#hindi song status

[theechoedtales]

Why do guys propose saying 'I love you, will you marry me', but not

"Ho akhiyan kare jee hazuri, Maange hai teri manzuri...Kajra siyahi din rang jaaye, Teri kastoori rain jagaye... "

- Rishita Patel

[dulyansongs]

BONITA VIDEO SONG | Bonita Punjabi Hip Hop | Bonita Punjabi Style

Search Queries - bonita punjabi hip hop bonita punjabi style punjabi hip hop bonita video song new hip hop song bonita full video song bonita full song video bonita song video bonita music video bonita full song bonita song full video bonita full video bonita bonita bonita lyrics bonita status bonita audio bonita bass boosted bonita bonita song bonita album

[sanskartut]

Sath Kangan Leke Aana Lyrics Arijit songs lyrics in hindi

Sath Kangan Leke Aana Lyrics Arijit songs lyrics in hindi साथ कंगन लेके आना गीत: सुंदर हिंदी गीत “ऊंची ऊंची दीवारें” मधुर आवाज में गाया गया गायक अरिजीत सिंह, मिजान जाफरी और अनास्वरा राजन अभिनीत, नवीनतम हिंदी फिल्म “यारियां 2” का गीत है, जिसका संगीत मनन भारद्वाज ने दिया है। हो साथ कंगन लेके आना के बोल मनन भारद्वाज ने लिखे हैं जबकि वीडियो राधिका राव और विनय सप्रू ने लिखा है। यह गाना ऑफिशियली…

[akgmusical]

Mera Dil Bhi Kitna Pagal Hai New Love Story | Hindi Female Version Song | AkgMusical

@AkgMusical has presented a new Mera Dil Bhi Kitna Pagal Hai New Love Story on his YouTube channel. This video's love story is so amazing and fabulous. If you will watch that I'm sure that you will watch it again. and you will remember your memorable moments with your lovers.

[vvlmusichubrk]

HBM 3 Full HD Video Song | HBM 3 Mashup Haryanvi Song Lyrics

HBM 3 Mashup Haryanvi Song Lyrics, Singer-Haiderpuriya & Jyoti Jia, VVL Music Hub recently released a new Haryanvi song. Haiderpuriya has written HBM 3 Mashup Lyrics, Ename has created its tune. VVL Music Hub has published its music video.

More Links: - Official Website: https://vvlmusic.com/hbm-3-mashup-haryanvi-song-lyrics/ YouTube: https://youtu.be/TglQD051T7s Instagram: https://www.instagram.com/vvlmusichub/ Facebook: https://www.facebook.com/vvlmusicdotcom Twitter: https://twitter.com/vvlmusic_hub/status/1562731996463263744 Tumblr: https://at.tumblr.com/vvlmusichub/song-tanne-haryane-ki-sair-karadunga/613sdhz1t0y6 Pinterest: https://in.pinterest.com/pin/897201556991837135/ Daily Motion: https://www.dailymotion.com/video/x8ecztr Sound Cloud: https://soundcloud.com/vvl-music-hub/tanne-haryane-ki-sair-karadunga-haiderpuriya-mashup-hbm-3-singer-haiderpuriya-jyoti-jia?si=e0afdda444be48a483cb68661ba7cb83&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

[spadesolace]

status quo

iskolar! karina x atenean! reader

all it took was a car ride from her uni to her home that karina started pouring everything on to you - all because of a status quo

words: 3.1k

Karina believes she’s going insane.

within the 3 years of being friends with you has she decided to hurt herself in everything that involves you. any lingering eye contact, hands brushing past each other, or being left alone within the same vicinity. not a moment has she thought of;

i need to get away from you.

three years ago, Karina would have done everything in her power to stay close to the new face in her life. 16 years old with a dream - that involves a girl from the STEM section with such willpower and dedication that makes her think she isn’t reaching as high as that girl.

Karina met you in the most unpredictable way possible - last minute paskuhan date with her friend group and your group together. 

to you, it was a dream come true to meet the girl in the HUMSS section who has preoccupied your mind for the past month. you’re lucky enough that your friend is close with her group to help you grow some pairs and talk to Karina.

it started with force proximity, talking the night away and singing along to the songs that for once, you don't feel like it’s draining your system. sure, she’s a bit talkative but you don’t mind. it gives you a glimpse of her mind as you’re fascinated to hear such stories and theories. she’s a bright girl who went through a lot and you couldn’t believe that all of that information was dumped into one night alone. who would have thought despite her tough exterior she’s lowkey a loser who gushes at the smallest things.

a quick exchange of socials lead to a few study dates, late night dinners, staying over at your place, and a bit of tension here and there. she’d complain about the amount of papers she’s doing while you sat there with multiple computations for calculus and statistics, a rare chance where she’d ask for your help with the statistics of the paper she’s reading - the same way you’d ask her to check if your paper is making any sense at all.

things were slow but it was clear as daylight you both liked each other - problem was that you’re a bit dense with your feelings. you swear that Karina doesn’t like you that way with the way she spends her time with Minjeong that you simply bite the inside of your cheek to not say anything at all.

“antanga mo, sabi nang ikaw crush ni Rina.” Minjeong rolled her eyes as she held onto your shoulders and shook you. watching the way you were sulking at your place and avoiding replying to Karina for the past two days.

“what if hindi ha! you’re making me delulu!” you held her by the wrists to stop the shaking, then leaned back on your chair as you looked back up at Minjeong.

“tangina mo! be delulu for once - might be worth it.”

you rolled your eyes as Minjeong crossed her arm and handed your phone with Karina’s contact open. looking at the girl then back at the phone as you called Karina, flipping Minjeong off who had a smug smile.

it took about four rings for her to pick up, her sweet voice that sounded a bit deeper than usual. your heartbeat slowly picks up its pace as you realise what this was about.

“hello?”

“Rina, hi!”

silence. Minjeong was pacing around your room as she urged you to say something - to continue what you had finally started. with a deep breath, eyes closed, and your hand fidgeting; she had broken the silence.

“are you mad at me?” you opened your eyes and abruptly stood up as you repeatedly told her ‘no’. hand running through your hair as you stood there, a bit panicked by the question.

“gosh, Rina. no, i’m not mad at you. i just-“ deep breaths, Minjeong was gesturing you to copy her. a slow deep breath then exhales as you finally sit down on your chair. hand still in your hair as you closed your eyes.

“i had some personal stuff to deal with.” you weren’t sure if Karina heard Minjeong smack her forehead as she muttered something under her breath as she decided to close the divider of your bedroom to the living room.

