Pakistani-American Urdu Singer Arooj Aftab Wins Grammy For "Mohabbat"

Pakistani-American singer Arooj Aftab's rendition of “Mohabbat” won the prize for Best Global Music Performance at the 2022 Grammys. The Brooklyn based singer won the category ahead of Femi Kuti (“Pà Pá Pà”), Wizkid and Tems (“Essence”), Angélique Kidjo and Burna Boy (“Do Yourself”) and Yo-Yo Ma and Angélique Kidjo (“Blewu”).  

The lyrics of "Mohabbat", part of her album "Vulture Prince", go like this: "mohabbat karne vaale kam na hoñge/ tirī mahfil meñ lekin ham na hoñge ". It is a ghazal originally written by Hafeez Hoshiarpuri. 

محبت کرانیوالی کم نا ہونگے
تیری محفل میں لیکن ہَم نا ہونگے
محبت کرانیوالی کم نا ہونگے
زمانے بھر كے غم یا اک تیرا غم
یہ غم ہو گا تو کتنے غم نا ہونگے

Pakistani-American Urdu Singer Arooj Aftab Wins Grammy. Source: Yahoo News

“I think I’m gonna faint. Wow thank you so much. I feel like this category in and of itself has been so insane,” Arooj said, accepting her award at the Grammy Award 2022 show in Las Vegas, Nevada. “Burna Boy, Wizkid, Femi Kuti, Angélique Kidjo—should this be called Best World Music Performance? I feel like it should be called ‘yacht party category.’ But, anyway, thank you so much to everyone who helped me make this record, all my incredible collaborators, for following me and making this music I made about everything that broke me and put me back together. Thank you for listening to it and making it yours.” 

Arooj Aftab was born in Saudi Arabia, raised in Lahore and now lives in the United States. After an early taste of viral fame with a tender cover of Leonard Cohen’s Hallelujah when she was in her teens, she won a scholarship to attend Boston’s Berklee College of Music, ranked among the top music schools in the United States.  She earned a degree in music production and engineering at Berklee. Graduating in the throes of the 2008 recession, she landed in New York to begin her career, according to The Guardian newspaper

Arooj sings mostly in Urdu. Her lyrics come from centuries-old poetry. Her music draws from seemingly everywhere. She brings in non-traditional instruments like synthesizer and lever harp to a traditional South Asian poetic form like the ghazal. She's even given her style its own name: neo-Sufi, according to an interview with the PBS.  "It's not South Asian classical music with — like fused with jazz. It's like it's living in its own world of, like, a marriage of many roots and heritages. So I was kind of like, I need to, like, name this right now, you know?"

Here's Arooj Aftab's rendition of "Mohabbat":

https://youtu.be/iRZ98HX1MO8


Comments

Riaz Haq said…
arooj aftab
@arooj_aftab
A highly competitive category, full of highly respected legendary nominees. I am humbled and grateful for this win. Making a deeply personal and crossover music, in Urdu, and being seen for it… feels like a breakthrough. thank you AND congratulations ❤️

https://twitter.com/arooj_aftab/status/1511417564580048896?s=20&t=qgizTgVsmRS1twIMigJ5GA
Riaz Haq said…
The Pop Song That’s Uniting India and Pakistan
The writer and musician Ali Sethi has created an unconventional hit with “Pasoori.”

https://www.newyorker.com/culture/culture-desk/the-pop-song-thats-uniting-india-and-pakistan

https://youtu.be/5Eqb_-j3FDA

A few years ago, the musician Ali Sethi was driving through Punjab, behind a jingle truck—the long-haul trucks known in his native Pakistan for their filigreed paint designs—when he spotted a phrase in florid Punjabi calligraphy on its back. “Agg lavaan teriya majbooriya nu,” it said—a call to “set fire to your compulsions.” It’s not uncommon to glimpse bits of verse, or dire warnings—against straying eyes or losing yourself in the big world out there—among the fluorescent parrots and tropical fruit schemes of jingle trucks. But Sethi couldn’t stop thinking about that phrase.

