#Punjab lyrics translation

[gmqazi19739]

Mansoor Ali Malangi - Top 15 Best Punjabi Folk Music

Mansoor Ali Malangi was more than a singer; He deeply touched the heart of Punjabi Saraiki culture. Rich in sentiment and rich in tradition, his music went beyond mere entertainment and became a vessel for expressions of love, sorrow, and spirituality Known for his Punjabi folk music and powerful Sufi music, Malangi left a mark indelible in the Pakistani music scene.

Best Mansoor Ali Malangi Punjabi Folk Music Download

Biography and Early Life Born in Garh Maharaj, a small town near Darbar-e-Hazrat Sultan Bahu in Jhang district in 1947, Mansoor Ali Malangi was destined to become a Pakistani music legend Growing up in a humble peasant family, Malangi's early experiences were based on rhythmic music rural life approx. The beginning of a musical journey Malangi’s journey in the world of music began in 1965 when he started playing at Radio Pakistan in Lahore. His sweet, character-filled voice soon caught the attention of his audience. Unlike many of his contemporaries, Malangi’s music was deeply rooted in the traditional sounds of Punjab and Saraiki culture, making him stand out as a unique talent in the Pakistani music scene. Breakthrough hits In the 1970s, Mansoor Ali Malangi's career reached new heights with the release of "Ik Full Motiya Da Mar Ke Jaga Sohni". This song became an instant hit across Pakistan with its haunting melodies and heartfelt lyrics. It was a song that spoke directly to the soul, and its success was the catalyst for Malangi’s early rise to stardom. Rise to the stars After the success of "Ik Full Motiya Da Mar Ke Jaga Sohni", Malangi went on to make hit after hit. Songs like "Kala Til Mahi Da", "Balocha Zalman", and "Kehri Ghatti Hoi Aye Zalim" incorporated the spirit of Punjabi and Saraiki culture and became music for many His ability to express deep emotions through his songs endeared him to millions, made him one of the favorite folk singers of Pakistan It became one of them. Contributions to Sufi music Mansoor Ali Malangi was not just a folk singer; He was also a profound translator of Sufi poetry. The Punjabi Kalams of Hazrat Khawaja Ghulam Farid are particularly noteworthy. These performances were more than music; They were spiritual experiences that emphasized the essence of Sufism love, devotion, and the pursuit of the divine. Discography and albums Malangi released about 500 albums throughout his career, each one a testament to his versatility and talent. His famous albums include "Ek Full Motiya Da", "Bhochnar Doriy Da", and "Kafian Khwaja Ghulam Farid". Each album offered a unique insight into the rich cultural heritage of Punjab and Saraiki, solidifying Malangi’s position as a cultural icon. Awards and recognition Mansoor Ali Malangi’s contribution to Pakistani Punjabi music has not gone unnoticed. He also received many prestigious Presidential Honors and accolades throughout his career. The award, one of Pakistan’s highest civilian honors, recognized Malangi’s efforts in promoting Seraiki Punjabi folk music and his lasting impact on the country’s culture Impact on Pakistani music culture Malangi’s impact on Pakistan’s music culture cannot be overstated. He played a pivotal role in popularizing Punjabi Saraiki music, bringing these regional sounds to the national stage. His work inspired countless musicians to follow in his footsteps, ensuring that the rich traditions of his homeland continue to flourish. International recognition Mansoor Ali Malangi’s fame was not confined to Pakistan. His Punjabi songs resonated with audiences around the world, especially the Pakistani diaspora. His international travels brought the traditional sound of Punjab Saraiki to the global stage, where it was appreciated and appreciated. It speaks to the universal appeal of Malangi’s music as communicating with listeners across cultural boundaries. Last year and legacy In the later years of his life, Malangi made an impact in the world of music. Though his voice is old, it remained strong, and his performance captivated the audience. Sadly, on December 11, 2014, Mansoor Ali Malangi passed away due to a heart attack, ending an era in Pakistani folk music. But his legacy lives on through his music which inspires and motivates people to this day. Mansoor Ali Malangi's most brilliant music Mansoor Ali Malangi’s discography is vast, but a few songs stand out as true masterpieces. "Ik Full Motiya Da", "Kala Til Mahi Da", "Balocha Zalman", and "Kehri Ghalti Hoi Aye Zalim" are not just songs; They are cultural treasures passed down from generation to generation. Each panel reflects the essence of Punjabi Saraiki life, capturing the joys, sorrows, and spirituality of the people. The enduring appeal of Malangi’s music What makes Mansoor Ali Malangi’s music so enduring? Maybe it’s the authenticity of his voice, the authenticity of his lyrics, or the timeless music that always resonates with listeners. His songs speak to universal human experiences love, loss, and the search for meaning making them as relevant today as they were decades ago. Conclusion Mansoor Ali Malangi was a giant in the world of Punjabi and Saraiki folk music. His unique voice combined with a deep understanding of the cultural and spiritual traditions of his country made him one of Pakistan's favorite musicians and his legacy preserved through his many albums and performances a never to be forgotten inspired a new generation of artists and fans FAQs Q1: When did Mansoor Ali Malangi start his music career? A: Mansoor Ali Malangi started his professional music career in 1965 at Radio Pakistan in Lahore. Q2: What are some of the famous songs of Mansoor Ali Malangi? A: His popular songs include "Ik Full Motiya Da", "Kala Til Mahi Da", and "Balocha Zalman". Q3: What awards has Mansoor Ali Malangi won for his contribution to the music industry? A: Mansoor Ali Malangi has won many awards including the honor of the President’s Exhibition for his contribution to Punjabi and Sufi music. Q4: How did Mansoor Ali Malangi influence Pakistani music culture? A: Malangi played a pivotal role in popularizing Punjabi Saraiki music, bringing these regional sounds to national and international audiences. Q.5: When did Mansoor Ali Malangi die? A: Mansoor Ali Malangi passed away on December 11, 2014, due to heart failure. Read the full article

