#lakhon nai

[heaven-is-in-your-arms-series]

Types of Traditional Thai Dance in Man Suang

We see two styles of traditional Thai dance-drama (Lakhon Ram) in Man Suang: Lakhon Nok and Lakhon Nai.

Lakhon Nok

The film opens with Khem performing the role of Sang Thong in what looks like a local event for a lord.

And we also see him in the iconic golden outfit for his performance as Phra Lor.

Lakhon Nok is traditionally a folk style dance drama performed by commoners.

The theatre took place away from royal palaces and was often performed at temple fairs.

Originally, Lakhon Nok was an all male dance style but these days women perform it too.

The stories are fast paced and the movements are typically more relaxed and not as refined as those you would find in Lakhon Nai or Khon, the two dance styles most associated with royal performance.

Costumes can be very simple or more elaborate.

The stories are often based on Buddhist Jataka tales and folklore with fantastical creatures like ogres, mermaids and spirits in abundance.

Traditionally any kind of story could be told except The Ramakien, Inao and Unnarut, which were reserved for royal performances of Lakhon Nai or Khon.

Popular examples of Lakhon Nok include:

Sang Thong

Phra Lor/Law

Phra Aphai Mani

Lakhon Nai

Wichiendej asks to see Khem as Inao, the hero of the Lakhon Nai dance drama.

Lakhon Nai was originally performed exclusively for the royal court by an all female group.

We do overhear Mae Kru Phikul arguing about this in the background of one scene. Shortly after this time period men would be allowed to perform in Lakhon Nai as well but I imagine it was still quite a transgressive act in this tumultuous time frame.

Only the king and members of his court were allowed to watch but during this time period, Rama 3 turned against royal dance as an art form and ordered a stop to both Lakhon Nai and Khon performances. This is likely the reason that Mae Kru Phikul ends up at Man Suang.

Characteristics of Lakhon Nai include extremely refined dance movements, adhering to traditional Thai aesthetic principles.

This is why we see Khem going to such drastic measures in his training montage, because he would be required to dance to a much more technical higher standard than he would have had to do when performing Lakhon Nok plays.

Costumes are elaborate and exquisite as befits a royal court.

The plots of Lakhon Nai come from three stories:

The Ramakien (a Thai version of the Ramayana)

Inao (The prince of the Panji tales.)

Unnarut (stories of the son of Krishna.)

There are other types of Lakhon dance styles but these are the two that are showcased in Man Suang.

I was a little surprised we didn't see Khon, the famous masked dance drama style of Thailand but it was another dance form originally exclusive to royal courts so I can also understand why it didn't show up in the film.

[heaven-is-in-your-arms-series]

Khem as Inao with Wan in the background, likely portraying Siyatri (the brother of Inao's love interest princess Bussaba.)

Potential crumbs for any Khem and Wan fans out there as Siyatri is said to look a lot like his sister and there are references in the epic poem to Inao kissing Siyatri as a sort of surrogate for Bussaba when she is not around/accessible to him.

Apo Nattawin as Khem

[famousinuniverse]

Traditional Thai Dances & Their Origins

The Land of Smiles – Thailand – is known for its friendly people and grand palaces. 

But more than anything else, it’s known for its incredibly rich culture. Any visitor to Thailand is highly recommended to watch a performance of traditional Thai dance at least once.

But did you know that there are dozens of dances in the country?

If you don’t have a tour guide with you, you can count on this guide to give you a broad overview of all the classical Thai dances!

3 Main Categories Of Classic Traditional Thai Dance

Khon Dance

Khon is a Thai classical dance-drama that combines intricate movements, elaborate costumes, and storytelling. It is often performed during religious ceremonies and royal events. 

The performers wear ornate masks and costumes depicting characters from the Ramakien, the Thai adaptation of the Indian epic Ramayana. 

The dance movements in Khon are highly stylized and require years of training to master. 

This traditional dance form showcases the rich cultural heritage of Thailand and has been passed down through generations.

Lakhon Dance

Lakhon is a revered form of Thai classical dance that traces its origins back to the royal courts of ancient Thailand. 

It is a graceful and highly stylized dance characterized by intricate hand gestures, elegant movements, and ornate costumes. 