“oh, are you feeling better now?”

“... a bit.” you were hesitant to admit anything or initiate when it came to karina. but you knew that you needed to tell her the truth someday. ”can we talk?”

it only took a few minutes for you and Karina to settle in a place to meet up, since she’s staying at the other side of UST. you decided on picking her up and going to a nearby cafe to get coffee.

in your hand was a bag of your orders, walking at a moderate pace with a space in between you two that everytime karina moves closer, you back away. there’s a bit of awkward silence, you initiated this but you can’t say anything towards the girl you’ve been avoiding for weeks.

everytime you open your mouth, it immediately closes shut as if you’re speechless. you don’t know how to start or what to say.

“you know, minjeong told me.” that’s one way of breaking the ice.

“ha? ano?” the way you turned to look at her almost gave you whiplash. blinking as you processed what karina said. what do you mean minjeong told you?

she began telling you how it all happened. starting off from how she noticed you were slowly growing distant and avoiding her as if she carried some sort of disease. until minjeong confronted you and made you open up - admitting your feelings for the top student in the HUMSS strand and how you wish not to interfere with whatever “relationship” she has with minjeong.

the walk to her place as she told you the story made you two slowly get closer once again. karina had linked your arms together as she opens the door to her place, about to head in when she noticed you standing still with your cheeks puffed out and a pout on your lips.

“why are you pouting?” karina gently pulled you inside, closing the door as your head hung low to avoid looking directly at her.

“... its nothing.”

“nothing my ass, you’re pouting.”

karina couldn’t hear your confession, a quiet mutter, with your gaze going anywhere and everywhere just not directly at her. you felt soft hands cup your cheek, a soft giggle, then a pinch.

“spill it, y/n.”  she lets go, gently caressing the cheek she pinched as she looked at you - that smile could instantly kill you, almost giving you a heart attack with how pretty she is.

“gusto kita - i like you, Karina.” it's easy, simple, and straight to the point that karina didn’t waste a second to kiss you on the cheek and mutter those same exact words onto your ear like a secret.

you’d think it's a happy ending, you and karina would start to date but she had asked you to wait. it wasn’t because karina wasn’t ready for a relationship - priorities had to be set straight unlike you two. graduating high school was there followed by getting into their respective dream university. karina wants to go to UP while following your parents who were alumni of the famous blue eagles, you had no choice but to try and pass in Ateneo.

after senior high, karina pursued her major in communication research - wishing to take it as a pre-law course. while you followed your parents wishes in taking a science related course as pre-med - you’re questioning why you picked biology in the first place.

it was set straight between you two that it would be a waiting game, one that you agreed upon without any regrets. you didn’t mind, it was evidently clear that your priorities were different; karina wanted to focus on academics and graduate on time while you had a perfect balance between academic and karina as your top priorities. she has her reasons, one of which was to provide for her family as soon as possible. while this isn’t a struggle nor a priority for you, there is also the understanding that not everyone is as blessed as you are.

still karina needed the time to focus on her classes, despite both sides of the family being well aware that you’re courting her. does it bother you that she sets you aside? no, you understand that karina has priorities set straight and even if you’re not on the top - you know she still likes you.

its a give and take relationship, you both need each other for varying reasons. emotional support? you both can provide it. need a reminder to take a rest when overwhelmed? again, you both provide. even if karina doesn’t have you as her top priority, she still cares about you enough to take your feelings into consideration when she needs to make a decision.

2 years of courting her, almost turning three now that you’re in your second year of college. things can get a bit more hectic, especially how karina is taking more classes to finish early, slowly losing time for you. similarly, you understand where she’s coming from, you update her here and there - she does the same thing but not as frequently as you.

“mahal, sorry, may deadline na naman. resched?” you looked at the message again, sighing as you stood in front of her place. taking a quick picture of the coffee and dinner you had bought for you two.

“mind if i join you in studying tonight?” it didn’t take long for karina to come rushing down to greet you, arms around your neck as she basically threw herself at you. using one arm around her waist as she hid her head on the crook of your neck. a quiet mutter of ‘i missed you’ coming from the iskolar and the atenean being exchanged.

after your study date with karina, you dropped karina off the morning after as you had class later in the afternoon, giving you enough time to freshen up. your family was on the high class side, it didn't take long for your mother to greet you herself with her arms crossed and a scowl on her face. it was another earful early in the morning as she walked towards you.

“were you at that girl’s place again?” that girl being karina, only recently your mom suddenly disliked her. at first, your parents didn’t really mind. believing it wouldn’t last this long but here you are, in your second year of college and still waiting for karina. that was how you thought of it - you weren’t too sure when your parents started to compare karina or pressuring you into dating someone that had a much higher social status than karina’s family.

“why can’t you date a nice boy taking business or a-“

“nepo baby?”

your mom hated that term, but that was what she wanted. a nice boy with a high social status, someone with power, just everything being handed to him. you never wanted that, hated it because you grew up working hard to achieve the things you want that money can’t buy. one of which is karina’s feelings for you, waiting game or not - you would give everything for her.

“out of all the people in your class, why her? she’s just a middle class girl who pl-“

“ma, stop. i don’t want to have this conversation.” you left your mother, not before you noticed a guy in the living room holding a bouquet. a quick glance at your mother as the guy tried to approach you, immediately stopping him as you walked away.

your parents have tried a bunch of tactics; blind dates, setting you up with one of their friends, and sabotaging your dates with karina. despite your mother following you up the stairs and to your room, you can’t take it anymore. how they belittle karina, always trying to set you up, it doesn’t help there’s always the pressure of finishing on top of your classes.

you had enough.

the next time you saw karina during her very few free days, you planned to take her out on a date. rewarding her for her hard work in her classes and getting high grades.

karina sat in the passenger seat as you fixed your stuff in the back, getting a few items ready for your quick little trip to the mall. her hands fidgeting the matching bracelet you got for her birthday, observing you through the rear-view mirror, which you caught sight of. that soft smile, similar to when you were in 11th grade - the very same one but you’re losing your teenage features. face much more defined as you lose those baby fat, styled your hair that fits you, and dressed much more casually and comfortably.

still she can’t help but fidget, there’s a lump in her throat that she can’t swallow; was she really going to tell you everything that has been going on for the past few months? she wasn’t even sure if this would change your perspective of her, especially how it involves your parents. your mom, specifically.

“rina? earth to karina?” she snapped out of her thoughts as she noticed your hand waving in front of her. quickly flashing a smile but you’ve known her long enough to pick up on her habits, especially whenever she’s deep in thought.