It inspired the first line of “Pasoori,” the thirty-seven-year-old’s latest single, a joyous, dance-fuelled hit that has drawn more than a hundred million views on YouTube since its release three months ago and is playing on the radio everywhere, from the United Arab Emirates to Canada. The song is stealthily subversive: a traditional raga—the classical Indian framework for musical improvisation—has been laid over an infectious beat that sounds South Asian, Middle Eastern, and, improbably, reggaetón, all at once. Even if you don’t understand the lyrics, you can tell that it’s a song about longing. “If your love is poison, I’ll drink it in a flurry,” Sethi sings in Punjabi with smooth anguish, in a rousing duet with Shae Gill, a Pakistani singer and Instagram star. “It’s my favorite genre,” a friend of mine said. “A love song that sounds like a threat.”

----

“Pasoori,” a Punjabi word that translates roughly to “difficult mess,” is about an age-old situation: two people who are forbidden from meeting each other. It’s written in the style of a courtesan song, a genre with origins in medieval South Asian poetry that emerged in response to the custom of arranged marriages. (Often the song is about an extramarital affair, and a courtesan is trying to persuade her married paramour to stay the night.) Full of puns and erotic innuendos, courtesan songs typically lament trysts that must take place in secret, meetings that don’t materialize, and the oppressiveness of polite society. “Pasoori” is ostensibly about star-crossed lovers, but it’s also an apt metaphor for the relationship between two countries in perpetual conflict whose histories and cultural touchstones are entwined.

Riaz Haq said…
Trans-themed film dazzles Cannes in Pakistan debut

https://www.france24.com/en/live-news/20220525-trans-themed-film-dazzles-cannes-in-pakistan-debut


The first-ever Pakistani entry in a Cannes Film Festival competition has left audiences slack-jawed and admiring of its daring portrait of a transgender dancer in the Muslim country.

"Joyland" by director Saim Sadiq, a tale of sexual revolution, tells the story of the youngest son in a patriarchal family who is expected to produce a baby boy with his wife but joins an erotic dance theatre and falls for the troupe's director, a trans woman.

The Cannes opening night's audience gave "Joyland" a standing ovation, Variety lauding the movie as "so fresh, we're continuously surprised", while Deadline called it "thoughtful, well performed and engrossing".

Part of the surprise stemmed from the discovery by many at Cannes that Pakistan became one the first nations to give legal protection against discrimination to transgender people.

In 2009, Pakistan legally recognised a third sex, and in 2018, the first transgender passport was issued.

"Pakistan is very schizophrenic, almost bipolar," director Saim Sadiq told AFP in an interview.

"You get, of course, prejudice and some violence against a particular community on the one hand, but you also get this very progressive law which basically allows everyone to identify their own gender, and also identifies a third gender," he said.

"Is it implemented entirely? Of course not. But it's only been four years since the legislative change started happening."

'Associated with poetry'
Before the British established their Indian Empire in the 19th century, trans people were not marginalised, said Sadiq.

"They were associated with art and poetry, they were the ones asked to teach manners to royals, to educate princes and princesses -- that was their space in society," he said.

Today, trans people in Pakistan "don't live as freely as they would perhaps in France", he added.

"But nor is it like it might be in the imagination of somebody who thinks: 'Muslim world'. At some level, they are freer than what you might anticipate," he added.

"Joyland" makes clear that the challenges for the trans community are broadly similar to those faced by cisgender women in Pakistan, where heterosexual men get to explore their desires, unlike everybody else.

"It's pretty terrible for anybody who is not a straight man," said Sadiq.

But he quickly added: "It's the same in the rest of the world, there's no country in the world where a straight man is not at the top of the pile."

There is, however, one crucial difference between cisgender and transgender women: "Women are fighting against their domestication and for trans women it's almost the other way around, they're fighting for a place at home. They're fighting to stay with their families, to not have to be on the streets," Sadiq said.

And while trans women are a familiar sight in streets in Pakistan, "unfortunately they'll be begging, or whatever".

'Everybody can relate'
The film's trans dancer character, Biba, is played by Alina Khan who is herself a transgender woman.

Through an NGO she auditioned, without being a professional actress, for a role in Sadiq's 2019 short film "Darling", got the part, and continued working with him.

"My character Biba and I share a similar struggle," Khan told AFP. "But Biba is angrier than I am."