Lakhon Thai dance serves as a platform for expressing historical tales, myths, and spiritual beliefs, with performers skillfully conveying emotions and narratives through precise movements. 

This traditional dance form is a living embodiment of Thailand’s rich cultural heritage. It preserves the beauty and grace of bygone eras while enchanting audiences with its timeless allure.

Lakhon Nai

Lakhon Nai is a refined and graceful dance form that originated in the royal courts of Thailand. 

It is performed by female dancers who wear traditional attire, including a long-sleeved blouse, a long skirt, and a crown. 

Lakhon Nai combines intricate hand gestures, delicate footwork, and expressive facial expressions to convey emotions and tell stories. 

This dance form reflects the elegance and sophistication of the Thai court tradition.

Lakhon Nok

Lakhon Nok is a lively and comedic dance-drama featuring male and female performers. It is known for its humorous and exaggerated movements, as well as its vibrant costumes. 

Lakhon Nok often incorporates slapstick comedy and satire. It entertains audiences with its playful and light-hearted style. 

This dance form is commonly performed during festivals and celebrations to add joy and laughter to cultural events.

Lakhon Phatang

Lakhon Phatang is a form of dance-drama that originated in the southern region of Thailand. It combines dance, music, and theater elements to depict local folktales and legends. 

The performers use their bodies and facial expressions to portray characters. 

This dance form reflects Thailand’s cultural diversity and showcases the southern region’s unique traditions.

Lakhon Lek

Lakhon Lek is a traditional form of puppetry dance in Thailand. It involves using small puppets made of carved wood, cloth, or leather, controlled by puppeteers skilled in manipulating the puppets’ movements. 

Lakhon Lek’s performances often depict episodes from the Ramakien or other mythical stories. 

The puppeteers bring the puppets to life, enacting scenes with intricate choreography and synchronized movements. 

Lakhon Lek showcases the artistry and craftsmanship of Thai puppetry. It delights audiences with its enchanting performances.

Fon (Faw Thai Dance)

Fon, also known as Faw Thai, is a traditional dance style that celebrates the vibrant culture of Thailand’s northern region. 

It is a lively and energetic dance form characterized by quick footwork, rhythmic clapping, and dynamic movements. 

Fon is often performed during festivals and joyful occasions, reflecting the vitality and zest for life that defines Thai culture. 

This vibrant dance style not only showcases the physical prowess and agility of the dancers but also serves as a means of cultural expression, fostering a sense of community and collective celebration. 

With its infectious energy and joyful spirit, Fon continues to captivate audiences, inviting them to immerse themselves in the festive atmosphere of Thailand’s cultural traditions.

Fawn Tian (Candle Dance)

Fon Fawn Tian (Candle Dance) is a mesmerizing dance performed with lit candles. 

The dancers balance the candles on their heads and hands while gracefully moving their bodies. 

This dance form is often completed during religious ceremonies.

Fawn Leb

Fon Fawn Leb is a traditional Thai dance showcasing hand movements’ beauty and grace. The dancers perform intricate finger movements accompanied by elegant body postures. 

This dance form exemplifies the importance of hand gestures in Thai culture and storytelling.

Fawn Ngiew

Fon Fawn Ngiew is a dance form that originated in the northern region of Thailand. It features movements inspired by the graceful flight of birds, particularly the “ngiew” bird. 

The dancers imitate the bird’s movements. They soar through the air with flowing motions. 

Fon Fawn Ngiew combines fluid movements, agility, and a sense of freedom. It captures the essence of nature in its performance.

Fawn MactionsBer

Fon Fawn Marn Gumm Ber is a dance that symbolizes the harmony between humans and nature. It portrays the process of planting and harvesting, celebrating the agricultural traditions of Thailand. 

The dancers mimic the actions of farmers: sowing seeds, tending to the crops, and reaping the harvest. 

Fon Fawn Marn Gumm Ber expresses gratitude for the land’s bountiful gifts and the farmers’ hard work through rhythmic movements and coordinated gestures.

Fawn Marn Mong Kol

Fon Fawn Marn Mong Kol is a dance that pays homage to the ancient art of pottery-making. It represents the skill and craftsmanship involved in creating ceramic vessels. 

The dancers imitate the actions of potters, shaping and molding clay, spinning pottery wheels, and firing the kiln. 

