Pakistani Legend Actors, Actresses, Singers and Models
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Aziz Mian (Born: 17 April, 1939, Died: 6 December, 2000) is one of Pakistan's most popular Qawals. He was born in Delhi, India. He began learning Qawwali at the age of ten and was trained in Qawwali by the age of sixteen Keep doing it. Darlings studied M.A. in Urdu and Arabic from Punjab University. Their famous Qawwalis your face, those who tried me, I am a drunkard, only Allah knows who is the human being, Nabi Nabi or Nabi is involved. Ask long Qawwali and on the Day of Judgment Ga. He wrote it himself, composed it himself. His qalities still eclipses the listeners. The government awarded him many honors. He also gave him the Pride of Performance in 1989.
Aziz Mian was considered a somewhat traditional qawal. His voice was frequent and powerful. But the secret of his success was not only his voice. Aziz Mian was not only a great qawal but also a great philosopher, who often did poetry for himself Aziz Mian had done MA in Urdu and Arabic from Punjab University, Lahore.
His real name was Abdullah Laziz. "Mian" was his pillow word, which he often used in his qawalis too, which later became part of his name. He started his artistic era as "Aziz Mian Merthy". Merthy's The reason is that after the establishment of Pakistan Aziz Mian migrated from the Indian city of Meerut to his homeland.
He was nicknamed "Army Qawal" in his early days because most of his starting stage Qawal were for soldiers in military barracks.
He was arrested several times on a variety of trivial charges but was later acquitted.
In Aziz Mian's Qawalis, more attention was given on course singing which aimed to emphasize the core point of Qawwali. Aziz Mian had some skill in reciting poetry which left a deep impact on the audience. Most of his Qawalis took a religious color. It was said that he had also achieved success in Roman color. Aziz Mian's most popular sayings include "I am a drunkard, I am a drunkard" (or "your face") and "Allah only knows who is human".
Aziz Mian was expert in discussing religious and Sufi issues in his Qawwalis. In his Qawawalis talking to God, he mostly used the poetry of Allama Iqbal. For example, read the following favorite verses of Aziz Mian:
Why did you give me permission to travel from the Garden of Paradise?
The work of the world is long, now wait for me.
I only love you in this world.
test me or trust me
Pakistan's world-renowned comedian Umar Sharif once said in a comedy show about Aziz Mian: "People's quarrels are on earth, his quarrels are in heaven. He quarrels with Allah."
Sabri brothers criticized Aziz Mian's qawwali "meen sharabi me sharabi" in one of his qawwali, "pina vena chh sharabi". Aziz Mian gave his Turkish to Turkish reply in his another qawali "hay kambakht tu ne pe h nahi". Aziz's sabri brothers Since replying to "I'm an alcoholic" and "oh **** you don't drink" are served together.
Aziz Mian died on December 6, 2000 in Tehran (Iran). He was invited by the Iranian government for Qawwali on the occasion of Hazrat Ali's death anniversary. Aziz Mian's two sons, Imran and Tabriz, adopted his legacy. Ha. Both look very similar to their father in Qawwali style. You were buried in side of his mentor Totan Wali Sarkar Multan as per will.
Aziz Mian (Born: 17 April, 1939, Died: 6 December, 2000) is one of Pakistan's most popular Qawals. He was born in Delhi, India. He began learning Qawwali at the age of ten and was trained in Qawwali by the age of sixteen Keep doing it. Darlings studied M.A. in Urdu and Arabic from Punjab University. Their famous Qawwalis your face, those who tried me, I am a drunkard, only Allah knows who is the human being, Nabi Nabi or Nabi is involved. Ask long Qawwali and on the Day of Judgment Ga. He wrote it himself, composed it himself. His qalities still eclipses the listeners. The government awarded him many honors. He also gave him the Pride of Performance in 1989.
Aziz Mian was considered a somewhat traditional qawal. His voice was frequent and powerful. But the secret of his success was not only his voice. Aziz Mian was not only a great qawal but also a great philosopher, who often did poetry for himself Aziz Mian had done MA in Urdu and Arabic from Punjab University, Lahore.
His real name was Abdullah Laziz. "Mian" was his pillow word, which he often used in his qawalis too, which later became part of his name. He started his artistic era as "Aziz Mian Merthy". Merthy's The reason is that after the establishment of Pakistan Aziz Mian migrated from the Indian city of Meerut to his homeland.
He was nicknamed "Army Qawal" in his early days because most of his starting stage Qawal were for soldiers in military barracks.