[desimoviereviews]

Amar Singh Chamkila: An Insight into Modern Punjabi Music

Instagram: @thatguyanesejournalist Twitter: @TGJournalist

(SOME SPOILERS AHEAD IF YOU HAVEN'T WATCHED THE FILM)

Let’s talk about Imtiaz Ali’s Amar Singh Chamkila.

A humble singer’s brash lyrics ignite fame and fury across Punjab as he grapples with soaring success and brutal criticism before his untimely death.

I absolutely loved this film. As many have said before, Amar Singh Chamkila is really a comeback for Ali and shows he’s capable of much more than rom-coms. Returning to directing after four years, Ali does a remarkable job of bringing Chamkila’s story to life without overdramatizing anything, a trait commonly seen in many Indian biographical films. Amar Singh Chamkila feels so authentic in a sense that it feels like I’m living through the story during real time.

I think one reason I felt like that was because of the number of times real footage appeared throughout the film from the time the real Chamkila and Amarjot were alive. I found myself constantly pausing and looking at how accurately Diljit Dosanjh and Parineeti reenacted their real life counterparts based on the pictures and videos included in the film.

The narrative of the film, starting with the assassination of the couple, captures you from the first shot. Having the story told by people who were involved in Chamkila’s life in some way cements how much of an impact he made around him. I think the only gripe I had with the film was how minimal Gurmail (Chamkila’s first wife) was in the film, but I guess I shouldn’t attribute this to Ali’s’ directing and more to real-life Chamkila marrying Amarjot to keep the partnership alive while still being married to Gurmail. Which is another reason I loved this movie. Ali didn’t completely show Chamkila as a hero. He was, for lack of a better word, morally gray and just wanted to pursue music no matter what.

One specific scene that impacted me a lot, though, was when Chamkila and Amarjot are on the funeral pyre and somebody takes pictures of their corpses. The film then interjects that scene with actual pictures of the dead couple taken from the same angle. It hit home for me that this was, in fact, a true story of a man who truly wanted to sing despite all the threats he was receiving. He loved his wife, to the point where his last words were about concern for Amarjot, who had been shot before his eyes (“Babbi, tenu ki hoya?”). But more importantly, Chamkila was a man who revolutionized modern Punjabi music in his short life.

The dialogue, written by Imtiaz Ali and Sajid Ali, stayed true to the Punjabi language. While most of the film was in Hindi, the parts where Diljit and Parineeti were singing Chamkila’s Punjabi songs and it was translated in Hindi on screen was a genius idea to people who may not be familiar with the language. However I did see a lot of discourse about Parineeti not having a lot of dialogue in the film. On further research, though, I found that it was purely in-character for Parineeti not to talk so much, since Amarjot wasn’t a talkative individual anyway.

