through the ’90s: the inclusion of at least one earnestly patriotic song in every album. Some of the most famous examples would be Awaz’s Watan Kahani, Ali Haider’s Tera Tera Mera Mera Pakistan, Junoon’s Azadi, Live Wires’ Nayee Umangain, Night Creatures’ Pyara Pyara Pakistan, Junaid Jamshed’s Yeh Zameen and dozens more.
But the death of Zia and the advent of democracy also added a sense of sociological purpose to this particular genre. Pop stars, particularly in the early 90s, now added the ‘social message’ song to their repertoire as well, with an emphasis on showcasing a need to bring change. As Paracha points out, the novelty of pop music at the time meant that such platitude-driven anthems were taken at face-value, despite their simplistic politics. Examples of such songs would be Nadeem Jafri’s Socho Kabhi, Jawad Ahmed’s Allah Mere Dil Ke Andar, Junoon’s Jiyain and Vital Signs’ Do Pal Ka Jeevan.
In fact, the Vital Signs’ were notable for the presence of a social anxiety in their lyrics, mainly because this was the specific worldview of their mentor and notable musical composer Shoaib Mansoor. When I asked Paracha in an email about his influence, he wrote “[Shoaib] Mansoor … was political, both as a TV producer and lyricist for the Vital Signs. But much of his work revolves around the propagation of an urban middle-class morality; one that is not necessarily religious in context. Manoor’s songs for the Signs lament the loss of a better, more sedated and an almost entirely imagined past. When he comments on the present, he becomes a hyper-nationalist or an alarmist of sorts. His lyrics hardly ventured beyond an imagined past and an uncertain present.”
Shoaib Mansoor’s efforts were not limited to Vital Signs, and he was also instrumental in curating and composing shows on PTV which were chock-blocked with patriotic songs.
Yet the ’90s also saw the high-point of subversive politics in pop music, and perhaps the only era where the intended provocation in pop was accompanied by persecution. Junoon are perhaps the most famous example here. Their first such song, Talaash, included clips from newreels commenting on political assassinations and campus violence, and remains one of the most iconic examples of a politically subversive pop song.
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However, the band landed in hot water with the government after the release of their song Ehtesaab, which openly attacked the political class at a time when the government was making a big deal of its own ‘ehtesaab’ efforts to end corruption.
Dil Ruba Dil Nasheen
Dil Fareb Aur Haseen
Luvs Yeh Hongey Kahin
Hum Ney To Dekhey Nahin
Apne To Har Taraf
Aik Hee Tasveer Hay
Tum Kaho Kya Meri
Bas Yahi Takdeer Hay
No Sir! Na Janaab! Ehtesaab Bas Ehtesaab!
~ Ehtesaab
Band: Junoon
Both the song and its video were extremely provocative for their era, and it led to the Nawaz Sharif government banning Junoon, as well as long-haired musicians who were promoting a “jeans-jacket culture”.
The video for Ehtesaab incorporated an aesthetic similar to the video for Awaz’s cult hit song, Mr Fraudiye, which was loosely based around the legend of future president, Mr Ten Percent.
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Mobile Phone, Menu Card, Dinner Lunch Karay Woh Five Star
Naukar, Guards, Beshumar, Ghum Naheen Koi Maire Yaar..
Oh Fraudiye.. Wah Ji Wah Tu Kinna Set Hay..
Mr Fraudiye.. Dus Kinu Kinu Dukh Laye?
(Fraudiye)
Wah Jee Wah Tu Kinna Set Hay..
Mr Fraudiye.. Kinnay Paise Thagiye
~ Mr Fraudiye
Band: Awaz
Both these two songs, released at a time when such transgressions were far more noticeable, set the template for political satire in pop which would see a resurgence some two decades later.
But these two songs weren’t even the most foolhardy. Sajjad Ali’s mega hit Chief Saab was pretty much a direct retort to one of Karachi’s most feared political and underworld dons, and he would later jokingly refer to the song as a ‘patriotic’ one.
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Even though the street-slang lyrics seemed to be concerned only with telling off a bully, urban legend has it that said bully had Sajjad Ali’s head shaved as a punishment.