Fon Fawn Marn Mong Kol showcases the intricate movements and precision required in pottery-making. The dance highlights this traditional craft’s cultural significance.

[bevioletskies]

for you i’d wait (‘til kingdom come) [chapter five]

summary: Quiet, gentle, and driven more by their emotions than their duties, the twin princes of Ayutthaya turned out to be nothing like what their people imagined. Now eighteen, they’re both expected to be engaged in a year’s time and married in two, despite their lack of marriage prospects. However, when Tinn falls in love with the singing voice of a servant boy he’s never actually met and Heart finds himself unexpectedly confronted by the boy’s twin, they both end up spellbound in more ways than one, and must choose between what they want and who they need to be. a/n: This fic takes place in a magical alternate universe set in 19th-century Thailand, where it’s instead known as Ayutthaya. For more information on the historical and magical lore of this world, check out this reference page. Fic title is from the song ‘Til Kingdom Come by Coldplay.

preview:

“How are you now? Much better, I hope. If not, perhaps I - ”

“Please don’t offer to bring me to your brother,” Li Ming interrupted. “Other than a few bruises and an aching back, I’m fine. And…thank you again for breaking my fall.” When Prince Heart only nodded, relieved, Li Ming shifted his weight from one foot to the other, uncertain of what to say next. He no longer felt irritated by the prince’s presence, though he couldn’t say he felt indifferent to him, either. “Well…if you don’t need anything of me, I’ll be going now. My family’s expecting me.”

“Wait!” Prince Heart took Li Ming by the forearm to stop him, pulling back abruptly seconds later as if he’d been burned. “My mother has arranged a private dinner with Lady Nippitcha tomorrow evening. Will you accompany me?”

Li Ming scratched the back of his neck. “Our arrangement was only for the lakhon nai. And Kajorn is your advisor-in-training, not me.”

“He’s well-versed in politics, but you’re more proficient in sign language,” Prince Heart admitted. “Lady Nippitcha and I could converse far more easily with you there.”

“Really?” Li Ming was becoming increasingly confused. “From what I could tell during the gift-giving procession, she’s one of the few who’s fully fluent.”

Prince Heart blinked, having apparently forgotten. “Uh…yes, of course,” he eventually said with an uneasy chuckle. “I suppose I - we don't require your presence, then. But…”

“But…” Li Ming echoed when it seemed the prince couldn’t find the words to speak. Though Prince Heart hadn’t been the one who fell and hit his head, Li Ming was beginning to wonder if something else had happened. “Is everything alright, Your Royal Highness?”

(read on ao3)

[heaven-is-in-your-arms-series]

I'll always have a soft spot for the original trailer

Apo Nattawin details, new movie. Elegant, graceful and ethereally beautiful.( @apofilms you'd love it.)

[discluded]

some people think the new mileapo movie would not be a love story 💀💀💀💀 have they confirmed that it's a love story tho?

*MUFFLES SCREAMS* I wrote the entire reply and it got swallowed by Tumblr. This is the 5th time I've made this mistake because I am a FOOLE (though more likely it's because tumblr's editor sucks). Anyway, here we go again.

Formally, the film's genre is historical. And its working title is #ThaiPeriodMovie while they tease us about the movie title.

However, several things stood out to me in the way this film has been discussed (potential spoilers, but mostly fan theory!)

Here's Apo speaking about how the film came about at Kis x Farger and how Pond contextualized Mile's role in the film. Please note the conjecture is one of the translator's theories, not what was explicitly said. But the part about Mile was what was said 🤗

Pond then came up with the idea that it would be so gorgeous if Apo could perform a Thai dance. Pond also said that Mile has a personality that goes well with Apo* so together they should make a movie that celebrates Thai culture.

[*they may be a couple lead in their movie]

Also, this LGBTQ Thai youtuber was able to identify cultural details in just the short trailer. He starts talking about some of the important details around 6:27 (which I am not retyping again)

Basically, he was able to identify that Apo was performing a Lakhon Nai, which is performed in the royal court and traditionally only had female dancers even for male roles.

However, he noted that because Apo was a male dancer in the royal court, the movie likely takes place in the period of King Rama IV-V, which was most likely validated by BOC's production staff recently!