A.R. Rehman, the genius that he is, composed the music for this film. The soundtrack itself was described to be very Broadway-esque, which is the vibe I immediately got, especially with Baaja. The lyrics, by Irshad Kamil, are so poetic (as seen in Vida Karo) and even subtly include double-entendres just like Chamkila without making the songs dirty or cheap (as seen in Naram Kalja). Sidenote: it was so nice to hear Mohit Chauhan’s voice again, especially after not hearing him in many mainstream Bollywood movies anymore.

Also, I would just like to say that Alka Yagnik and Richa Sharma are the highlights of the soundtrack. ARR is possibly the only person who can make Alka sing like that for “Naram Kalja” and I honestly appreciate how fresh she sounds and how the soundtrack in general adapted to our modern times while using traditional instruments in some form. Here’s my list of songs:

Naram Kalja Vida Karo Ishq Mitaye

Also, here’s a Chamkila and Amarjot song I enjoyed that was included in the movie: 

Pehle Lalkare Naal

The movie is 146 minutes long (2 hours and 26 minutes). Stream it on Netflix, grab a snack and enjoy!

Do you agree or disagree? Let me know in the comments!

[bookclub4m]

Episode 181 - Summer 2023 Media Update

This episode it’s time for our Summer 2023 Media Update! We talk about chairs, orangutans, weird music, and 17 novellas! Plus, lots more!

You can download the podcast directly, find it on Libsyn, or get it through Apple Podcasts, Google Podcasts, or your favourite podcast delivery system.

In this episode

Anna Ferri | Meghan Whyte | Matthew Murray | Jam Edwards

Media & Things we Talked About 

Meghan

Graphic Novels

L'Esprit du camp by Cab, Michel Falardo

Friday by Ed Brubaker, Marcos Martín, coloured by Muntsa Vicente

Birds of Maine by Michael DeForge

Looking at Stuff

Saving Time: Discovering a Life Beyond the Clock by Jenny Odell

A Sand County Almanac and Sketches Here and There by Aldo Leopold, Charles W. Schwartz (illustrator)

Outside Lies Magic: Regaining History and Awareness in Everyday Places by John R. Stilgoe

Novellas

Wayward Children by Seanan McGuire

The Singing Hills Cycle by Nghi Vo

Voidwitch Saga by Corey J. White

Matthew

Ducks by Kate Beaton

Weird Music

Venjent - Flowin' with the Vibe

Venjent - Tapping Away

Venjent - Create Machines

Jacek Dzwonowsk - Triple concerto for faucet, water pipes and fiddle

Boys Noize & Pussy Riot - "Chastity" feat. Alice Glass

“Put it in a dick cage”

Yakuza 0 (Wikipedia)

Jam

Captain Disillusion

Orangutan Card Trick DEBUNK

Corridor Crew

VFX Artists React to Bad & Great CGi 57 (Ft. Captain Disillusion)

VFX Artists React to Amazing Movie Props With Adam Savage!

The Girl I Am, Was, and Will Never Be: A Speculative Memoir of Transracial Adoption by Shannon Gibney

Legend of Zelda: Tears of the Kingdom (Wikipedia)

‘Breath of the Wild’ is the Zelda Adventure I've Always Wanted by Austin Walker

Anna

Classy with Jonathan Menjivar

LoadingReadyRun - Swap & Shop - Selling Edition

Kirkland Museum of Fine & Decorative Art

Photos of chairs (on Matthew’s Instagram account)

Cultish: The Language of Fanaticism by Amanda Montell

18 Non-Fiction Military Books by BIPOC Authors

Every month Book Club for Masochists: A Readers’ Advisory Podcasts chooses a genre at random and we read and discuss books from that genre. We also put together book lists for each episode/genre that feature works by BIPOC (Black, Indigenous, & People of Colour) authors. All of the lists can be found here.

Transformed: A Navy SEAL’s Unlikely Journey from the Throne of Africa, to the Streets of the Bronx, to Defying All Odds by Remi Adeleke

A Long Way Gone: Memoirs of a Boy Soldier by Ishmael Beah

Unbecoming: A Memoir of Disobedience by Anuradha Bhagwati

Infinite Hope: A Black Artist's Journey from World War II to Peace by Ashley Bryan

Gabriel Dumont Speaks by Gabriel Dumont, translated by Michael Barnholden

Body Counts: The Vietnam War and Militarized Refugees by Yen Le Espiritu

They Called Us "Lucky": The Life and Afterlife of the Iraq War's Hardest Hit Unit by Ruben Gallego

Knocking Down Barriers: My Fight for Black America by Truman K. Gibson Jr.