Ulte Seedhe Raag Paath Na Sunaye
Naqsh-E-Bazi Kisi Aur Ko Dikhaye
Yahan Chalegi Ba Gharat Nahi Chief Saab
Bas Bhai Bas, Bas Bhai Bas
Bas Bhai Bas Ziada Baat Nahi Chief Saab
~ Chief Saab
Artist: Sajjad Ali
While that story is probably apocryphal, it gave an indication of the risk the song took. The Vital Signs’ also took a dig at a topic which would later animate Pakistani pop a lot more — that of Pak-US politics in the light-hearted satire, Mera Dil Nahi Available.
The true inheritors to the 50-50 template of satirical songs were the band Dr Aur Billa, who excelled in poking fun at the conventions of love songs and their like.
Their song Milli Naghma though was a far darker effort, its sounds incorporating the same soaring composition of traditionally patriotic song but both the lyrics and the percussions were far more foreboding, urging a reconsideration of why patriotism matters.
But perhaps the best effort in making a politically subversive song in that era was by Najam Shiraz, whose Sona Chahta Huun was an evisceration of the apathy felt by many towards the problems in their society.
Diye Jalty Hain,
Saaye Daltay Hain
Hawa Chalti Hy,
Rona Chahta Hoon
Koi Naghma Gar
Koi Paarsa Kay
Main Aazad
Hona Chahta Hoon
~ Sona Chahta Hoon
Artist: Najam Shiraz
Both the bluesy riffs as well as the iconic vocal style by Najam ensured that this became one of the most critically acclaimed political pop songs in Pakistani history.
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One last song to mention here would be Jazba’s Jaago, a song which meant so much to so many people. The video for the song, and its intent, focused on the plight of the people of India held Kashmir, though it was also true that during that era it would have been very difficult logistically and socially to use much else.
Andhiyan Taiz Hain, Galiyan Nokhaiz Hain
Torr K Na Phenkna Her Taraf Dekhna
Keh Kon Kis Trah Se Hai
Ye Zindagee Do Pal Ki Aaj Ki Or Kal Ki
Waqt Hai Ab Bhi Maan Le
Jaag Ley
Jaago
~ Jaago
Band: Jazba
Despite the song’s inherent right-wing slant, its lyrics were general enough and its composition chilling enough to become an anthem for many a disaffected Pakistani, and its seething anger spoke to many issues beyond those with our neighbouring country.
The coming of the new millennium however changed the scope of politics in pop in a drastic manner, primarily because of the events of 9/11, but also (perhaps more importantly) because of the advent of the electronic media.
Led by Junoon, Pakistani pop in the mid-90s had incorporated a lot of Sufi and folk elements, which was unsurprising given how central music has been to both religion and ritual in the region. But the 90s wave more or less died out by the end of the decade, and 2002’s Pepsi Battle of the Bands saw a fresh renaissance for pop, with many new acts coming to the scene.
The Battle of the Bands introduced many quality acts, including Aaroh, [eP], Mekaal Hasan Band, etc, and this was also a time when both Atif Aslam / Jal and Noori came on the scene as well, while Ali Azmat launched his solo career. Many of these bands released songs commenting on society or social angst, but there was little overtly political to them.
The rise of terrorism in Pakistan brought about the first of those changes. President General Pervez Musharraf had repeatedly sought to sell his regime to the world as an ‘enlightened and moderate’ one, and pop music and fashion show received the sort of state appreciation and patronage that wasn’t done previously.
Perhaps this sense of being beholden was partly responsible for what remains one of Pakistani pop’s lowest moments — the song Yeh Hum Naheen.
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Composed and recorded in the style of celebrity-charity singles in the West, this supposed stand against terrorism included most of Pakistani pop’s biggest names. Yet its message — which sought to portray terrorism as something alien to Pakistan — was exposed for its ridiculousness down the line.
Humare Naam Se Phaili Hui
Jhooti Kahani Hai
Yeh Mohre Maut Ki Maathey Pe
Ghairon Ki Nishaani Hai
Hummey Jis Naam Se Tum Jaante Ho
Voh Hum Naheen
Hummey Jis Aankh Se Tum Dekhte Ho
Voh Hum Naheen
~ Yeh Hum Naheen
Artists: Various
Terrorism continues to haunt the country over a decade after this song, and tens of thousands of Pakistanis have died because of it, but the country is still caught in the debate of whether the killers are patriots, anti-imperialists, allies, ‘good’ Taliban and what-not.
The next moment for pop and politics came with the crisis to the Musharraf regime after the dismissal of the Chief Justice in 2007. The act led to popular street revolts in parts of the country and more importantly, wall-to-wall coverage on the news channels, many of which were sympathetic to the lawyers.