“something wrong?” she shook her head, muttering a ‘its nothing’, tilting your head to the side as you moved a bit closer, taking a closer look of her features.

“nothing my ass, rina. what’s running in that pretty mind of yours?” karina could never lie, or keep a secret for so long but this was a big thing, one that could jeopardise your relationship with your parents (that she wasn’t aware is already ruined).

you weren’t going to force her into telling you, so you just took her hand as you finally drove off. not even five minutes in, karina squeezed your hand two times - a sign that she’s ready to talk. reciprocating the action, she slowly turned towards you then to the road.

“i think we should see other people.” you have never almost crashed with karina as your passenger but that coming out of her mouth almost made you press the brakes in the middle of edsa road. shaking the feeling off as you look for the nearest cafe to park and discuss this not while you’re driving.

“no.”“no? y/n, what do you mean no? this is not up for discu-” karina has never seen you cry, a few tears here and there but not this badly. bloodshot, snot on your nose, it's ugly crying and not the cute type.

although it was funny how you tried to not look at karina with your back facing her when she could see it through the reflection of the car window on how badly you’re crying. hearing you sniffle as well was a dead giveaway.

“could you tell me why…” still holding back the tears that are endlessly streaming down your face, and messily wiping your nose with your handkerchief - there were a lot of questions running in your mind.

“i love you…” karina tried to cup your cheek, your gaze avoiding her eyes as she’s trying to hold back her own tears. “... but i don’t think i’m the best fit for what your parents are looking for.”

“what?” what does she mean by your parents? what did it all mean when she said those three words that you’ve been waiting to hear for who knows when?

“you deserve someone of high class, one that could provide for you - not you providing for me–” one way to shut karina up was always to kiss her, and this time was not an exemption. your lips on top of her soft ones that always taste like strawberries was all it took for karina to stop and slowly kiss you back.

“no, i don’t. i want you - only you so please.” it felt like you were slipping away from her grasp, like water just passing through the gaps of her fingers that she desperately tries to catch and save. “please… i don’t want to lose you… just tell me why.”

karina nodded, taking your hands with her own as she told you everything. starting with your mother’s threats, trying to pay her thousands of pesos to make her leave you alone. even fabricated photos of you going on dates with some guy but she always knew those were fake. you were always with her, even after family events or business events from your parents - home has always been karina for the past two years.

it didn’t end there, your mother had always favored your other friends, one’s that you’ve long left behind because they had always used you for their own benefits. karina had mentioned how one of them messaged her and sent pictures of you sleeping in your room - again it was an old picture because your hair in those never matched with your current one.

she spilled it all, how it started a couple of months ago - the comparisons, the comments, and the threats. she never accepted any of those until it overwhelmed her. it was happening around the same time she was swamped with deadlines from classes and orgwork that she slowly tried to push you away. taking in more work to lessen your time together all because she knew deep inside that your mother was right.

you wiped away your tears, after karina had told you the entire story, the drama and issue with your very own mother as you pulled her in for a hug. you didn’t know this was happening or what your own mother was doing to the girl you love oh so deeply.

“jimin… i don’t care what my parents say-” you rarely called her by her first name, she doesn’t like it but when you say her name in a soft whisper, everything else seems to fade away. ”my heart belongs to you and i’m not gonna give up that easily”

that was all karina needed to hear, she was so close to giving you up for some guy that your parents would set you up with but hearing you say that. it felt like sweet relief knowing that you’ll fight for her against your parents wishes.

“i love you, i don’t care about the status quo or what my parents want - it’s my life. i make my own decisions and each one involves you.”

karina had decided earlier that day to hurt herself, to let you go and set you free from dating a low class (as your mother had called her) and finding someone better. she thought she was going crazy into thinking that she needed to get away from you. when all she truly needed was for you to reassure her from all the mess that has been thrown her way.

“stay.”

“i will.”

[firefeelsfine]

HELLO pretty people!!!🌸 <3

The intro post is finally here...🫴🏻✨

ABOUT ME :- she/her | 8teen | Pisces | ENFJ -A | Girl's girl | certified panick mechine | super random | desi | hopeless romantic.🌼

Wanna know more about me, here you go:-

🌸 yepp, so my name is KEHKESHA which means Galaxy & The name originates from Persian language.

( I am truly in love with my name, so please try not to mess it up while interacting. )

🌸I am a die heart fan of SRK and RK.

( it's okay if you don't like them or the way they act...I respect your views nevertheless.)

🌸what do I mostly post?

Random shit, that's right. Relatable kinda shit , random funny looking pictures , memes and rants. In short everything that would show a sense of carelessness towards life and people. Because let's be honest , we all are struggling with stuff one way or another. So ig it's better to deal with that shit by making it somewhat random.

But but but, at times I may tap into my devdas zone, and post or reblog something kinda sad. ( Not negative or something devestating, just simply sad) Something that may or may not touch that hidden empty void in your heart.

🌸 there is nothing in this world that will ever come close to how much i love tulips 🌷🌷🌷

🌸I am not religious but very spritual.

🌸I respect every religion with all my heart. I am obsessed with Indian myths and history. I would really appreciate hearing anyone speaking of there culture, the traditions they follow, the facts and the myths, all of it together and everything in between as well. Feel free to reach out to me for the same.

🌸my favourite colour changes with my mood, today it's rose gold.

🌸I am seriously very chaotic. If my chaos makes sense to you, we're meant to vibe together.

🌸my favourite vibe:- midnight thoughts with Lo-fi Beats.

🌸 I have bunch of interest, here goes the list:-

• imtiyaz ali movies ( my go to )

• F.R.I.E.N.D.S ( nothing compares to that common! )

• music:- jagjit singh, Mukesh, kishore kumar songs are a bliss to me. Shreya Ghoshal, Mohit Chauhan, Arjit Singh top my playlist every now and then. The weekend, JVKE , arctic monkeys, Chris brown make my playlist near to perfect.

But but but...LANA DEL RAY & ISABEL LAROSA make me tap into my siren self way too quick.

• I am diagnosed with moderate anxiety and an undiagnosed mild ADHD awaits me.

•THE SCARLET WITCH from the MCU is my comfort character. ( It's weird ik)

• I like every existing shade of maroon.

🌸 relationship status :- in love- hate relationship with my life.

🌸I am in love with the idea of being in love.💌

🌸I get lost in my books every now & then ( I won't be posting anything about what I read , in this blog, because I cannot tolerate listening to anyone having an opinion on why they don't like a character that I may be obsessed with at that very point of time. I will get defensive and that won't end good . I know me)

🌸 recommendation for kdramas, songs , movies and tv shows of any kind are appreciated.