Can't Hurt Me: Master Your Mind and Defy the Odds by David Goggins

Ira Hayes: The Akimel O'odham Warrior, World War II, and the Price of Heroism by Tom Holm

Strong Hearts, Wounded Souls: Native American Veterans of the Vietnam War by Tom Holm

Sounding Thunder: The Stories of Francis Pegahmagabow by Brian D. McInnes

The First and Only Memoir By One of the Original Navajo Code Talkers of WWII by Chester Nez

Duty, Honour and Izzat: From Golden Fields to Crimson - Punjab's Brothers in Arms in Flanders by Steven Purewal

Call Me Chef, Dammit!: A Veteran’s Journey from the Rural South to the White House by Andre Rush

The Art of War by Sun Tzu

From the Tundra to the Trenches by Eddy Weetaltuk

Now Let Me Fly: A Portrait of Eugene Bullard by Ronald Wimberly

Give us feedback!

Fill out the form to ask for a recommendation or suggest a genre or title for us to read!

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Join us again on Tuesday, September 5th when we’ll be discussing the format of Lyric Poetry!

Then on Tuesday, September 19th it’s time for our One Book One Podcast as we discuss the novel Upright Women Wanted by Sarah Gailey!

[goblinsbriide]

“Ambaraan toh taarein ravaan tod da, teri chunni te sajaun layi // I want to keep plucking stars from the sky, to decorate them on your scarf”

[sanegreen]

so i recently discovered this song and decided to dissect it's lyrics. so it is about the love story of mirza-sahiban, a folktale native to punjab (usually named alongwith heer-ranjha and sohni-mahiwal).

long story short, mirza and sahiba loved one another deeply and ran away together to marry each other against sahiba's family's wish. mirza decided to rest under a tree even though sahiba begged him to keep moving until they were far enough from her home. but being the mightiest archer around, mirza was arrogant, he knew that no one could touch them or else they'll be k!lled; he went to sleep. but sahiba was worried, because she knew if her brothers attacked mirza, he would kill them. so she broke all of mirza's arrows into half. she thought that she could plead to her brothers to spare him but unfortunately that's not how things panned out.

as soon as her brothers caught sight of mirza, they shot an arrow that pierced his throat. waking up from his slumber, mirza reached for his bow and arrow, only to find it broken. he felt deceived. he looked into sahiba's eyes and begged for an answer as another arrow pierced through his stomach.

aghast at what had happened, she jumped on to mirza's dead body, letting the arrow pierce her as well. As the brothers closed in on them, both mirza and sahiba died a silent death.

therefore, sahiba's name is usually coined with deceitfulness and she is accused of disloyalty.

they lyrics of this song are so specifically tailored for this story, it's beautiful.

(the lyrics are in punjabi, if you don't understand it feel free to google the translation)

[primusicanalysis]