He was arrested several times on a variety of trivial charges but was later acquitted.
In Aziz Mian's Qawalis, more attention was given on course singing which aimed to emphasize the core point of Qawwali. Aziz Mian had some skill in reciting poetry which left a deep impact on the audience. Most of his Qawalis took a religious color. It was said that he had also achieved success in Roman color. Aziz Mian's most popular sayings include "I am a drunkard, I am a drunkard" (or "your face") and "Allah only knows who is human".
Aziz Mian was expert in discussing religious and Sufi issues in his Qawwalis. In his Qawawalis talking to God, he mostly used the poetry of Allama Iqbal. For example, read the following favorite verses of Aziz Mian:
Why did you give me permission to travel from the Garden of Paradise?
The work of the world is long, now wait for me.
I only love you in this world.
test me or trust me
Pakistan's world-renowned comedian Umar Sharif once said in a comedy show about Aziz Mian: "People's quarrels are on earth, his quarrels are in heaven. He quarrels with Allah."
Sabri brothers criticized Aziz Mian's qawwali "meen sharabi me sharabi" in one of his qawwali, "pina vena chh sharabi". Aziz Mian gave his Turkish to Turkish reply in his another qawali "hay kambakht tu ne pe h nahi". Aziz's sabri brothers Since replying to "I'm an alcoholic" and "oh **** you don't drink" are served together.
Aziz Mian died on December 6, 2000 in Tehran (Iran). He was invited by the Iranian government for Qawwali on the occasion of Hazrat Ali's death anniversary. Aziz Mian's two sons, Imran and Tabriz, adopted his legacy. Ha. Both look very similar to their father in Qawwali style. You were buried in side of his mentor Totan Wali Sarkar Multan as per will.
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Death anniversary of TV and film legendary artiste Fareed Nawaz Baloch
Fareed Nawaz Baloch was a renowned actor.
He was born in Hyderabad in 1945 and also graduated from his home town.
He joined the PTV Karachi Center in the early 1970s and appeared in various Sindhi dramas.
He did his first play in Urdu in 1976 and since then he became a regular part of both Sindhi and Urdu plays.
He performed in more than 400 plays.
He also performed in various radio plays He also worked in one Urdu film Grrebaan. Dewarain, Jangal, Hawain, Zeenat, Baakh and Karo Kaari were his memorable plays from Pakistan Television Karachi Center. He died of a heart attack on 15th December 2001 in Karachi.
Fareed Nawaz Baloch was a renowned actor.
He was born in Hyderabad in 1945 and also graduated from his home town.
He joined the PTV Karachi Center in the early 1970s and appeared in various Sindhi dramas.
He did his first play in Urdu in 1976 and since then he became a regular part of both Sindhi and Urdu plays.
He performed in more than 400 plays.
He also performed in various radio plays He also worked in one Urdu film Grrebaan. Dewarain, Jangal, Hawain, Zeenat, Baakh and Karo Kaari were his memorable plays from Pakistan Television Karachi Center. He died of a heart attack on 15th December 2001 in Karachi.
ghazi52
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آواز دے کہاں ہے، دنیا میری جواں ہے
آج ملکہ ترنم نور جہاں کی 22 ویں برسی ہے۔
نورجہاں بذلہ سنج اور حاضر جواب تھیں۔ وہ کسی دوسرے شخص کے منھ سے برموقع اور برمحل اچھی بات سنتی تو اسے داد بھی دیتیں تھیں۔ ایک مرتبہ نورجہاں دوستوں کی محفل میں اپنے گیتوں کی غیرمعمولی کامیابی کو اپنے بچوں کی پیدائش سے جوڑ رہی تھیں۔
مادام نے تفاخرانہ انداز میں کہاکہ جب میرا گیت ’آواز دے کہاں ہے دنیا میری جواں ہے‘ ہٹ ہوا تو میرا بیٹا اکبر پیدا ہونے والا تھا۔اسی طرح میرا گیت ’چن دئیا ٹوٹیا‘ سپر ہٹ ہوا تو ظل ہما پیدا ہونے والی تھی۔ اسی طرح جب میرا گایا گیت ’آ جا میری برباد محبت کے سہارے‘ ہٹ ہوا تو اچھو میاں (اصغر رضوی ) میرے پیٹ میں تھے۔