( need an recommendation from my end ? Do try watching • It's Okay to Not Be Okay • 2020 ‧• Romance • kdrama )

• I really cherish this drama because I feel it is very me coded. Don't forget to tell me your views on it if you do watch it.

🌷🌷🌷 I am obsessed with my govind, my protector, my bestie and my supreme support 🌷🌷🌷

NAGAR NANDJI NA LAAL...💌💌💌

Also, my two alltime favourite songs ( hindi)

My alltime favourites ( english)

If you're a creep who just wants to disturb people's mental peace first of all get a life, And second of all try not to try your dirty tricks on me. I am not a girl who will ignore or block you. I very well know some people , who would not only trace you but will make sure to get your life as miserable as possible. MARK MY WORDS !!!

PS :- My brother's bachelor's degree in criminal justice works like magic at times.

🌸 other than this , I am a really friendly person, so feel free to reach out to me.

Tons of love to my stunning mutuals <3 🫴🏻✨I adore you guys so damn muchhhhhh 💌

[fishii28]

IM CRYING MY FRIEND SENT ME THIS BC MY DISCORD STATUS WAS SOME SONG IN HINDI

BYYEYEYE

genuinely one of the funniest ppl ive met istg 😭🙏🏽

[bell-of-indecision]

Nine people I'd like to know better

Last song: Ghungroo by Arijit Singh

Favorite color: Dark blue

Currently watching: Chandragupta Maurya

Spicy/savory/sweet: Savory

Relationship status: Single

Current obsession: learning Hindi (also Starplus Mahabharat still lives rent free in my brain)

tagged by: @hindisoup 😚

tagging: @pixlerelish, @artcinemas, @neembu, @mothhashira, @selfshipper-alex, @chaanv, @ihatesnitches, @glittahgurl, @satansvoluptuousthighs

[dweemeister]

2023 Movie Odyssey Award for Best Original Song Final

TAGGING (interested observers, non-participating observers, and participants): @addaellis, @birdsongvelvet; @cinemaocd, @cokwong, @doglvr, @emilylime5, @exlibrisneh, @halfwaythruthedark, @idontknowmuchaboutmovies, @machpowervisions, @maximiliani, @memetoilet, @metamatar, @monkeysmadeofcheese, @myluckyerror, @phendranaedge, @plus-low-overthrow, @rawberry101, @rosymeraki-blog, @shootingstarvenator, @stephdgray, @theybecomestories, @umgeschrieben, @underblackwings, and @yellanimal.

OPEN INVITES go out to (longtime followers and former participants who have not accepted/declined): @dog-of-ulthar, @introspectivemeltdown, @mehetibel, @noelevangilinecarson, @qteeclown, @shadesofhappy, @the-lilac-grove

Hello everybody,

A good day to you wherever you are reading this. Following the most dramatic preliminary round in Movie Odyssey Award for Best Original Song (MOABOS) history, it is now time for the final.

Might the final also have some surprises and razor-thin close calls in store? As many of you know, this is the eleventh edition of MOABOS (MOABOS XI) and the tenth with participation from family, friends, and tumblr followers. At the beginning of every year, I never know whether or not this admittedly strange competition will return for another year. That it has persisted all this time – and grown – has been a personal joy. And it is not possible without all of you.

I began record-keeping for MOABOS XI when I saw Guillermo del Toro's Pinocchio (2022) on New Year's Day this year. From there, I kept a running shortlist until the preliminary began on American Thanksgiving weekend. That one song from GdT's Pinocchio has survived the entire year to get to the final. Over the rest of 2023, numerous songs from various movies filtered in and out on my master shortlist, culminating into this final round.

INTRODUCTION

For those who have never participated in this before, my classic movie blog traditionally ends the year by honoring some of the best achievements from movies that I saw for the first time that calendar year (the "Movie Odyssey", in which any rewatches do not count) with an Oscar-like ceremony. I choose all the nominees and winners from each category except for this, Best Original Song. Original Song is the only category which does not require you to watch the movies in their entirety. As always, MOABOS is considered a sort of cinematic-musical thank-you for your moral support in various ways over how long I've known you for. In addition, I think it's a fun, novel way to introduce to all of you films and music you may not have otherwise encountered or sought and to give everyone a little bit of film and music history.

However, MOABOS is but a foot-deep glimpse into my much larger Movie Odyssey for this last year. There are many films I saw this calendar year that I consider much better than the ones that appear here. But did they have any original songs? They did not!

WHAT'S IN THE FINAL

This final will be contested by fifteen songs.

In a preliminary round filled will thrills and spills, some popular titles have failed to make it this far. That includes Lady Gaga's "Hold My Hand" from Top Gun: Maverick (2022) and "Take My Breath Away" by Berlin in Top Gun (1986). But there's a Top Gun song in here, even more widely recognizable than both of these songs, that will be looking to assert its frontrunner status.

Snapping back from what was the first-ever monolingual MOABOS last year, the 2023 final sets the record for the most multilingual field ever with six languages represented – English, French, Hindi, Japanese, Portuguese, and Vietnamese. This breaks the previous record held by MOABOS VI (2018), which featured five different languages. After three-year absences, both Hindi-language and Japanese-language songs have progressed to the final. A Portuguese-language song marks the language's (and Brazilian cinema's) first appearance in a MOABOS final.

Two films from 20th Century Fox's Golden Age will also be contending. The first film, Sun Valley Serenade (1941), has two entries by Glenn Miller and His Orchestra. In addition to the appearance of Orchestra Wives (1941) in MOABOS IX (2021), this ensures that each song featuring Miller that has qualified for MOABOS has made the final. In addition, some big news as Shirley Temple – so often on the wrong end of the points totals in the preliminary round – finally sees a final round with Curly Top (1935).

Finally, in a round usually riddled with multiple entries for certain films, there's a distinct lack of films with two or more contenders for MOABOS this year. The only exceptions to that are, surprisingly, Sun Valley Serenade and Good Morning and Good Night (which I encountered for Viet Film Fest this year).