Punjabi Music, The Power of the Warrior Class

During the course of my childhood and up until now, Punjabi music has always impacted my life, being first-generation South-Asian American, having balanced two cultures, continents and countries my entire life, music is what truly brings me back to connect again with my ancestral roots. India is a vast, big country, and the northern region is extremely different from the Southern region, to the point where people may not even understand each other, if they don't speak that region's language even if they identify as Indian. For the Punjab region in North India, the Punjabi people were the warrior class of 'Hindustan' (India in English) and protected the country for centuries from empires and enemies alike. Wherever the Punjab sword went, order followed. Punjabi music specifically, has a lot of drums, dancing and folk in it. The original name of it is "Shahmukhi '' which translates to Punjabi Folk in English. The music transcends borders and walls, as everyone easily enjoys its loud and upbeat style. In fact, the university I attend; Rutgers University has its own Bhangra Dance Troupe, which is basically the style of dance found in the Punjab region, and they dance to Punjabi music. The specific song, called 'Sadi Gali' in the Bollywood movie 'Tanu Weds Manu' is a modern look to the Punjabi style of music, or songs like 'Kadar' by Mankirt Aulakh, which isn't part of the Bollywood scene, but very relevant to modern Punjabi music, is what young South Asians and anyone for that matter, enjoy and dance too. If you look up 'Bhangra' on YouTube you will find thousands of videos, from people of all races and backgrounds, enjoying Punjabi music. But to deepen its meaning, we must look into artists like, Gurdas Maan, which our grandparents and parents have grown up listening to. In the Punjabi community, his work is both modern and traditional, focusing on the politics happening in the country of India and just music to dance to altogether. His one song, dedicated to 'Bhagat Singh' the legendary freedom fighter, who took on the power of the British and started the Indian Revolution against the British Empire, combines that traditional Punjabi taste of music with modern rap verses in the language Hindi, but in the 'Punjab dialect'. The song focuses on Bhagat Singh's sacrifice and service to the people of India when the colonization took over the country, and completely had Indians fighting against each other, because of the instigation of the British empire, to steal India's natural resource and the country altogether. This song means so much to me and anyone Indian, as it reminds us of what those before us fought for, so that the next generation would have their rights and freedom again. That is why music is so important on all levels for all people, races, colors, genders and orientation. It can be a political impact, a march against evil, a chance to have your voice heard both literally and figuratively. I believe that it is important to learn about the hidden messages in music and the meanings behind the lyrics, as it gives you a chance to broaden one's cultural awareness, intellectual abilities and knowledge of history around the world. Take a look at this article, and please give it a read, it truly talks about the way the British did not appreciate India’s music and vastness of culture, and yet we see happening in our modern times, many White English people in Britain, appropriating the culture and punjabi music. https://www.historydiscussion.net/history-of-india/indian-music-during-british-period/6057 This article gives a clear understanding of just that.

[nepalisongslyrics]

Punjab lyrics - Gurjazz | Rana

Punjab lyrics – Gurjazz | Rana

Punjab Lyrics & Song Details: Song Punjab is sung by Gurjazz and written by Rana

Song Title PunjabSinger GurjazzLyrics RanaMusic Sunny Vik Composer Rohanpreet SinghMusic Video  Punjab Lyrics