Khan, who saw "Joyland" for the first time at the Cannes festival, said she felt proud and emotional during the screening.
Riaz Haq said…
(Pakistani-American) Amna Nawaz and Geoff Bennett Named Co-Anchors of PBS NewsHour
Nawaz and Bennett to Succeed Judy Woodruff on Monday, January 2, 2023

https://www.pbs.org/newshour/press-releases/amna-nawaz-and-geoff-bennett-named-co-anchors-of-pbs-newshour

"Today is a day I never could’ve imagined when I began my journalism career years ago, or while growing up as a first-generation, Muslim, Pakistani-American. I’m grateful, humbled, and excited for what’s ahead.”


Sharon Rockefeller, President and CEO of WETA and President of NewsHour Productions, today named PBS NewsHour chief correspondent Amna Nawaz and chief Washington correspondent and PBS News Weekend anchor Geoff Bennett co-anchors of the nightly newscast. The PBS NewsHour, co-anchored by Nawaz and Bennett, will launch on Monday, January 2, 2023. Nawaz and Bennett succeed Judy Woodruff, who has solo-anchored PBS’s nightly news broadcast since 2016, prior to which she co-anchored it alongside the late Gwen Ifill.

Bennett has reported from the White House under three presidents and has covered five presidential elections. He joined NewsHour in 2022 from NBC News, where he was a White House correspondent and substitute anchor for MSNBC. In his prior experience, he worked for NPR — beginning as an editor for Weekend Edition and later as a reporter covering Congress and the White House. An Edward R. Murrow Award recipient, Bennett began his journalism career at ABC News’ World News Tonight.

On being named co-anchor of PBS NewsHour, Geoff Bennett said, “I’m proud to work with such a stellar group of journalists in pursuit of a shared mission — providing reliable reporting, solid storytelling and sharp analysis of the most important issues of the day. It’s why PBS NewsHour is one of television’s most trusted and respected news programs and why I’m honored and excited to partner with Amna in building on its rich legacy.”

Nawaz, who has received Peabody Awards for her reporting at NewsHour on January 6, 2021 and global plastic pollution, has served as NewsHour’s primary substitute anchor since she joined the NewsHour in 2018. She previously was an anchor and correspondent at ABC News, anchoring breaking news coverage and leading the network’s livestream coverage of the 2016 presidential election. Before that, she served as foreign correspondent and Islamabad Bureau Chief at NBC News. She is also the founder and former managing editor of NBC’s Asian America platform, and began her journalism career at ABC News Nightline just weeks before the attacks of September 11, 2001.

On being named co-anchor, Amna Nawaz added, “It’s never been more important for people to have access to news and information they trust, and the entire NewsHour team strives relentlessly towards that goal every day. I am honored to be part of this mission, to work with colleagues I admire and adore, and to take on this new role alongside Geoff as we help write the next chapter in NewsHour’s story. Today is a day I never could’ve imagined when I began my journalism career years ago, or while growing up as a first-generation, Muslim, Pakistani-American. I’m grateful, humbled, and excited for what’s ahead.”

In making the announcement, Rockefeller noted, “PBS NewsHour continues to be dedicated to excellence in journalism. Amna and Geoff bring to their new positions three essential qualities for the role – accomplished careers in substantive reporting, dedication to the purpose of journalism to illuminate and inform, and a deep respect for our audiences and the mission of public media.”


Riaz Haq said…
Iram Parveen Bilal Wraps Pakistan Shoot on Social Media Themed Film ‘One of a Kind’ (EXCLUSIVE)

https://variety.com/2022/film/global/iram-parveen-bilal-pakistan-wakhri-social-media-1235449884/


U.S.-Pakistani director Iram Parveen Bilal has wrapped principal photography at Pakistan locations on her fourth film “One of a Kind” (aka “Wakhri”).

Inspired by and offering tribute to unapologetic social media influencers like the slain Qandeel Baloch, the film is set in the world of patriarchal social media trolling and the burgeoning underground scene of the so-called “misfits” in modern-day Pakistan. It follows a Pakistani schoolteacher who accidentally unleashes the power of social media, unabashedly challenging the patriarchy. As she tries to keep her online identity a secret, she’s gradually exposed to society’s dangerous underbelly and forced to manage the repercussions.

Bilal describes the project as a “grounded masala” film that promises thought-provoking subject matter whilst also featuring loud Punjabi-language club tracks and Urdu-language rap songs to dance and chant with.

Bilal was named one of the directors to watch by the Alliance of Women Directors in 2020. Her previous film, “I’ll Meet You There,” was in the Grand Jury competition at SXSW in 2020 and hopes to overturn the ban on its release in Pakistan.