2023's winner will join this company (winners' playlist):

2012 (Special): To be contested

2013 (I): “The Gold Diggers’ Song (We’re In the Money)”,Gold Diggers of 1933 (1933)

2014 (II): “Rainbow Connection”, The Muppet Movie (1979)

2015 (III): “Amhrán Na Farraige (Song of the Sea)”, Song of the Sea (2014)

2016 (IV): “Stayin’ Alive”, Saturday Night Fever (1977)

2017 (V): “Remember Me (Recuérdame)”, Coco (2017)

2018 (VI): “Love Is a Many-Splendored Thing”, Love Is a Many-Splendored Thing (1955)

2019 (VII): “I Wish I Didn't Love You So”, The Perils of Pauline (1947)

2020 (VIII): “Can't Help Falling in Love” , Blue Hawaii (1961)

2021 (IX): “Lullaby in Ragtime”, The Five Pennies (1959)

2022 (X): “9 to 5”, Nine to Five (1980)

INSTRUCTIONS

Please rank (#1-15) your choices in order. The top ten songs will receive nominations; all others get "Honorable Mentions". There is no minimum or maximum amount of songs you can rank, but because of the nature of single transferable vote (the tabulation method described in the "read more"), it is highly recommended to rank as many songs as possible, rather than only one or two. Those who rank fewer songs run a greater risk of their ballots being discarded in the later rounds of tabulation. Since this rule change (first implemented in MOABOS VI in 2018), no participant who has only ranked one song has seen their choice win MOABOS. Again, this is all described in the "read more".

The tabulation method used in the preliminary round (10 points for 1st place, 9 points for 2nd, etc.) is being used for this round. However, it is used for the final only as the second tiebreaker (the tabulation method that will be used principally for the final – aka "single transferable vote" – is described in the "read more").

Please consider, to the best of your ability (these are only suggestions, not strict guidelines):

How musically interesting the song is (incl. and not limited to musical phrasing and orchestration);

Its lyrics (incl. and not limited to lyrical invention and flow); 

Contextual use within the film (contextual blurbs provided for every entry for those who haven't seen the films);

Choreography/dance direction (if applicable; I know that almost none of us have a dancing background, but please do not dismiss this aspect entirely);

The song's cultural/sociopolitical impact and legacy/listenability outside the film's context (if applicable, and, in my opinion, least important factor)

Remember: you are not judging music videos.

A notice on audio/video quality and colorization of black-and-white film: Because it is sometimes difficult to find clean recordings of much of this music, imperfections in audio and video quality may not be used against any song while you are drawing up your rankings – you're on the honor system on this one. In addition, in respect to personal and blog policy, I will not provide colorized videos of films that were originally in black-and-white. You can call this snobby all you want. But to yours truly, film colorization of B&W is disrespectful to the artisans who plied their craft and made decisions based on the fact the film was shot in black-and-white. It is essentially redirecting a movie without consent.

You are encouraged to send in comments and reactions with your rankings - it makes the process more enjoyable for you and myself!

The deadline for submission is Wednesday, January 10 at 9 PM Pacific Time. That is7 PM Hawaii/Aleutian Time and 11 PM Central Time. That deadline is also Thursday, January 11 at Midnight Eastern Time / 5 AM GMT / 6 AM CET / 7 AM EET / 2 PM Korea Standard Time. This deadline – as it always seems to happen – will be pushed back if there are a large number of people who have not submitted in time. The deadline is later this year due to Christmas and New Year's being on Mondays this year.

All of the below songs can also be found in this YouTube playlist (but please note you may not judge the music video, but instead judge the song and how it is used in context).

Enjoy the music! Feel free to listen as many times as you need, and I hope you discover music and movies you may have never otherwise heard of that you find fascinating. The following is formatted... ("Song title", composer and lyricist, film title) and presented in alphabetical order (so feel free to shuffle the order!):

2023 Movie Odyssey Award for Best Original Song Final (playlist)

“Animal Crackers in My Soup”, music by Ray Henderson, lyrics by Ted Koehler and Irving Caesar, Curly Top (1935)

Performed by Shirley Temple

6th in Group B

Young Elizabeth Blair (Temple) and her elder sister, Mary (Rochelle Hudson) are living in an orphanage and are the primary entertainers for their fellow orphan girls. This number occurs early in the film and is quoted multiple times in the film's score. For those of you who despised this song's placement in those Shirley Temple DVD infomercials, I have no apologies to offer you.

For those familiar with Over the Garden Wall, this number inspired "Potatoes and Molasses" and its respective episode.

Where Alice Faye (MOABOS X's "A Journey to a Star" from 1943's The Gang's All Here)   and Betty Grable may have been the two primary musical adult actresses at 20th Century Fox, Shirley Temple eclipsed both. Her modestly-budgeted movies showcased her childhood innocence and spunk, endearing her to a moviegoing public faced with the Great Depression. She was the highest-grossing actor in Hollywood from 1934-1938, and moviegoers of the Lost, Greatest, and early Silent Generations credit Temple's movies as needed morale boosters.

“Barsaat mein hamse mile tum sajan (In the Rainy Season, We Met One Another)”, music by Shankarsingh Raghuwanshi and Jaikishan Dayabhai Panchal, lyrics by Shailendra, Barsaat (1949, India)

(initial version) / (end-of-film reprise)

Performed by Nimmi (singing voice dubbed by Lata Mangeshkar)

Lyrics in Hindi (translations in the CC's in provided videos)

5th in Group A

Raj Kapoor was a major director/actor in the early decades of Bollywood. In one of his first directed movies, shortly after the Partition of India, we find Barsaat. This romance tells of two love stories of vacationing city men meeting women who live in Kashmir (a disputed region between India, Pakistan, and China). Later in the films, we will find Pran (Raj Kapoor) and Reshma (Nargis) quickly falling in love. But this song surrounds the womanizing Gopal (Prem Nath) and Neela (Nimmi), whose faithful love for Gopal goes largely unrequited. After much convincing from Neela, Gopal attends a local festival – and doesn't pay much attention to this Neela-led song-and-dance number.

In the reprise, Neela has died near the end of the film. Reformed, realizing too late how horrible he has been to Neela, Gopal carries her body to her funeral pyre as the monsoon rains – as hinted in this film's very title – finally arrive.

“Chattanooga Choo Choo”, music by Harry Warren, lyrics by Mack Gordon, Sun Valley Serenade (1941)

Performed by Glenn Miller and His Orchestra, Tex Beneke, Paula Kelly, and The Modernaires; danced and sung by the Nicholas Brothers and Dorothy Dandridge

Nominated for the Academy Award for Best Original Song

Advanced directly to the final

Midway through this musical, the Phil Corey Orchestra (Glenn Miller and His Orchestra) are anxiously awaiting for their pianist (John Payne) before rehearsal for a Christmas concert in the ski resort town of Sun Valley, Idaho. He's been delayed by an unexpected detour while skiing down the slopes in pursuit of a young woman (Sonja Henie) who has been flirt-trolling him on the slopes. Phil is asked to "stall for time" by the band's manager (Milton Berle). But, quietly, Phil essentially says "screw it" and starts the rehearsal. As one of my tumblr followers put it, classic Hollywood's legacy of weird shenanigans at ski resorts continues.