He also theorized that Apo and Bas were were performing Inao (Punji), which is a Lakhon Nai epic that had queer elements. I can't find a good English source about this epic, so watch the video to learn what he has to say about the story.

He mentioned the possibility that in the movie, there might the duality with a reflection of Apo's character having a stage life in an epic with a queer story while the character's real life is embroiled in a love affair with the handsome Taphon player 😝

Actually, I was rewatching the Leslie Cheung and Hong Kong LGBT Cinema video essay a couple of weeks back and this part really stood out to me as what they might be trying to do with this film.

The film cleverly ties homosexuality to traditional Chinese art, making an, at the time, unfamiliar topic much more approachable to a Chinese audience, allowing the audience to feel the loss, pain, and persecution LGBT people had been feeling.

But its contribution to inclusivity is, perhaps, even more direct than that. The casting of Leslie Cheung in the role creates this feeling that we aren't looking at a fictional character, we are facing the real struggle of Leslie Cheung. Leslie was sympathetic, so his characters, and by extention LGBT people, were sympathetic.

Anyway, this is all speculation! I want to point out again that historical LGBTQ films don't need to have a romantic plot, AND even if a romance between characters occur it's often interwoven with the characters' other struggles and drama/tragedy of the period. Don't expect KPTS episode 8 😭

I'm less bothered by whether or not Mile and Apo's characters will be queer than the fact that so many people are openly dismissing that they can't be queer in the film because it's a historical film (what). As @cookiedoughfiesta mentioned to me, some idiots have said that they can't be gay because it's a historical film and gay people didn't exist then (THE IRONY OF SUFFERING HOMOPHOBES EVERY DAY IN THIS FANDOM 💀💀💀)

[telomeke-kinnporsche]

BE ON CLOUD NEW PROJECT – CULTURAL DETAILS BEHIND THE MILEAPO MOVIE TEASER

There is an interesting reaction video posted by ATHCHANNEL on YouTube (video linked here: REACTION + RECAP | Be On Cloud | New Project & Things You Missed) about the MileApo movie teaser-trailer (teaser linked here: Be On Cloud | New Project).

ATHCHANNEL's video was originally posted without subtitles. But they've now added subtitles in many different languages, and it's a fascinating watch.

In the video, host P'Ham reveals some Thai cultural details underpinning the teaser.

Here are some takeaways:

The performance appears to be a traditional Thai lakhon nai – dance dramas that were staged only behind palace walls for the king and his family.

Until the reign of Rama IV and V (1851 to 1910), only women were allowed to perform in lakhon nai. (This was because male outsiders were not allowed to enter the royal court.) As the king was seen as a reincarnation of divinity, the female performers were also seen as akin to angels performing for the gods. Angels were believed to be white-skinned with arched eyebrows and red mouths, hence the use of face powder, black eye makeup and crimson cinnabar to stain the lips.

As the original performers were female, the style of dance evolved to emphasize fluidity and elegance rather than (more masculine-associated) strength and athleticism. This emphasis on refined lines continued even after male dancers were allowed to perform lakhon nai, sometime during the reign of Rama IV and V. (This is probably also why Apo's feline physicality – very much evident in KinnPorsche – makes his few seconds onscreen as a lakhon nai performer here so luminous and compelling. 😊)

The 6-piece musical ensemble that Mile appears in is known as a piphat khrueang ha, and it was used to accompany lakhon nai in the early part of the Rattanakosin period (1781 to 1932).

The drum that Mile plays is known as a taphon. He smears a paste on one side of the taphon – either cooked rice mixed with ashes, or dried ripe bananas, ground up – in order to modulate the sound (the more that is smeared on, the softer the drumbeat).

P'Ham believes that the epic being depicted here is Inao (the Thai version of Javanese Panji stories). This is primarily because of the headgear worn by Bas Asavapatr (he who played the charming and disarming Arm in KinnPorsche, seen here sporting a lot more gold and no glasses 😊).