Lyrics Not Available Yet: REQUEST NOW!

~~~~THE END~~~~

If you need Chords or Translation or Karaoke please comment down 🙂

Thank you for reading song “ Punjab Lyrics” sung by Gurjazz till…

[globalworship]

The news of Christ's birth spread across the world (Punjabi Christmas song)

A Christmas Song from Pakistan in indigenous Punjabi folk “Boliyan” genre.

Boliyan or Bolis are couplets that are sung in Punjab. A Boli expresses typical situations and their emotions. Usually a boliis sung and introduced by one woman, and then other girls form a chorus. Men sing boliyan in one region. https://en.wikipedia.org/wiki/Boliyan

My friend Eric, a Pakistani pastor, told me: “The Boliyan genre is a couplet lyrical rhyme with call and response in a group sitting. Boliyan is a thematic genre without any title or chorus. Every couplet conveys a different message with the same theme.

The first couplet in this song translates as: "The news of Christ's birth spread across the world, and the manger is decorated by the presence of baby Jesus"

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According to my friend Eric, the composition is in the very popular raga Bhairavi. https://en.wikipedia.org/wiki/Bhairavi_(Hindustani) http://www.tanarang.com/english/bhairavi_eng.htm

This is a production from a Catholic TV station in Pakistan.

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‘Moon Face’ painted by  M Kazim, Pakistan.

M  KAZIM was born in Hyderabad Deccan, India, in 1943- died in Karachi, Pakistan in 2007. He was a distinguished painter, printmaker, calligraphist who worked in mulmul (velvet) cloth and handmade paper and vegetable dyes. Kazim was known for his Indus Valley paintings of Mohen-jo-Daro women as well as Indus Valley reliefs. https://unicorngalleryart.com/products/m-kazim

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Punjabi is the mother tongue of more than 120 million people. It is the 10th most widely spoken language in the world. In Canada, it is the fifth most-spoken native language.  -- Wikipedia

[lfir47]

Literature review part1

Literature Review -1- Analysing the challenges of translations and unfamiliar text

FA8801_LitReview_Lamatul Firdous

  Mah-o-sitara se agay maqam hai Jis Ka   Woh musht-e-khak abhi awargan-e-rah mein hai

‘’The clay‐made man is still among the vagrants on the road, Though man beyond the moon and stars can find his true abode’’[1]

The text above is an Urdu couplet or Urdu verses are from the collection titled, Baal-e Jibreel meaning Wings of Angel Gabriel,  written by poet Allama Iqbal, born (1877-1938) in Sialcot, Punjab Undivided India. The English Traslation is from the same website.

This poem is meaningful to me and speaks about humanity and our connection with each other. I found a translation which I think doesn’t do justice to the original Urdu text, so I tried to unpack and translate myself. In this Literature Review, when I use double quotation marks, I am referring to the original poem/translation, and when I use single quotation marks, I am referring to my own translation.

Urdu text reads from right to left , Exact sound of the word is written in English to get the feel of language,  In the original traslation lines are reversed in order which I think is not necessary and it is better to stick to the given lines in poetry in Urdu. Above is the English traslation given in website with double quatations.

Below, I try to unpack the each word and line as clearly as possible, hence my interpretation is trying to be closer to the real text.

‘Beyond the moon and stars whose future awaits                                                                                       that handful of dust (humanity) is aimless, lingering in transits’

Allama Iqbal is reminding us of our grand destiny which is waiting to be fulfilled, while he sees most of us wayward in our ways. Allama Iqbal’s works reflects on not only the politics of his times but also upon the world history, creation of cosmos and future of humanity. The message in his poetry is addressed to humanity whose place is higher than angels, moon and stars.

The thoughts process which I wish to analyse while I present the above verses is  the struggle of  migration, language challenges and cultural gaps and  changes. The text becomes calligraphic more when language proficiency is lost due to many factors, political, cultural and also by migration.

The idea of traslations of important works from one language to another is not new, I have not done this before and find it exciting as it opens new possibilities of creating information or using text in art as a generative method.

The process of my translation can be seen below

Line 1: Mah-o-stara se aagay maqam hai Jis ka‘Mah o sitara’ is moon and stars, ‘se agay’ is further and beyond, ‘maqam hai jiss ka ‘ is One’s Future or destiny.

 Line 2‘Woh musht-e-khak abhi  awargan-e-rah mein hai –  ‘Wo musht-e- khak’ is that handful of dust, ‘abhi’ is presently’ awargan –e rah may hai’ is un- decided which way to go, or lost, is in that state of being’.

Briefly comparing my translation to the original translation:

Musht-e-khak meaning mere handdul of dust, This way of addressing oneself is very common in Farsi/ Urdu poetry which is closer to the spirit of the given verse rather than Clay-made man in the website as it becomes a task to be carried by winds!!

Awargan-e-rah, is again sense of being lost, or in trasits not yet  arrived but,trying to reach.. There is lot of potential in being Awargan- e-raah rather than being vagrants which is far from the suggested idea in the verse.