Nicholas Brothers' and Dorothy Dandridge's segment feels separate from the rest of this number by design. White-owned theaters in the American South would refuse to show films with prominent roles with black actors, so 20th Century Fox structured Nicholas Brothers numbers in a way so that their dances could be easily cut for those theaters. MOABOS IX (2021) participants will recall that "I've Got a Gal (in Kalamazoo)" from Orchestra Wives (1942) and the reprise to the title song for Down Argentine Way (1940) were impacted similarly.

It's a brief, but memorable role for Dandridge in her early career. She would become one of the best African American actresses ever, thirteen years removed for her Best Actress nomination for Carmen Jones (1954).

This was the first of only two films made by Glenn Miller and His Orchestra while contracted to 20th Century Fox (RIP "Fox"). They were to make more, but then Miller decided to join the U.S. Army Air Forces (the predecessor of the Air Force) to lead its official band. Miller, an enormous musical figure of the swing jazz era, disappeared over the English Channel in December 1944. This was the first song ever to receive a gold record, and it was musically referenced across numerous Fox movies during the 1940s and '50s, becoming an unofficial studio anthem.

The city of Chattanooga and railways have and still embrace the song; localized Dutch, Finnish, German, and Italian versions of this song exist.

“Ciao Papa”, music by Alexandre Desplat, lyrics by Roeban Katz and Guillermo del Toro, Guillermo del Toro’s Pinocchio (2022)

Performed by Gregory Mann

3rd in Group A

In this adaptation of Carlo Collodi's Pinocchio, director Guillermo del Toro injects the tale with his signature gothic touch – moving the narrative up in time to Fascist Italy and not shying away from the original book's grotesqueness and the title character's sociopathy. This song appears as part of a montage where Geppetto (David Bradley) goes in search of Pinocchio (Mann) after Count Volpe (Christoph Waltz) abducts the wooden son. Pinocchio is performing for Volpe in part to avoid conscription into Fascist Italy's military.

“Danger Zone”, music and lyrics by Giorgio Moroder and Tom Whitlock, Top Gun (1986)

Performed by Kenny Loggins

Advanced directly to the final

This song first appears in the film's opening credits, as a number of U.S. Navy F-14 Tomcats are about to lift off from the aircraft carrier USS Enterprise in the middle of the Indian Ocean. The Tomcats are being scrambled to address an incursion of what is heavily implied to be Soviet aircraft (and results in an exchange that should've immediately started WWIII, but the always-jingoistic Top Gun movies do not care about geopolitical consequences). The song is briefly played again for a similar scene later in the film.

“Esse Mundo é Meu (This World is Mine)”, music by Sérgio Ricardo, lyrics by Sérgio Ricardo and Ruy Guerra, Esse Mundo é Meu (1964, Brazil)

Originally performed a cappella by Antônio Pitanga; provided version performed by Marina Lutfi and Adriana Lutfi (lead vocals), Sérgio Ricardo (vocals), João Gurgel (vocal/guitar), Alexandre Caldi (winds), Marcelo Caldi (piano/accordion), Lui Coimbra (cello), Giordano Gasperin (bass), and Diego Zangado (percussion)

Lyrics in Portuguese (extremely rough translation... "Saravá ogum" is an Afro-Brazilian exclamation; I'm not sure what "Mandinga" means in the song's context, but it's an Afro-Brazilian word that either refers to an ethnic group or "magic")

2nd in Group A

In this film almost never screened outside Brazil, two separate romantic storylines – a white couple and a black couple – play out in a Rio de Janeiro favela. In the latter storyline, Antônio Pitanga plays a shoeshiner. One day, while setting up his shoeshining equipment along the beach, he sings this song – an optimistic number in hopes for a better tomorrow. Black Brazilian romance was and is rare in Brazilian cinema, and the inclusion of such a romance so prominently featured in this film makes it a landmark of the nation's film history, alongside the likes of Black Orpheus (1959; although Esse Mundo é Meu came from a filmmaking movement – Cinema Novo – that rejected the likes of Black Orpheus).

From the song's humble origins and use in the film, Sérgio Ricardo turned it into bossa nova. That's the late composer/film director himself in the provided video (the older man furthest to the left). The lead singers are his daughters.

“Hooked On Your Love”, music and lyrics by Curtis Mayfield, Sparkle (1976)

Performed by Lonette McKee, Irene Cara, and Dwan Smith

(use in film) / (soundtrack version with Aretha Franklin)

Advanced directly to the final

Loosely based on the history of the Supremes, the musical Sparkle is the story of the three Williams sisters (the late Cara as lead singer Sparkle, McKee as Sister, and Smith as Dolores). They decide to take their church singing experience to become a semi-professional group called the Hearts.

This song appears midway through the film, as the boys have dropped out to become managers and the girls have renamed the group Sister and the Sisters (I would've kept the original name). This is the debut performance of Sister and the Sisters. If you're wondering what's going on with the lighting here, that's because the cinematographer of Sparkle didn't know how to light non-white actors.

The film's original soundtrack does not contain any of the original performances. Instead, Aretha Franklin sings all the songs from the film in the soundtrack.

“I Know Why (And So Do You)”, music by Mack Gordon, lyrics by Harry Warren, Sun Valley Serenade (1941)

(initial version) / (reprise)

Performed by Glenn Miller and His Orchestra, Lynn Bari (dubbed by Pat Friday), The Modernaires, and John Payne; reprise by Payne and Sonja Henie

6th in Group A

This song's melody forms the backbone of the film's score throughout. In the opening minutes of this musical, we find the Phil Corey Orchestra (Glenn Miller and His Orchestra) rehearsing in preparation for a Christmas concert they will be headlining in the mountainous resort town of Sun Valley, Idaho. The first 48 seconds of the first video are an instrumental version of Glenn Miller's "Moonlight Serenade".

The reprise occurs near the end of the film as Norwegian refugee/figure skating extraordinaire Karen Benson (Sonja Henie, a 3x Olympic gold medalist in figure skating) and pianist Ted Scott (John Payne) find themselves stuck in a mountainside cabin. Karen, who has fled Norway due to the Nazi takeover there, has been pursuing Ted for almost all of the film, and Ted finally succumbs to her charms here – to the outrage of his girlfriend (Lynn Bari). Suffice it to say nobody should watch 20th Century Fox musicals for the plot (but refreshingly, they're not pretending to be any more than what they are).