The headdress on Bas, known as a panjuret, is stylized Javanese headgear, and was worn by the characters in Inao as the epic was set in Java. P'Ham also informs us that one part of Inao the epic has a homoerotic subtext – the close (but otherwise consciously chaste) relationship between Inao and Sangkamarata, the beautiful brother of Inao's second wife. If Bas' character is playing Inao (given his panjuret), then Apo's character is likely portraying Sangkamarata (as his headgear signifies a main character). Therefore, what we're seeing is kind of a BL lakhon nai enacted to promote a BL movie. 😊

P'Ham goes on to mention one detail that is intriguing because of its absence – the uba or dangling floral ornament on the ear of the headdress. More than just decoration, the uba also functions to identify the gender of the character being portrayed. But neither Bas nor Apo is seen with an uba – given the rigorous adherence to traditional details everywhere else in this teaser-trailer, P'Ham sees this as a deliberate omission and a metatastic tip of the headgear to the idea of love without gender. 💖

[vtplus]

Những Điệu Múa Truyền Thống Đặc Sắc Của Thái Lan

Nguồn gốc

Những điệu múa truyền thống được lưu truyền từ đời này sang đời khác với sự trân trọng và niềm tự hào của Thái Lan đang được gìn giữ và trường tồn theo năm tháng.

Các điệu múa truyền thống đã có từ rất lâu đời, được bắt nguồn từ triều đại Siam. Lúc này các điệu múa dùng để phục vụ vua chúa và hoàng tộc trong cung đình, về sau những điệu múa điêu luyện này còn lan rộng và ảnh hưởng tới vùng Angko của Campuchia.

Vẻ đẹp của các điệu múa cổ điển Thái chính là sự nhẹ nhàng và thư thái, nó xuất phát từ tính cách và liên quan tới tín ngưỡng tôn giáo của người Thái. Đó là sự tinh tế nhưng không ồn ào, mang vẻ đẹp uyển chuyển và mềm mại nhưng không yếu ớt.

Múa truyền thống Thái Lan có 3 loại là Khon, Lakhon, Fawn Thai. Trong đó, Fawn Thai là điệu múa đòi hỏi kỹ năng phức tạp nhất nhưng cũng là điệu múa dược yêu thích nhất.

Một trong những khía cạnh đặc biệt nhất của loại hình nghệ thuật Thái Lan này là trang phục của người biểu diễn, mặc dù chất lượng của các thiết kế đã không còn đạt chất lượng kể từ khi những trang phục ra đời nhưng những bộ trang phục vẫn giữ được vẻ lộng lẫy và cầu kỳ.

Múa Khon

Vũ kịch Khon được dựa trên những câu chuyện của sử thi Ramakie, tiêu biểu là cuộc chiến của hai phe Thiện – Ác, giữa Vua Quỷ mười đầu Thotsakan và Hoàng Tử Phra Rama cùng cánh tay phải đắc lực của Ngài – Vua Khỉ Hanuman. Vì vậy sân khấu vũ kịch Khon mang tính nghi lễ, mang tinh thần Ấn Độ giáo, nặng về tính chính trị, quân sự.

Những nhân vật, nghệ sĩ, dàn đồng ca cùng nhau mang đến không khí sôi động trên sân khấu. Biểu diễn Ramayana bằng các biểu cảm cử chỉ và không nói một lời thoại nào, chương trình được thực hiện bằng vũ điệt cổ điển. Cảnh chiến đấu đưuọc coi là đáng xem vì nó có rất nhiều trò đùa mang tính tương tác và biểu cảm.

Múa Lakhon

Lakhon được chia ra thành hai loại: Lakhon Nai & Lakhon Nok

Trang phục và bối cảnh sân khấu ở Lakhon thường xa hoa hơn nhiều so với một số hình thức múa Thái khác. Nửa thân dưới không cử dộng nhiều như phần trên, với những chuyển động tay uyển chuyển và sống động trong suốt màn trình diễn.

Lakhon Nok ( Nok = bên ngoài ): Đây là sân khấu được biểu diễn bên ngoài cung điện, đối tượng khán giả của Lakhon Nok phong phú và đa dạng hơn, gồm thường dân và thương gia hay các sĩ quan. Lakhon Nai tập trung vào vũ đạo và chuyển động thì Lakhon Nok tập trung vào kể chuyện và mang tính giải trí nhiều hơn.

Ở thời kỳ Vua Rama I – IV, Lakhon Nai chỉ được biểu diễn trong Cung điện Hoàng gia và diễn viên chỉ có thể là nữ thì diễn viên biểu diễn sân khấu Lakhon Nok có thể là nam hoặc nữ.