In the website traslation “Though”sounds unsure or doubtful “Can find his true abode” is again not keen but will come around to it eventually..

The future is restless in Allama Iqbal verses waiting for the humanity to arrive at its true destination which lies beyond moon and stars..

The difficulty faced in interpreting poetry from one language to another is, it tends to becomes narrative prose or text losing some of its lyricism and music.

 Japanese artist Shigeaki Iwai’s Dialogue[2] work has four screens with people seating together speaking different languages with subtitles beneath it yet creating misunderstandings, resulting in commotion or noise, Conversations and languages have their own complexity and no translation can completely do justice to the original text.

 Language has life of its own, context, time, history and many nonverbal cues which cannot be put together in translations making it one very difficult task.  Strangely enough silence has its own powerful voice, in works of Joseph Grigely’s White noise, 2001[3] which is an installation, walls are filled with hand written notes of conversations he had with people in no particular order. As Joseph Grigely’s hearing is impaired since childhood, the sound is not there yet one can see the visual delight of the conversations he had with people. The feeling of a verbal flow and human intimacy remain in these written translations of the spoken word.[4]

In the similar spirit the Urdu words and their translations in poetry care has been taken to deliver the words and meaning in such a way it create harmony while it is juxtaposed with English script. The silence is not noise nor is the unfamiliar script, as we get to the gist of the words spoken by Allama Iqbal, his words cease to be strange to our eyes or ears.

In conclusion, translations work can be an important link between people leading to greater understanding, sharing ideas and developing hybrid cultures in any given society.

 Bibliography

Iqbal Allama, “Bal-e Jibril-068.”Allama Iqbal Poetry.

 http://iqbalurdu.blogspot.com/2011/04/bal-e-jibril-068-na-takht-o-taj-mein-ne.html

 Robertson Jean and Craig McDaniel,” Themes of Contemporary art. 3rd ed. New York: Oxford University press, 2013.

[1]  Iqbal, “Bal-Jibril-068.”

[2] Robertson, McDaniel, Themes of contemporary art, (New York: Oxford University press, 2013),264.

[3]  Robertson, McDaniel, Themes of contemporary art, 267.

[4] Ibid.,266.

[xlelife]

Canada, USA and India based Jasmine Sandlas is back with a new album and new videos. “Mood Sarkar Da” finds her shooting at Sealink bridge in Bombay among other spots, with lyrics about feeling at the top of her game and not responding to haters.

Posted by XLE.LIFE’s music curator Hitashya aka Kai Altmann

See lyrics (in Punjabi and roughly translated English)

Hawa Wich Fire Na Kardi Main Gajh Di Sidha Vardi Kise To Main Ki Darna Ho Janta Dare Na Kardi I don’t fire in air I speak directly on the face, why would I be afraid of someone, people don’t dare

Teese Mera Lotted Hai Diggi Wich Rakheya Main Kadh Kadh Photowan Ch Pose Na Maara My weapon is loaded I have placed it in the back hood, getting clicked everywhere I don’t pose

Gaddi Imported Ae Life Meri Sorted Hai Taahi Net Di Nitt Main Fukri Main Maara Car is imported, my life is sorted, that’s why every day on internet I don’t brag out

Gussa Mutiyaar Da Nakk Utte Rehnda Ae Aiven Koi Raah Janda Ajj Ragadeya Na Jaave Girl’s anger Is always on nose Without reason, any pedestrian May not get grinded (face my anger) today (hope that no one face’s my anger without any reason today)

Mood Sarkar Da Landua Naal Khainda Ae Aiven Kujh Keh Ke Koi Jaave Te Kiven Jaave My mood Always fought with the idiots How could someone by saying something Could try to leave

Sirre Di Rakaan Tikhi Ae Zabaan Tahi Sidhi Gall Karne To Darde Ne Top-notch girl Sharp tongue That’s why talking directly They get scared

Roop Di Dukan Kehnde Mehenga Ae Saman Taahi Window Shoppinga Hi Sare Karde Ne Market of beauty, they said that items are expensive, that’s why everyone go for window shopping only

Pyaar Naal Punjab Mainu Gulabi Queen Kehnda Ae With love the entire Punjab Calls me “Gulabi Queen”

Gussa Mutiyaar Da Nakk Utte Rehnda Ae Aiven Koi Raah Janda Ajj Ragadeya Na Jaave Girl’s anger Is always on nose without reason, any pedestrian may not get grinded (face my anger), today

Mood Sarkar Da Landua Naal Khainda Ae Aiven Kujh Keh Ke Koi Jaave Te Kiven Jaave My mood, always fought with the idiots, how could someone by saying something could try to leave

[urduclassic]

Noon Meem Rashed

Nazri Muhammad Rashed  (August 1, 1910 – October 9, 1975) commonly known as Noon Meem Rashed  or N.M. Rashid, was born as Nazri Muhammad Janjua at Alipur Chattha District Gujranwala formerly Akalgarh, Punjab, Pakistan. He was an influential Pakistani poet of modern Urdu poetry.

Early years

Rashid was born in a Janjua family of Village Kot Bhaaga, Akaal Garh (now Alipur Chatha),[1] Tehsil Wazirabad, District, Gujranwala, Punjab, and earned a Masters degree in economics from the Government College Lahore.[2] He served for a short time in the Royal Indian Army during the Second World War, attaining the rank of Captain. Before Partition, he worked with All-India Radio in New Delhi and Lucknow. Later on, he worked for the United Nations.

Career