What the heck is an Olympic figure skater doing and singing in a movie? Well, Henie was used in a handful of Fox musicals in musical numbers set to an elaborate figure skating sequence. These days, Henie's movies are largely out of print and hard to find. Her popularity was such that Metro-Goldwyn-Mayer (MGM) hired aspiring swimmer Esther Williams (unable to compete at the canceled 1940 Summer Olympics) as response to Fox's Sonja Henie movies. 

“I’m Just Ken”, music and lyrics by Mark Ronson and Andrew Wyatt, Barbie (2023)

Performed by Ryan Gosling and company

3rd in Group B

The Kens of Barbieland have taken over power from the Barbies after Ken (Ryan Gosling) learns about patriarchy in our real world. In response, the Barbies, Allan, and Mattel employee Gloria and her daughter Sasha have manipulated the Kens into fighting each other (or, in the Kens' parlance, "beaching off") while they attempt to reestablish control. According to director Greta Gerwig, the dance segment seen here was influenced by "Lullaby of Broadway" from Gold Diggers of 1935 (1935; see the warm-up playlist I sent to many of you) and "The Broadway Melody" from Singin' in the Rain (1952).

The production design and overall look of Barbie was meant to have a sort of plastic toy aesthetic. Gerwig wanted to achieve an "authentic artificiality", injecting a sense of child's play into the filmmaking, and spiritually inspired by the production design of The Red Shoes (1948) – especially its 15-minute ballet sequence.

“Miss Celie’s Blues (Sister)”, music by Quincy Jones and Rod Temperton, lyrics by Quincy Jones, Rod Temperton, and Lionel Richie, The Color Purple (1985)

Performed by Margaret Avery (singing voice dubbed by Táta Vega)

Nominated for the Academy Award for Best Original Song

1st in Group A

Based on the book of the same name by Alice Walker, The Color Purple stars Whoopi Goldberg as Celie Harris in her breakthrough role. Celie, forcibly married off to Albert "Mister" Johnson (Danny Glover) as a teenager, has grown resigned after a lifetime of parental and spousal abuse. Mister has a mistress named Shug Avery (Margaret Avery), who works as a showgirl in Memphis. After one stormy evening, a sickly Shug appears at Mister's homestead for the first time and, over a few weeks, Celie nurses her back to health. The two grow attached and, as tribute, Shug performs this song at the local riverside juke joint.

In the book, the romantic relationship between Celie and Shug after this moment is more explicit. Director Steven Spielberg's greatest regret over this film was not making more of this romantic relationship. Given that the movie was released at the height of the HIV/AIDS crisis and in an environment where LGBTQ+ themes were verboten to the major movie studios, I don't believe much more could've been done in 1985.

“Qu'est-ce qu'on fait de l'amour? (What Do We Do with Love?)”, music and lyrics by Vincent Courtois, Ernest and Celestine: A Trip to Gibberitia (2022, France)

Performed by Pomme

Lyrics in French (rough translation)

1st in Group B

This song appears at the top of the end credits of this sequel to 2012's Ernest & Celestine, which was nominated (against the odds) for the Academy Award for Best Animated Feature. The original was, as I wrote back in 2014, "cinematic friendship at its most rewarding and profoundly beautiful." In this sequel for our dynamic mouse and bear duo, Celestine (the mouse) accidentally breaks Ernest's (the bear) precious Stradibearius violin. It leads the unlikely friends to search for an old violin maker acquaintance of Ernest's back in his homeland of Gibberitia ("Charabïe" in the original title, a name derived from "charabia", the French word for "gibberish").

A further shameless plug for all of you reading this to seek out animation that is not from the major American and Japanese studios.

“Return to Sender”, music and lyrics by Winfield Scott and Otis Blackwell, Girls! Girls! Girls! (1962)

Performed by Elvis Presley

5th in Group B

The eleventh of Elvis' 31 movies (if MOABOS returns for future editions, let's just say there's a lot more Elvis to come) and the second shot in Hawai'i after 1961's Blue Hawaii, Girls! Girls! Girls! is a misnomer as there are only two girls vying for Elvis' affections (it would be an appropriate title for many other Elvis movies). My sister thinks this film should've been titled Girls? Girls. Girls!

Here, Ross Carpenter (Elvis) is a fisherman who spends his evenings as a nightclub singer. Fellow nightclub singer Robin Gantner (Stella Stevens) and the secretly wealthy Laurel Dodge (Laurel Goodwin) are very much attracted to him. This number occurs after Ross starts seeing Laurel, inflaming Robin's suspicions, and resulting in a spat at the bar that immediately preceded the song.

“Suzume”, music and lyrics by RADWIMPS, Suzume (2022, Japan)

Performed by RADWIMPS and Toaka

Lyrics in Japanese (extremely rough translation)

2nd in Group B

This song's melody (especially the eighteen-note vocalized motif) appears throughout the film. But this version, with lyrics, only appears as the second song in the end credits. In this film, 17-year-old Suzume and a young man named Souta must journey across Japan to close a series of mystical doors. Mysterious phenomena are passing through these once-locked into our world, and are causing natural disasters.

Makoto Shinkai's latest, unadjusted for inflation, is the fourth-highest grossing Japanese film of all time. MOABOS regulars will recall previous entries from Your Name (2016) and Weathering with You (2019) – all RADWIMPS compositions. Suzume directly addresses a trauma that Your Name and Weathering with You danced around: the 3/11/11 earthquake, tsunami, and Fukushima Daiichi nuclear disaster.

“Tiền”, music and lyrics by Trần Khắc Trí, Good Morning and Good Night (2019, Vietnam)

Performed by Trần Lê Thúy Vy, Hà Quốc Hoàng, and company

Lyrics in Vietnamese (translation in provided video)

4th in Group B

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears about a third of the way through, after a conversation about money ("tiền" means "money" in Vietnamese). Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

“Trời Sáng Rồi, Ta Ngủ Đi Thôi (Good Morning and Good Night)”, music by Phạm Hải Âu, lyrics by Phạm Hải Âu and Chung Chí Công, Good Morning and Good Night (2019, Vietnam)

Performed by Hà Quốc Hoàng and Trần Lê Thúy Vy

Lyrics in Vietnamese (translation in provided video)

4th in Group A

In this romantic musical influenced heavily by Richard Linklater's Before trilogy, indie musician Tâm (Hà Quốc Hoàng) unexpectedly forms a deep connection with Thanh (Trần Lê Thúy Vy), a rideshare driver who challenges his view of life, love, and art over a full day traversing Saigon. This song appears at the top of the end credits. Most of the numbers in this film are composed in a style suited to Vietnamese indie music.