TOUR DU LỊCH THÁI 5N4Đ THÁNG 08, 09, 10

Múa Fawn Thai

Là một loại hình múa dân gian khác, Fawn Thái được biểu diễn trong các dịp lễ lớn của quốc gia với hàng trăm vũ công tham gia. Múa Fawn Thai gồm 5 điệu chính:

Fawn Leb – Múa Móng tay

Fawn Marn Gumm Ber – Múa Bướm

Fawn Marn Mong Khol – Múa mừng Hạnh phúc

Fawn Tian – Múa Nến

FawnNgiew – Múa Khăn

Các vũ công sẽ mặc trang phục cầu kỳ, theo di sản các triều đình của Xiêm.

Múa Marn Gumm Ber – Múa Bướm và Fawn Marn Mong Khol – Múa mừng Hạnh phúc đều dược biểu diễn trên các nhạc cụ truyền thống của Thái Lan, các vũ công được biểu diễn đầy sự nghệ thuật hoặc sự lôi cuốn khi học nhảy với sự đồng nhất cao nhất.

Và cuối cùng, là Fawn Ngiew – Múa Khăn và đúng như tên gọi, chiếc khăn được sử dụng là dụng cụ chính trong điệu múa. Được thiết kế đặc biệt cho các sự kiện vui vẻ, nó có các bước nhanh hơn một chút nhưng giống với Fawn Leb, những bộ trang phục đầy màu sắc, Sabai và hoa tạo nên một bộ trang phục khiêu vũ tuyệt đẹp.

Mỗi điệu múa khác nhau sẽ có các hình thức và đạo cụ khác nhau, ý nghĩa cũng khác nhau. Đi cùng với mỗi điệu múa là một dàn nhạc từ 5 – 7 nhạc cụ truyền thống.

Hầu hết các hình thức múa cổ điển ở Thái lan có thể được chứng kiến tại các sự kiện xã hội và quan trọng nhất là các lễ hội. Thái Lan được mệnh danh là Vùng đất của những nụ cười, là một trong những quốc gia được chào đón và có nhiều du khách đến thăm nhất ở Châu Á. Chính văn hóa truyền thống, ẩm thực và khí hậu nhiệt đới đã khiến đất nước này trờ nên hấp dẫn đối với khách du lịch.

Xem thêm: Top 8 khách sạn sang trọng khi tới Bangkok không thể bỏ qua

CÔNG TY TNHH THƯƠNG MẠI DỊCH VỤ VTPLUS

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[wahegurujiblessings]

Jo Rehmato Ki Kadar Nai Karna Jante Unko Waqt Kadar Sikha Hi Jaata Hey Tum Kya Ghamand Karte Ho, Yahan To Rabb Ne Lakhon Ke Ghamand Tod Diye.....✔ . . . . #quotesbybrijesh #satnam #waheguru #darbarsahib  #chardikala #Wahegurujiblessings #satnam #gurunanakdevji #gurugranthsahib #ekonkar #guru #punjab #punjabi #waheguruji #amritsar #goldentemple #gurugranthsahibji #gururamdasji #kaur #gurughar #khalsa #satnamwaheguru #wmk #satnamwaheguru #waheguruji #waheguruji #gurbani #sikh #sikhexpo #shabadgurbani #harmandirsahib #instapunjab (at ਸ਼੍ਰੀ ਦਰਬਾਰ ਸਾਹਿਬ ਅੰਮ੍ਰਿਤਸਰ) https://www.instagram.com/p/CaNAJxSJyQ2/?utm_medium=tumblr

[heaven-is-in-your-arms-series]

In the first teaser trailer that be on cloud filmed, you can see Khem wearing the traditional Inao costume.

The one he wears in Man Suang is a much more modern interpretation although it still stays very true to the traditional aesthetic.

Wan is also wearing a very traditional Inao costume with the distinctive flat, rounded headdress which is to evoke a Javanese style, to hark back to Inao (Panji's) roots.

