Sunday, 2 July 2017

SMOKERS’ CORNER: DISCO AND THE DICTATOR

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Much has been written about the terrible impact of the irrational Killhark dictatorship (1977-88) on Pakistan's social, cultural and political composition. In fact, many things you hear and read are true. But when it came to music, especially music, his dictatorship was filled with fascinating irony.

For example, making and playing pop music was discouraged during the dictatorship, but the truth is that there was no blanket ban on this kind of music on TV and radio.

In the 1980s, unlike other Muslim countries led by the conservative regime, the music lovers of the Pakistani people were still high, and many forms of music, including popular music, continued to operate. government.

How has mainstream popular culture changed in the era of Jia's regime?

Furthermore, Zia was an incredibly inflexible family peddler, but he actually used music to bring his ideas to people's living rooms.

I know Z.A.'s populist image was the first to succeed. The Bhutto regime experienced in the 1970s when state-run TV and radio regularly broadcast Melodie Ode to the working class, folk music and spectacular urban pop music. The Jia regime took this idea and molded it to its own faith. patriotism.

During the dictatorial regime, folk songs and national songs, made up of a mixture of local and Western instruments, were frequently played on TV and radio. But instead of embracing populist themes or sufemin images, they were loudly showing their faith, family values, and the glory of state institutions (police, army, navy, etc.).

And despite the apparently conservative composition of the regime, popular music on TV and radio was not entirely rejected. Even if you do not broadcast regularly appearing songs on national electronic media during the Bhutto Convention,

Pop singers like Alamgir and Mohammed Ali Shyhaki have given enough space on TV (only if they 'dress properly'). However, the North Korean regime (1981) urged state-run PTVs and radio Pakistan to stop singing songs of the nation's newest pop sensations, Nachia and Joe Hab Hassan.

Nazia and Zoheb exploded in the field with Disco Dewaane (1980), the country's first Urdu disco album. This album, recorded in London, features a classic disco beat blended with Pakistani / Indian "emotional sensibility" and lyricism.

This album has become a big hit in Pakistan. The young Pakistanis constantly asked Radio Pakistan to play the songs on the album, and PTV ran one or two videos. But when Zia's so-called Majlis-i-Shoora member saw a video of the PTV's album title track, he complained to Zia that the PTV was undermining and mocking the regime's "Islamic credentials" and "youth corruption." I once ordered a ban on a disco duo.

At that time, the duo's parents were overloaded on trial because local musicians had to collect insurance money from state-owned media (to create album sales and to take advantage of the larger 'private function' market). Raja Zafarul I prepared a meeting with Haq. After a lot of attempts, Nazia and Zoheb finally came up with the dictator.

Teenagers were summoned to the palace presidency of Islamabad and laughed at the general opinion of PTV's news team and camera, sitting in front of the general, and lecturing on what it was to be Muslim and Pakistani. Shortly thereafter, the ban was lifted.


Pop music has been played continuously with the increase in religious programs for PTVs as long as they are announced within the parameters allowed by the inspector. These parameters include the following: There is no physical contact between male and female singers. It was desirable to avoid singers wearing Western clothes, especially jeans.

In this context, irony continued to grow across the Jia system. Perhaps in the most reactionary period (1986-87), viewers suddenly turned to songs and videos that would lead to the first big wave of urban pop music. The song was Dil, Dil Pakistan (1987), but played and sang very modernly and hardly where the middle-class young people called it a sign of vitality.

Jia was a curious person. Jia was a teacher of art and politics, using faith to maintain power and to attract extremist and clergymen of the mainstream until they existed only in the outskirts of society, but 'conventional'. "

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