Have a question or comment about MOABOS's processes? Maybe you would like to know something more about a song or a movie featured in this year's competition? I'm the one to ask! If you are having difficulty accessing any of the songs (especially if region-locked) or if there are any errors in the links above or the playlist, please let me know as soon as possible.

Once more to all, my thanks all for your support for the Movie Odyssey, the blog, and for me personally over this last calendar year and beyond. However long you've known me – it has been and is a distinct privilege and a pleasure to share all this music and (at least excerpts of) these movies with you. It's my hope you find this entertaining and enlightening about cinema and the music that goes along with it. Do not worry too much about this if you cannot participate, although I will be checking in as the deadlines get close. Happy listening, and I hope you have fun!

A happy holiday season to you and yours!

PS: TABULATION

The winner is determined by a process distinct from the preliminary round. For the final, the winner is chosen by the process known as single transferable vote (the Academy Awards uses this method to choose a Best Picture winner, visually explained here):

All #1 picks from all voters are tabulated. A song needs more than half of all aggregate votes to win (50% of all votes plus one… i.e. if there are thirty respondents, sixteen #1 votes are needed to win on the first count).

If there is no winner after the first count (as is most likely), the song(s) with the fewest #1 votes or points is/are eliminated. Placement will be determined by the tiebreakers described below. Then, we look at the ballots of those who voted for the most recently-eliminated song(s). Their votes then go to the highest remaining non-eliminated song on their ballot.

The process described in step #2 repeats until one song has secured 50% plus one of all votes. We keep eliminating nominees and transfer votes to the highest-ranked, non-eliminated song on each ballot. A song is declared the winner when it reaches more than fifty percent of all #1 and re-distributed votes.

NOTE: It is possible after several rounds of counting that respondents who did not entirely fill in their ballots will have wasted their votes at the end of the process. For example, if a person voted the second-to-last place song as their #1, ranked no other songs, and the count has exceeded two rounds, their ballot is discarded (lowering the vote threshold needed to win), and they have no say in which song ultimately is the winner. No one who has ranked only one or two songs on their rankings and nothing more has succeeded since this tabulation method was implemented. I highly discourage, but do not forbid, these practices.

Tiebreakers: 1) first song to receive 50% plus one of all #1 and transferred votes; 2) total points earned (the preliminary round's primary tabulation method); 3) total #1 votes; 4) average placement on my ballot and my sister’s ballot; 5) tie declared

For reference: 2013 final 2014 final (input from family and friends began this year) 2015 final 2016 prelim / final 2017 prelim / final 2018 prelim / final 2019 prelim / final 2020 prelim / final 2021 prelim/ final 2022 prelim / final

[wrvtchedhearts]

ZAKIR SETHUPATHI - the poet

Stats --

FULL NAME: Zakir Aamir Sethupathi

AGE & DATE OF BIRTH: 28 -- January 8th

OCCUPATION: rapper, translator, interpreter

ASSOCIATE OF DEAD HAND

GENDER & PRONOUNS: cis-man, he/him

SEXUALITY: Bisexual, Biromantic

LANGUAGES:  mother tongue: Hindi, Urdu fluent: Arabic, Spanish, English, Russian, Punjabi, Gujarati conversational: Japanese, Cantonese learning: Portuguese, Mandarin, Bahasa Malay

RELATIONSHIP STATUS: Single ( crushing on Anchali )

FC: arpan kumar chandel aka King

Biography --

Zakir was sixteen when he moved from New Delhi to New York City hoping to find a richer more full-filling life there. He hoped to become a famous rapper. He grew up the oldest son of a Muslim and Hindu couple, with little prospect in life other than continue his father's business. His uncle - a friend of his father rather than his actual uncle - told him stories of America, of New York City, and the American Dream.

He got into crime because he needed funds and connections to gain his fame. He's known for making songs in which he fluently meshes languages and meanings together, rapping under the alias Baagee. However, a lot of his time is spent translating for Dead Hand or using his understanding of languages to decipher coded messages.

He's been releasing songs steadily during the past five years, and has been an official associate of Dead Hand for three years.

Timeline

Headcanons --

He's a polyglot; he speaks multiple languages and easily picks up new ones. Currently he's learning Portuguese, Mandarin & Bahasa Malay. He's however always interested in learning more.

He addresses anyone his age with either habibi/habibti ( ‘my dear’ or 'my love’ in Arabic ) or bhai/bhen ( 'brother’/'sister' in Hindi / Indic language ), and anyone older than him as auntie or uncle. Does this consistently and with respect.

Despite his mastery of languages, Zakir still has a distinct accent when speaking in Russian, English or Spanish.

He produces his own music.

He's a romantic, friendly and charming, and a little afraid of violence. Will always portray the role of a diplomat in a conflict.

Zakir was raised in a Muslim and Hindu household, though neither him nor his siblings got much of a choice which religion they wanted to follow. As a result he still follows a lot of rules from Islam and participates in all its religious days, including Ramadan.

He doesn't drink or smoke - though he on occasion uses the drugs available at El Anhelo, and has his way to say why those aren't as bad.

He has an augmentation in his eyes, installed just before he moved to the United States by a street engineer. Because it was a prototype, he's had to get it checked out several times. It essentially works as a video camera: he can zoom in, zoom out, rewind, slow down, and speed up. As well as choose to save certain moments to his phone to view later. Because his eyes are more sensitive now, he wears sunglasses or tinted glasses almost all the time.

wanted and established connection can be found here.

Slang --

Some slang Zakir might use and its meaning:

Yaar: friend/buddy/dude, addressing someone.

Arre yaar: addressing someone while expressing disappointment, surprise, or frustration.

Mashallah: 'God has willed it'

Inshallah: 'if God wills'

Wallah: 'I swear', said very often, presume Zakir never lies when he says this, as it's a sin.

Yallah/Chalo/Vamonos: Let's go!

Alhamdulillah: 'Praise to God'

Subhanallah: 'Glory to God'

Māśūqa: sweetheart, used for Anchali

Chai: Zakir never says tea

Jhakaas: Awesome!

Mast: excellent or fantastic

Bhai __ hai?: he uses this in restaurants mostly when he wants something quickly.

Theek hai: ok or it's okay

[akgmusical]

Tum Dil Ki Dhadkan Mein Hindi Sad Love Story Song | New Sad Love Story Song Video | AkgMusical

If you are searching for very painful heart touching songs, then you don't have to wait any longer because we have uploaded a Tum Dil Ki Dhadkan Mein Hindi Sad Love Story Song on our @akgmusical youtube channel.