[foxshack884]

Lal Shahbaz Shah Ki Chadar By Abida Parveen Mp3

Lal Shahbaz Shah Ki Chadar By Abida Parveen Mp3 Download

Lal Shahbaz Shah Ki Chadar By Abida Parveen Mp3 Song

Abida Parveen/Abida Parveen (2019) Abida Parveen (2019) Abida Parveen. Aaon Ja Bloch Ge Aheya. Lal Shahbaz Shah Ki Chadar. ABIDA PARVEENLAAL SHABAZ SHAH KI CHAADAR. 3 years ago 38 views. Browse more videos. Browse more videos. Lal Shahbaz Ki Chadar, Vol. Musique du monde 2003. Entdecken Sie Laal Shahbaz ki Chadar von Abida Parveen bei Amazon Music. Werbefrei streamen oder als CD und MP3 kaufen bei Amazon.de. Lal Shahbaz Shah Ki Chadar Free Mp3 Download. Jd lee sudarshan guha pdf. Free Lal Shahbaz Qalandar Dhamaal mp3. Free MENDA LAL QALANDAR Abida Parveen Flv mp3. For your search query Laal Shahbaz Ki Chadar Abida Parveen MP3 we have found 1000000 songs matching your query but showing only top 10 results. Now we recommend you to Download first result Laal Shahbaz Ki Chadar.

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Abida Parveen (2019)

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Lal Shahbaz Shah Ki Chadar By Abida Parveen Mp3 Download