اس پر پاس بیٹھے سازندے نے نور جہاں سے کہا کہ ’میڈم، کیا آپ نے کبھی کوئی گیت خالی پیٹ بھی گایا ہے۔‘ اس پر محفل میں قہقے گونج اٹھے اور نور جہاں بھی کھلکھلا کر قہقے لگانے لگیں۔
آج ملکہ ترنم نور جہاں کی 22 ویں برسی ہے۔
نورجہاں بذلہ سنج اور حاضر جواب تھیں۔ وہ کسی دوسرے شخص کے منھ سے برموقع اور برمحل اچھی بات سنتی تو اسے داد بھی دیتیں تھیں۔ ایک مرتبہ نورجہاں دوستوں کی محفل میں اپنے گیتوں کی غیرمعمولی کامیابی کو اپنے بچوں کی پیدائش سے جوڑ رہی تھیں۔
مادام نے تفاخرانہ انداز میں کہاکہ جب میرا گیت ’آواز دے کہاں ہے دنیا میری جواں ہے‘ ہٹ ہوا تو میرا بیٹا اکبر پیدا ہونے والا تھا۔اسی طرح میرا گیت ’چن دئیا ٹوٹیا‘ سپر ہٹ ہوا تو ظل ہما پیدا ہونے والی تھی۔ اسی طرح جب میرا گایا گیت ’آ جا میری برباد محبت کے سہارے‘ ہٹ ہوا تو اچھو میاں (اصغر رضوی ) میرے پیٹ میں تھے۔
اس پر پاس بیٹھے سازندے نے نور جہاں سے کہا کہ ’میڈم، کیا آپ نے کبھی کوئی گیت خالی پیٹ بھی گایا ہے۔‘ اس پر محفل میں قہقے گونج اٹھے اور نور جہاں بھی کھلکھلا کر قہقے لگانے لگیں۔
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Happy New Year
31 Dec 1982 for New Year Celebration at producer Shahzad Khalil house in Defence Karachi.
L to R : Javed Sheikh, Shakil, Nighat Afreen & Agha Waheed
Courtesy : Nighat Afreen
Happy New Year
31 Dec 1982 for New Year Celebration at producer Shahzad Khalil house in Defence Karachi.
L to R : Javed Sheikh, Shakil, Nighat Afreen & Agha Waheed
Courtesy : Nighat Afreen
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Senior actor Majid Jahangir, who used to spread smiles on people's faces in the comedy drama 'Fifty Fifty', is no more in this world.
Fifty Fifty's popular duo Ismail Tara and Majid Jahangir left this world.
We belong to Allah and to Him we shall return.
Senior actor Majid Jahangir, who used to spread smiles on people's faces in the comedy drama 'Fifty Fifty', is no more in this world.
Fifty Fifty's popular duo Ismail Tara and Majid Jahangir left this world.
We belong to Allah and to Him we shall return.
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Muhammad Suhayb
Writing about an actor who enthralled generations with his work is quite a daunting task. Usually, actors you admired in your childhood turn out to be anything but nice when you meet them in person. Muhammad Qavi Khan was a true gentleman. He not only inspired many with his on-screen performances, but was equally charming off-screen.
Born on November 13, 1942 in the Peshawar of undivided India, Muhammad Qavi Khan had been around for ages. He began his career as a child artist from Radio Pakistan Peshawar in 1952, but destiny brought him to Lahore, where he got a chance to work as the lead in PTV’s first-ever play Nazrana (1964).
For the next couple of years, Khan shuttled between his job at a multi-national bank, and TV/films. He later quit his job for a full-time acting career. He was a regular in theatre as well and had been performing since 1961. I was fortunate enough to watch him play Nawab Sahab in a play at Karachi’s Arts Council in 2008.
From being PTV’s first lead to the lead actor’s grandfather in films — his last film was Tich Button in 2022 — Khan had the habit of getting into the skin of all the characters he portrayed. His short but powerful performance as the helpless father of Faisal Rehman in Nahin Abhi Nahin (1980) was quite touching.
In 1972/73, he played the role of Waheed Murad’s father in Mulaqat while just a year earlier, he played his character’s colleague in Naag Mani. In 1978, he returned to play his father’s role in Parakh, where he was first seen in the role of a police officer.
The age difference between Waheed Murad and Qavi Khan was just four years yet it never felt so on screen. Khan credited Murad’s charisma for such remarkable performances — “Waheed ko acting karta dekh ke main apni lines bhool jata tha [I would forget my lines after watching Waheed act],” was the reply from someone who had played all the male-oriented roles available in a motion picture.