“Wakhri” was a 2018 Locarno Open Doors selection, where it was one of two Pakistani project selections, the other one being what is now Saim Sadiq’s Oscar contender “Joyland.” It was subsequently invited to the 2019 Cannes Cinefondation L’Atelier, becoming the first official selection of a project from Pakistan there. The project is also a Coalition of Asian Pacifics in Entertainment (CAPE) and CAA Foundation Full Story Initiative grant recipient and recently participated at the Busan Asian Project Market.

“Wakhri” features Pakistani actors Faryal Mehmood and Gulshan Majeed alongside well-known social media influencers. It is being produced by Abid Aziz Merchant’s Sanat Initiative banner (“Sandstorm”) and “Delhi Crime” producers Apoorva Bakshi and Monisha Thyagarajan’s Awedacious Originals, whose extensive slate was revealed by Variety at Busan, alongside Bilal’s Parveen Shah Productions (“Josh”). Roman Paul (“Paradise Now,” “Wadjda,” “Waltz With Bashir”) of Razor Film Produktion is co-producing.

Ludovica Isidori (“Sanctuary”) has shot the film, which has production design by Kanwal Khoosat (“Joyland”). The music of the film features celebrated Pakistani talent including Meesha Shafi, rapper Eva B (“Ms. Marvel”) and is being produced by Abdullah Siddiqui (“Coke Studio,” “Joyland”). Aarti Bajaj (“Sacred Games”) will be serve as editor.

Bilal is represented by Suchir Batra at CAA, Hannah Mulderink at Goodman, Genow, Schenkman, Smelkinson & Christopher, LLP and publicist Sam Srinivasan of Sechel PR.
Riaz Haq said…
Where Romantic Poetry in a Fading Language Draws Stadium Crowds
That 300,000 people celebrated Urdu verse during a three-day festival was testament to the peculiar reality of the language in India.

https://www.nytimes.com/2022/12/18/world/asia/india-urdu-poetry.html

That more than 300,000 people came to celebrate Urdu poetry during the three-day festival this month in New Delhi was testament to the peculiar reality of the language in India.

For centuries, Urdu was a prominent language of culture and poetry in India, at times promoted by Mughal rulers. Its literature and journalism — often advanced by writers who rebelled against religious dogma — played important roles in the country’s independence struggle against British colonial rule and in the spread of socialist fervor across the subcontinent later in the 20th century.

In more recent decades, the language has faced dual threats from communal politics and the quest for economic prosperity. Urdu is now stigmatized as foreign, the language of India’s archrival, Pakistan. Families increasingly prefer to enroll children in schools that teach English and other Indian languages better suited for the job market.

----------

The four designated stages inside the crowded stadium complex in the heart of the busy capital weren’t enough. So the poetry lovers also took to the footpaths and the spaces in between, turning them into impromptu open-mic platforms for India’s embattled language of love.

In one corner of the festival grounds, which had been draped in vibrant colors and calligraphy, a group of university students alternated between singing popular romantic songs, backed by a young man on guitar, and jostling to recite verses of their own.

“In your love,” one young poet began, leaning into the huddle with confidence, before forgetting the rest of his verse. “In your love ….” he repeated, unable to recall.

“Don’t worry,” someone from the crowd encouraged him, as the others chuckled. “In love, we all forget.”

In another corner, Pradeep Sahil, a poet and lyricist, handed his phone to a friend to record him as he placed a red chair at a busy spot and took a seat, crossing his legs and reading poem after poem. A crowd soon gathered, cheering after every verse. With no room on the main stage, Mr. Sahil had found a stage of his own, climbing atop his chair and reciting what felt like his entire book.


Riaz Haq said…
Where Romantic Poetry in a Fading Language Draws Stadium Crowds
That 300,000 people celebrated Urdu verse during a three-day festival was testament to the peculiar reality of the language in India.

https://www.nytimes.com/2022/12/18/world/asia/india-urdu-poetry.html


“In our effort to get on the gravy train, we left a lot behind on the platform,” Javed Akhtar, a prominent poet and lyricist, said at the festival. “And among those things we forgot on the platform was literature, language, poetry and other arts.”

Yet Urdu has remained the key language of romantic expression in the songs and cinema that saturate Indian life. Generations, in India as well as across the wider subcontinent and in the diaspora, have grown up humming songs from Bollywood musicals that draw heavily on Urdu poetry. Knowingly or unknowingly, Urdu has been their language of angst, heartbreak and celebration.