Rashed served the UN and worked in many countries. He is considered to be the father of Modernism in Urdu Literature. Along with Faiz Ahmed Faiz, he is one of the great progressive poets in Pakistani literature. His themes run from the struggle against oppression to the relationship between words and meanings, between language and awareness and the creative process that produces poetry and other arts. Though intellectually deep, he is often attacked for his unconventional views and life-style. In an age when Pakistani literature and culture acknowledge their Middle Eastern roots, Rashed highlighted the Persian element in the making of his nation's history and psyche. Rashed edited an anthology of modern Iranian poetry which contained not only his own translations of the selected works but also a detailed introductory essay. He rebelled against the traditional form of 'ghazal' and became the first major exponent of free verse in Urdu Literature. While his first book, Mavra, introduced free verse and is more technically accomplished and lyrical, his main intellectual and political ideals reach maturity in his last two books.

His readership is limited and recent social changes have further hurt his stature and there seems to be a concerted effort to not to promote his poetry. His first book of free verse, Mavra, was published in 1940 and established him as a pioneering figure in free form Urdu poetry.

He retired to England in 1973 and died in a London hospital in 1975. His body was cremated, though no such request appears in his will. This created an outcry in conservative Pakistani circles and he was branded an infidel. Anyhow, he is considered a great figure in progressive Urdu literature.

Poetry

N M Rashed was often attacked for his unconventional views and life style. According to Zia Mohyeddin, a friend of Rashed, "In the time when everybody was in quest of learning English, which was a must for getting some decent job, Rashed was busy in making paintings or poetry."

The themes of Rashed’s poetry run from the struggle against domination to the relationship between words and meanings, between language and awareness and the creative process that produces poetry and other arts.

Initially his poetry appeared to have the influence of John Keats, Robert Browning and Matthew Arnold and he wrote many sonnets on their pattern, but later on he managed to maintain his own style. These were his initial exercises of poetry, which could not last for a longer period of time, and so ultimately he developed and maintained his own style.

He rebelled against the traditional form of the ‘ghazal’ and became the first major exponent of free verse in Urdu Literature. His first book, ‘Mavra’, introduced free verse and is technically accomplished and lyrical.

Family

Rashed's first wife Safia died in 1961 at the age of 46, of an incorrectly administered B-complex injection in Karachi. His second marriage, to Sheila Angelini, took place in 1964.

Rashed had several children. His eldest Nasrin Rashed lives in Islamabad and is retired from her work with the Pakistan Broadcasting Corporation. The second daughter Yasmin Hassan resides in Montreal, and has two children, Ali and Naurooz. His nephew (sister's son) and son-in-law (Yasmin Hassan’s husband) Faruq Hassan was a teacher at Dawson College and McGill University. Faruq Hassan died on November 11, 2011.[3] The third daughter, Shahin Sheikh, now deceased, lived in Washington and worked for the Voice of America. She has two children in the US. Rashed's youngest daughter, Tamzin Rashed Jans, lives in Belgium and has two sons.

His eldest son Shahryar died in 1999 holding the post of Pakistani Ambassador to Uzbekistan. The younger, Nazeil, lives in New York.

Bollywood

His poem "Zindagi sey dartey ho" was set to music in the 2010 Bollywood movie, Peepli Live. It was performed by the Indian music band, Indian Ocean, and received critical appreciation as "hard-hitting" and "a gem of a track" that "everyone is meant to sing, and mean, at some point in life".[4][5]

Bibliography

Mavra

Iran Main Ajnabi

La Musawi Insan

Guman ka Mumkin

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Sip Sip 2.0 Song Lyrics - Street Dancer 3D

Sip Sip 2.0 Song Lyrics

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Of the city of Lahore, O’ let me know

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Also tell me of the bricks’ state

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Daal Dus Khaan Shehr Lahore e Andar?

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Tell me, in Lahore, the number of salty wells

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Ponder hard, and return with my answer embedded

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Daal Dassaan Mein Shehr Lahore e Ander

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Let me tell you now, in the city of Lahore

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Jinnaan Ittaan Tay Tahar Gaey Paer Aashiq

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Bricks that felt the Lover’s footstep lay all broken

Others that did not lay intact, unawoken

Jinnaan Khooian Toun Paher Gaey Mashooq Paarrein

O Heon Mithi Te Baaki Khaariya Nein

Those wells alone that Lovers touched bore sweetness so divine

And those that shared not a similar fate remained ever saline

Daal Dus Khaan Shehr Lahore e Andar?

Khooian Kinnian Mithian Tey Kinnian Khaarian Nein?

Those seated alongside their lovers alone are truly married

And those with a destiny alternate have solitary tarried

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