He even ventured into film production but by 1980 had more flops than hits to his credit. His production Dhamki was eventually released as Paasban. It was General Zia ul Haq’s reign as president and Pakistan was involved in fighting America’s war with the USSR in Afghanistan. Even the title text of Paasban, appearing in bright red, was not spared, as red was linked with the left.
Fed up with films, Khan returned to TV to resume his second innings. Exposure to the world benefited him and the 80s brought more successes than his first few years. Knowing his days as a lead were over, Khan experimented with different roles. He was one of the four brothers in PTV’s long play Mirza and Sons (1983), where his character Rahat wanted to emulate actor Qavi Khan. The dialogues, expressions and body language of the wanna be actor are still a treat to watch. Andhera Ujala was born after the success of TV play Rago me Andhera (1983) urged producers to turn it into a serial.
With Rahat Kazmi’s refusal to continue, producers turned to Qavi Khan, whose performances as DSP Tahir Ali, immortalised the character. It influenced many like me so much that whenever we had to address any colleague named Jaffar, the words that came out would be, “Jaffar Hussain, yeh sab kya ho raha hai?”
When Nadeem-Shabnam starrer Pehchan (1975) was aired on TV in 1987, I was shocked to see Khan in an altogether different avatar — that of a smuggler. Upon learning of the family he abandoned as a kid, Khan not only fights his boss — the typical bishum bishum — but also sets out to meet his mother. Still recovering from the aftershocks of the ‘criminal’ activities of Khan’s character Rashid, I broke down at the eventual meet-up. Mehdi Hassan’s tera pyar mere jeevan ke sang rahega still resonates in my ears.
Even as someone who grew up during Sultan Rahi’s rule as a top box office draw, it was Khan who recommended that I start watching Punjabi films. He explained that there was not much difference in understanding the language and after some time,
it would seem like an Urdu film. With his suggestion, I discovered Sultan Rahi-less Punjabi cinema with Khan’s Manjhi Kithe Dhawan (1974) becoming my personal favourite. During my next meeting with him, I asked about the inspiration behind the climax of his film and his reply was more of a performance.
Like an experienced theatre actor, he leaned to one side, transported himself to the year 1964 and uttered: “Aurat ho tu tumharay jaisi, dost ho tu tumharay jaisa aur bewaqoof ho tu meray jaisa [A woman should be like you, a friend should be like you, and a fool like me],” the climax of his very first film Rivaaj, directed by Diljeet Mirza and written by the maverick Riaz Shahid.
Qavi Khan — the last of the legends
They say never meet your heroes in person — I met Qavi Khan and can report that he was as much a gentleman off screen as he was on screen.Muhammad Suhayb
Writing about an actor who enthralled generations with his work is quite a daunting task. Usually, actors you admired in your childhood turn out to be anything but nice when you meet them in person. Muhammad Qavi Khan was a true gentleman. He not only inspired many with his on-screen performances, but was equally charming off-screen.
Born on November 13, 1942 in the Peshawar of undivided India, Muhammad Qavi Khan had been around for ages. He began his career as a child artist from Radio Pakistan Peshawar in 1952, but destiny brought him to Lahore, where he got a chance to work as the lead in PTV’s first-ever play Nazrana (1964).
For the next couple of years, Khan shuttled between his job at a multi-national bank, and TV/films. He later quit his job for a full-time acting career. He was a regular in theatre as well and had been performing since 1961. I was fortunate enough to watch him play Nawab Sahab in a play at Karachi’s Arts Council in 2008.
From being PTV’s first lead to the lead actor’s grandfather in films — his last film was Tich Button in 2022 — Khan had the habit of getting into the skin of all the characters he portrayed. His short but powerful performance as the helpless father of Faisal Rehman in Nahin Abhi Nahin (1980) was quite touching.
In 1972/73, he played the role of Waheed Murad’s father in Mulaqat while just a year earlier, he played his character’s colleague in Naag Mani. In 1978, he returned to play his father’s role in Parakh, where he was first seen in the role of a police officer.
The age difference between Waheed Murad and Qavi Khan was just four years yet it never felt so on screen. Khan credited Murad’s charisma for such remarkable performances — “Waheed ko acting karta dekh ke main apni lines bhool jata tha [I would forget my lines after watching Waheed act],” was the reply from someone who had played all the male-oriented roles available in a motion picture.