Urdu is a composite language. Its grammar and syntax are indigenous to India, but it draws its script — and a heavy share of its vocabulary — from Persian and Arabic influences that came on the back of Muslim invasions. The rich tradition of poetry, music and art that developed from this confluence became known as the Ganga-Jamuna culture, a meeting of the two great rivers with those names.

After Pakistan adopted Urdu as its national language with the bloody partition of India in 1947, the tongue increasingly took on an Islamic identity in India — a marginalization that has only intensified with the recent rise of the Hindu right. The governing party’s right-wing support base has long focused on “purifying” Indian culture, with the only acceptable confluence one in which it subsumes other streams.

The poetry festival, known as Jashn-e-Rekhta, which was in its seventh edition, is part of a decade-old effort to bridge the gap between the language’s wide emotional connection and its receding accessibility.

It all began in 2013 with a website, Rekhta.org, started by Sanjiv Saraf, an engineer and businessman who was a lifelong lover of music set to Urdu poetry and had just begun learning the script at age 53.

He wanted to make a small number of good Urdu poems accessible by presenting each in three different scripts — in the original Urdu; in Devanagari, the script of Hindi; and in English transliteration. Readers could click on any word to get a pop-up of its meaning.

Mr. Saraf’s organization, the Rekhta Foundation, has since expanded its mission to reviving the Urdu language. Dozens of its employees travel around India to scan and archive works from old libraries and private collections, making out-of-print Urdu books available digitally. The Rekhta website now has about 20 million users annually, two-thirds of them under 35. The site has so far made available more than 120,000 pieces of work by over 6,000 poets.

In many ways, Urdu’s poetic tradition gives it an advantage in the era of social media and short attention spans. The building block of much of Urdu poetry is a simple “sher” — two versed lines in which the first sets up an idea and the second completes it.

“The emotional power of this language — to express the deepest emotions in the shortest possible construct,” Mr. Saraf said, “you cannot help but fall in love with the language.”

The poetry festival was held for the first time since the pandemic, and there was an undertone about the fragility of life. The singer Hariharan captivated the audience with a slow meditation on life taken from a poem by Muzaffar Warsi.
Riaz Haq said…
Where Romantic Poetry in a Fading Language Draws Stadium Crowds
That 300,000 people celebrated Urdu verse during a three-day festival was testament to the peculiar reality of the language in India.

https://www.nytimes.com/2022/12/18/world/asia/india-urdu-poetry.html

Among the crowd that spilled out of the large tent where Hariharan performed was Snigdha Kar, an environmentalist, and her 7-year-old daughter, Shreyashri. As the singer dwelled on one line of poetry, repeating it over and over, Ms. Kar closed her eyes, letting the notes sink in.

Music and poetry provide a moment of grounding in a fast-moving world of work, travel and family obligations, she said. While Ms. Kar said she had always been moved by lyrics and poetry — “I used to pay attention to the words more,” she said — she has started classical lessons online during the pandemic to understand the music, too.

“I also bought a guitar,” she said, adding with a sheepish smile: “You know, classical music could become boring sometimes.”

The festival’s main attraction was the poetry sessions, from open-mic opportunities where budding poets nervously recited their works, trying to stick to meter and rhyme, to master classes that encouraged them to keep composing even if they were struggling with the basics of Urdu script or form.

“Poetry is not just arranging words,” the poet Suhail Azad, who took early retirement as a police officer to focus full time on poetry, told attendants of one master class. “If it reaches the heart, it is poetry.”

At the festival’s headline poetry recital, the mushaira, half a dozen senior poets took their seats on the stage, enchanting the audience in distinct styles, often to standing ovations.

Some of the poets sang their verses like melodious songs. Others, like Shakeel Azmi, brought the same dynamism as a stage performer — moving away from the lectern, building up the suspense of the second verse by repeating the first over and over.

The more senior poets, like Fahmi Badayuni, 70, brought the quiet swagger and simplicity of a bygone era, both in demeanor and verse.

Before he recited his work, Mr. Badayuni — wearing a pink sweater, fur hat and checkered scarf — acknowledged the audience’s connection with his art by noting that his poems had gone “viral.”

Those who are unaware of your scent

They make do with flowers.