Consequently, news reports began to play songs penned by Faiz and Jalib; the two poets in particular enjoyed a widespread revival and Shahbaz Sharif famously took to reciting Jalib’s Mei Nahi Manta during his speeches.
A slew of pop bands also began to cover popular works of these two poets, and the most successful of these was a band called Laal.
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Fronted by the son of a famous analyst, Laal’s Umeed-i-Sahar was a massive hit in that era, and the band played it live when the Chief Justice was restored.
Jigar Dareeda Hoon, Chaak-e-Jigar Ki Baat Suno
Umeed-e-Sahar Ki Baat Suno
Alam Raseeda Hoon, Daman-e-Tar Ki Baat Suno
Umeed-e-Sahar Ki Baat Suno
~ Umeed-e-Sahar
Lyrics: Faiz Ahmed Faiz
Band: Laal
But the spectre of the international media trained on Pakistan also brought a lot of coverage to these acts — almost all of whom lacked the popular appeal of their predecessors in the 90s. Laal in particular, which suffered from several members leaving, was a particular favourite of the global press, but its subsequent original songs (also political in nature) failed to make an impact.
However, amidst all the disappointment, two acts in particular stood out for producing original, biting political pop music in this time.
First up was Shehzad Roy with his massive hit Laga Reh, a song which spared no one in its takedown, critiquing the sort of hyperbolic, attention-hungry tactics which had come to typify the post-media politics in the country.
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Buzurgon Nay Mujhsay Poochha Mulk Kaisay Yeh Chalega?
Buzurgon Ko Main Yeh Bola Lagay Raho, Lagay Raho
Buzurgon Nay Mujhsay Poochha Mulk Kaisay Yeh Chalega?
Buzurgon Ko Main Yeh Bola
[Mujhay Fikr Yeh Nahi Kay Yeh Mulk Kaisay Chalega.
Mujhe Fikr Yeh Hai Kay Kaheen Aisay Hee Na Chalta Rahay.]
Laga Reh, Laga Reh, Tu Laga Reh
Khara Reh, Khara Reh, Tu Khara Reh
~ Laga Reh
Artist: Shehzad Roy
The success of this song, however, pushed him to-wards further philanthropic efforts, and Shehzad’s next projects involved documentaries focusing on education and justice.
The other success of this era was the Lahore-based band Beghairat Brigade.
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Their song Aalu Anday was original, hilarious and unique in directly calling out the people it was criticising, rather than using innuendo.
Coup Kar Kay Kursi Utte Aanday Ne
Ma Pyo De Tiddo’n Jiwe’n Lyaande Ne
Proxy Ae Wara’n Jedia’n Larde Ne
Ona’n Wich Apne E Bas Marde Ne
Aina’n Faujian Nun Maujian Nun Puchna Kinne We Bas Kisse Da Chale Na Aina’n Utte
Meri Wari Meri Wari Aithe Khed De Ne Saare Jit Jawan Ae Bina Pugge
Aha Aha
Dhinak Dhinak Dhin Ta Da
Dhinak Dhinak Dhin Ta Da
~ Dhinak Dhinak Dhina Ta Da
Band: Beyghairat Brigade
The band’s critical success was soon paid the ultimate compliment by the agency-wallahs, who banned them after the release of their song Dhinak Dhinak Din Taara.
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Faris Shafi’s Mushghala, an expletive-laden, outrageously outspoken condemnation of terrorism was a smart song, but widespread fears of reprisals against the singer as well as the people in the song’s video led to it being removed from the internet.
Another rare example of a good critique of terrorism was found in Assad Hasnain’s Mazloom, although it is fair to say that both of these could well be amongst several other quality songs lost somewhere on the internet.
With local music channels devoted to Indian music, the Pakistani music scene had long migrated to the internet. The banning of Youtube meant that the one common website was also lost, and many of the best musicians these days are uploading on various forums and platforms where not many have access to them.
The next, and latest, wave of politics in pop came almost exclusively via the tsunami of the PTI.
The party’s ingenious use of media was at the heart of its post-2011 popularity, as its jalsas come to approximate the music concerts the country no longer has. It was also helped by the craftiness of DJ Butt, who became a star in his own right with his usage of music during the jalsas.
Several popular musicians, most notably Ataullah Khan Essakhelvi and Rahat Fateh Ali Khan, also released PTI-themed songs whose constant repetition on live news broadcasts made them ubiquitous.