He even ventured into film production but by 1980 had more flops than hits to his credit. His production Dhamki was eventually released as Paasban. It was General Zia ul Haq’s reign as president and Pakistan was involved in fighting America’s war with the USSR in Afghanistan. Even the title text of Paasban, appearing in bright red, was not spared, as red was linked with the left.
Fed up with films, Khan returned to TV to resume his second innings. Exposure to the world benefited him and the 80s brought more successes than his first few years. Knowing his days as a lead were over, Khan experimented with different roles. He was one of the four brothers in PTV’s long play Mirza and Sons (1983), where his character Rahat wanted to emulate actor Qavi Khan. The dialogues, expressions and body language of the wanna be actor are still a treat to watch. Andhera Ujala was born after the success of TV play Rago me Andhera (1983) urged producers to turn it into a serial.
With Rahat Kazmi’s refusal to continue, producers turned to Qavi Khan, whose performances as DSP Tahir Ali, immortalised the character. It influenced many like me so much that whenever we had to address any colleague named Jaffar, the words that came out would be, “Jaffar Hussain, yeh sab kya ho raha hai?”
When Nadeem-Shabnam starrer Pehchan (1975) was aired on TV in 1987, I was shocked to see Khan in an altogether different avatar — that of a smuggler. Upon learning of the family he abandoned as a kid, Khan not only fights his boss — the typical bishum bishum — but also sets out to meet his mother. Still recovering from the aftershocks of the ‘criminal’ activities of Khan’s character Rashid, I broke down at the eventual meet-up. Mehdi Hassan’s tera pyar mere jeevan ke sang rahega still resonates in my ears.
Even as someone who grew up during Sultan Rahi’s rule as a top box office draw, it was Khan who recommended that I start watching Punjabi films. He explained that there was not much difference in understanding the language and after some time,
it would seem like an Urdu film. With his suggestion, I discovered Sultan Rahi-less Punjabi cinema with Khan’s Manjhi Kithe Dhawan (1974) becoming my personal favourite. During my next meeting with him, I asked about the inspiration behind the climax of his film and his reply was more of a performance.
Like an experienced theatre actor, he leaned to one side, transported himself to the year 1964 and uttered: “Aurat ho tu tumharay jaisi, dost ho tu tumharay jaisa aur bewaqoof ho tu meray jaisa [A woman should be like you, a friend should be like you, and a fool like me],” the climax of his very first film Rivaaj, directed by Diljeet Mirza and written by the maverick Riaz Shahid.
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15 May, 2023
Veteran actor and playwright Shoaib Hashmi passed away on Monday afternoon after a prolonged illness. He was 84 years old.
PTV reported the news via its official Twitter account. Hashmi, who was the husband of artist and educationist Salima Hashmi, was also a professor of economics.
According to PTV, he held a Masters in Economics from Government College, Lahore, MSc from the London School of Economics and studied theatre from the Royal Academy of Dramatic Arts in London.
He is remembered for his productions Akkar Bakkar, Sach Gup, Taal Matol and Balila for TV before the 1990s and the columns he wrote for The News and Gulf News, according to a Dawn profile of him from 2012.
Hashmi also wrote extensively for the theatre and translated a few books. One of his most notable translations was A song for this day: 52 poems by his father-in-law Faiz Ahmed Faiz. His wife illustrated the book.
He also did quite a few translations of English dramas for local theatres owing to the lack of playwrights and drama publications in Urdu.
Veteran playwright Shoaib Hashmi passes away
Known for his satirical writings, the actor and husband of Salima Hashmi.15 May, 2023
Veteran actor and playwright Shoaib Hashmi passed away on Monday afternoon after a prolonged illness. He was 84 years old.
PTV reported the news via its official Twitter account. Hashmi, who was the husband of artist and educationist Salima Hashmi, was also a professor of economics.
According to PTV, he held a Masters in Economics from Government College, Lahore, MSc from the London School of Economics and studied theatre from the Royal Academy of Dramatic Arts in London.
He is remembered for his productions Akkar Bakkar, Sach Gup, Taal Matol and Balila for TV before the 1990s and the columns he wrote for The News and Gulf News, according to a Dawn profile of him from 2012.
Hashmi also wrote extensively for the theatre and translated a few books. One of his most notable translations was A song for this day: 52 poems by his father-in-law Faiz Ahmed Faiz. His wife illustrated the book.
He also did quite a few translations of English dramas for local theatres owing to the lack of playwrights and drama publications in Urdu.
jamahir
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Is that in a good sense or not in good sense ?
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