The crowd roared after every verse, many standing to shout “once more!” The master of ceremonies stopped Mr. Badayuni to offer an observation: His verses were so good that people were also whistling in appreciation.

“Keep whistling like that, brother, and you may get a job in the railways,” the M.C. joked with the crowd.

Mr. Badayuni then went back to reciting another sher. He repeated the first line to the audience’s attentive silence and curiosity, and then landed its kicker to their eruption.
Riaz Haq said…
Why was Pakistani pop culture so big in 2022?
December 28, 20223:59 PM ET
Heard on All Things Considered

https://www.npr.org/2022/12/28/1145854096/why-was-pakistani-pop-culture-so-big-in-2022


2022 saw a rise of Pakistani pop culture worldwide, punctuated by a Grammy win, Ms. Marvel and an ovation at Cannes.



SHAPIRO: The first Muslim superhero to have her own comic.

SURBHI GUPTA: Showing a Pakistani American teen in a Pakistani household, that felt amazing.

SARAH MCCAMMON, HOST:

Journalist Surbhi Gupta wrote about this banner year for Pakistani pop culture in New Lines Magazine.

GUPTA: We in South Asia know of this, but there were too many global moments, you know. And I was like, OK, this needs to be out there.

MCCAMMON: Gupta was born and raised in India. She writes that this is far from the first time Pakistani culture has made a global splash.

GUPTA: So, like, in the '80s, you know, my parents would talk about the Hassan siblings. They were the rage with "Disco Deewane."

(SOUNDBITE OF SONG, "DISCO DEEWANE PART I")

NAZIA HASSAN: (Singing) Disco, disco, disco deewane.

SHAPIRO: That 1981 album broke sales records in Pakistan and India, and it charted worldwide, including places like Russia and the West Indies.

MCCAMMON: This year, a Pakistani hit again drew global attention.

(SOUNDBITE OF SONG, "PASOORI")

SETHI AND GILL: (Singing in non-English language).

MCCAMMON: The song "Pasoori" by Ali Sethi and Shae Gill climbed to the top of Spotify's global viral charts, and Google searches for it beat out tracks by the K-pop group BTS and the singer Harry Styles.

SHAPIRO: Then in April, the Brooklyn-based Pakistani singer and composer Arooj Aftab won a Grammy for best global music performance for her rendition of the traditional song "Mohabbat."

(SOUNDBITE OF SONG, "MOHABBAT")

AFTAB: (Singing in non-English language).

It's important to define this moment, I think, for everyone and ourselves.

MCCAMMON: We spoke with her earlier this year before she won that award. And while Aftab was excited about being nominated in a global music category, being part of the best new artist category sent a bigger message about her place on the world stage.

AFTAB: The industry has put us in these other categories for such a long time because of the sort of racial climate of America for all this while. And so this moment where I'm in this best new artist category next to all these other artists is a monumental moment.

SHAPIRO: Pakistan had monumental moments in film this year, too, with the first Pakistani film ever officially selected for the Cannes Film Festival, a transgender love story called "Joyland."

(SOUNDBITE OF FILM, "JOYLAND")

SHAPIRO: Here's Gupta again.

GUPTA: It's about a family in Lahore, and it unpacks, like, different nuances of gender and patriarchy. And then, like, his relationship with this trans starlet, this was almost banned. But the international recognition that the film had had kind of forced the federal government to intervene and then pave the way for its release.

MCCAMMON: We asked her, what's spurring this renaissance? One theory - the world is ready.

GUPTA: I think it's been 20 years since 9/11. So there were a lot of stereotypes also associated to Pakistanis and Muslims, which I think now perhaps we are shedding.

MCCAMMON: Still, she says, Pakistani artists are doing it on their own terms, being authentically themselves.

GUPTA: American pop culture has such a strong influence globally to kind of define what local culture has become. But I think the beauty of Pakistani culture is that it is not pretending to be something it is not.

SHAPIRO: That's Surbhi Gupta. Her article, "Pakistani Pop Culture Has Had A Global Year," is in New Lines Magazine.

(SOUNDBITE OF SONG, "PASOORI")

SETHI AND GILL: (Singing in non-English language).

Popular posts from this blog

Olive Revolution: Pakistan Joins International Olive Council

Pakistani Women's Growing Particpation in Workforce

Pakistani-American Banker Heads SWIFT, The World's Biggest InterBank Payments System