The PTI is also the overwhelming choice of the country’s urban youth, which is also the demographic that is responsible for the country’s pop music. The past three years, particularly the time around the 2013 elections and then the 2014 siege of Islamabad saw a staggering number of songs released by PTI fans.
Ranging from hip-hop to pop to bhangra to neo-country, the only thing surprising about these songs was that almost none of them went viral or became genuinely popular.
The most popular songs on the party’s Soundcloud page are by bona fide stars like Abrar, Esskhelvi and Rahat Fateh.The only exception is perhaps the arena-rock themed Tabdeeli Agayee Hai Yaaro, whose play counts are similar to the ones by the big stars.
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But unlike say Abrar’s Imran Khan De Jalsay Tay Nachna, which has gained an appeal beyond the party, Tabdeel Agayee is very much popular amongst the party only.
Critically speaking, perhaps the best songs of this genre were released in the soundtrack for the unreleased PTI film Kaptaan, with Farhan Zameer’s Zikar being particularly memorable.
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The Azadi and Inquilab Marches of 2014 (both incidentally named after Junoon albums) saw a host of songs released by amateur and professional acts, but one noticeable difference was the return to a sense of apoliticism.
The songs from the 90s had routinely attacked politicians, largely because even those critiques were unprecedented at the time. However, this also led to the idea of all politics being bad, and indeed until the PTI, the educated upper classes abhorred the democratic process.
The latest songs seem to show a return to this apathy by the pop-producing classes, as several songs have spoken out against all politics, something which was reserved for only the PTI’s opponents’ pre-elections.
Moreover, this August when musicians uploaded their Independence Day themed music, the images and motifs they used moved away from the overt-PTI praising from recently. Many returned to the old favourite — the Pakistan Army — while others also began to question the political chaos caused by the long marches.
A taste can be found in the lyrics to the song Raftaar the by cult Karachi rapper Youngstunnerz:
Humara Agla Hukmuran Kaun Aaye Ga
Agar Aisa Chalta Raha To Firaun Aaye Ga
(Who will be our next ruler?
If it stays like this it could well be a pharaoh)
But despite these, there have also been a slew of #GoNawazGo songs, with perhaps the best effort being the lackadaisical effort by the band Fuserz. A search for the hashtag releases dozens of other efforts of dubious quality.
However, the biggest difference that one sees in the post-millennium political pop is that artists are far more conscious of the media-reception of political songs. Moreover, the content of these songs barely threatens the status quo or indeed challenges anything substantial. It is perhaps why pop has yet to make any serious critique of the military and the state in the way poetry and literature have over the decades.
Similarly, it can also be understood as the reason why there have been so few powerful and popular songs against extremism and terrorism, despite the overwhelming impact of these issues in our society.
The 2013 elections also saw many PTI-sympathetic songs which mocked the political class in much the same way that songs from the 90s had done. However, not only was this an era where comedy shows on news channels had made lampooning politicians an old trick, but these songs were also focused against particular political parties rather than the political class.
Another problem has been that while pop music as an industry is being allowed to whither — with no record labels or concerts — there is plenty of patronage available for ‘message songs’. NGOs working on particular issues have taken to commissioning songs based on issues, none of which have had a lasting impact or popularity.
Indeed, a lack of self-awareness is a massive problem for any artist, and is unsurprisingly the biggest obstacle to making a good political song. The past 15 years, where pop has first celebrated a military dictator and then slavishly followed a centre-right leader has seen very little come out in terms of subversive pop. Moreover, even saccharine patriotic pop has not been of quality, largely because most efforts are derivative of earlier efforts.
But perhaps the biggest problem is also all that came before. The ’90s remains the most hallowed age for Pakistani pop, and even as resources and platforms have improved musicians have struggled to create songs which have had the same social relevance.
The best insight into this matter is provided by Paracha, who points out that the elite social background of pop singers and their general aloofness towards engaging with politics has left most with very simplistic notions.
He writes that:
“The truth is, the musicians should stick to what they know and dobest: Music. By doing this they are inherently being subversive in asociety like ours where the cultural, religious and nationalnarratives have been hijacked by reactive forces.”
And that’s perhaps the biggest takeaway — if pop musicians continue sticking to what they know best, they would be able to exercise the sort of influence many of the contemporary ones have tried to wield without much success.
Published in Dawn, Sunday Magazine, November 30th, 2014