Lal Shahbaz Shah Ki Chadar By Abida Parveen Mp3 Song

Aaon Ja Bloch Ge Aheya

Ab Lagan Lagi Ki Kariye

Ali Ali Keh

Alif Allah Chambay Di Booti

As Ro Ahay Mukhey

As Roahay

Asan Ishq Namaz Jadon

Aye Mondh Malar

Bana Gulab to Kante

Barochay Sano Jadu

Barouche Sanjyo

Bedar Wo Maknae

Bhala Hua Meri Matki

Bhore Wanjo Halay

Bulleh Nu Samjhawan Aaiyan

Chaap Tilak Sab Cheeni

Dama Dam Mast Qalandar

Dama Dam Ya Ali Haider

Dar E Panjtan Ka Nazara

Dil Lag Gai Be Parwah De Nal

Din Oraye Ja Aj Meya

Doli Chardiyan Marian Heer Cheekan

Ek Nuqta Yaar Parrhaya Ae

Ek Takht Hazaareyo Gal Ke Ja

Ek Tona Chamba Gawan Gi

Gao Ni Gao Sakhio Mehndi Jole Lal

Gham-e-Zindagi Se Guzar Gaye

Ghano Ahin Ghat

Gharyali Deyo Nikaal Ni

Ghoonghat Ohlay Na Luk Sajjnan

Gul Hui Jaati Hai

Hath Ban Ban Arzan Kardi Ethe Sab Di Jholi Bherdi

Horih Hoye Rahi Hai Ahmad Jiyo Ke

Hout Naina Jo Dil Band

Hum Na Sub Shehar Mein Sanwarey Thay

Ishq Hoya Ni Sakhiyon

Ishq Jaga Hai Murshid Man Mein

Ishq Mein Tere Koh-e-Gham

Ishq Na Darr da Maut Kolon

Jagat Ka Ameer Maula Ali

Jalwa Baqadr Zarf-e-Nazar

Jani Hajatoka Jas

Jani Hojy to Ka Jus

Jhallaan Pakhi

Jholay Lal Sakhi

Jhoom Jhoom Ke Chalo

Jo Rang Rangya Goorha Rangya

Kafray Daynda Pinda Wich Sary

Karown Wasak Gaya

Ke Heer Di Karay Tareef Shayar

Ki Ohne Nay Ahayla

Ku-Ba-Ku Phail Gai Baat Shanasai Ki

Lagi Walian No Nend

Lal Shahbaz Shah Ki Chadar

Latak Bagh De Pari

Le Chala Jaan Meri

Maaye Ni Main Kinnu Aakhan

Madho Peyan da Moh

Main Bhi Jhok Ranjhan Di Jana

Main Nara-e-Mastana

Main to Piya Sang Nain Mila

Main to Tere Rang Rangi Hoon

Man Mat Ya Roop

Mann Lago Yaar

Maula Tero Naam Japoon Subha

Mehndi Jule Laal Di

Mein Mangti Mola Ali Di

Mein Sufi Hoon Sarmasta

Mele De Din Aye

Mera Ghazi Alma Wala

Mera Khamosh Reh Kar Bhi

Mera Murshid Mola Hussain

Mera Peer Mehboob Haq

Mera Sohna Sajan Ghar Aaya

Mere Saheba Main Teri Ho Mukiyaan

Meri Bukal De Wich Chor

Meri Rooh Vich Vasda Laal Sakhi

Metha Mohay Wamaro

Metha Mohib Maron

Milnay Ki Tarah Mujh Sa

Mujhe Be-Khudi Ye Tuu Ne

Mukhra Peer Najeeb da Vekheya

Nabi Tu Jawan Wari

Nahi Nigah Mein Manzil to Justujo Hee Sahi

Ne Menda Dil Ranjhan Rawal Mange

Neeyat E Shauq Bhar Na Jaye

Pai Nobat Vajdi Sarkar Qalandar Di

Rabba Mere Haal da Mehram Tu

Rang Baatein Karein

Rashk E Bhakhat

Roshan Jamal E Yaar

Sadhe Wehrre Aaya Kar

Sahib Mera Ek Hai

Sajjan De Hath Banh Asadi

Sakhi Piya Hori Khelan Aaya

Sakhi Sahiban Munhja

Samaya Hai Meri Aankhon Mein

Sawan Bhado

Seher Hai Tujh Se Meri Jaan

Sham-e-Firaq Ab Na Pooch

Shams Ud Duha Badr Ud Duja

Soun to Sapne

Sung Dil Moom Dil

Talib Ul Mola

Tenu Kal Na Kai

Tera Sehwan Rahe Abad

Tere Gham KO KO Jaan Ki Talash Thi

Tu Hi Maula Mere Maula

Tu Surkh Yaqoot

Tunjha Kehra Thora Gayan

Umrah Ve Dharu

Veeran Saraye Ka Diya

Waee Umer Guzri

Wah Wah Ramz Sajan De Hor

Wasi Wasi Meah

Way Homa Waysar

Way Humma Waysari

Woh Humsafar Tha

Woh Jis Ki Deed Mai Lakhon Musaratin Pinhaan

Yaar Sajan Ja Fera Konmari

Yar Di Khaber Na Kai

Yar KO Hum Ne Ja Baja Dekha

Ye Aarzoo Thi Tujhe Gul K

Yeh Jafa E Gham Ka Chara

Zahid Ne Mera Hasil E Eman

[milkyteabunnie]

Thai Drama (Lakorn) Recommendations #1

Recently I fell in love with Thai lakorns and Thai series. Not only do they help when trying to study Thai language but they are pretty entertaining. (Disclaimer: I am not an expert, this is just my opinion. I know some shows can be intense with certain themes so I will be putting trigger warnings below with strike through only two dramas need these, but I feel like I need to put them. I know these are not for everyone and I respect that.) 

So what is a lakorn? Lakorn is short for lakhon thorathat, or "television drama." These tell a complete story in a certain amount of episodes (unlike American soaps) and usually have a runtime of 1 hour + per episode. (I have seen them equated to Hispanic telenovelas.) The ones I have chosen to start with don’t are more mild in my opinion and stay away from being too extreme. (Okay there is one on my list that is a bit extreme. I would like to add I don’t condone all of the themes in these shows but I liked them inspite of that.) Without further ado (and in no particular order) my first five recommendations ^^

#1.) รักล้นใจนายแกล้งจุ๊บ Rak Lon Jai Nai Klaeng Joob (Kiss Me) [comedy/romance/school] starring Mike D’Angelo and ‘Aom’ Manaying Sushar. This story is the classic story that has been remade many many times (Itazura na Kiss/Playful Kiss/It Started with a Kiss) but with a Thai spin on it. (aka don’t think you are going to get a regurgitation of those dramas, it delivers some of the classic tropes but adds and subtracts making it its own thing.) This story is about Taliw, who is cute and lively and has a crush on TenTen, a grumpy genius with an IQ or 200. An accident causes their cohabitation, and that is just the beginning of their chaotic story.

-No trigger warning needed for this, from start to finish it is good and clean fun.

-You can check out reviews and ratings here: https://mydramalist.com/14805-kiss-me

-You can view this drama here: http://kissasian.ch/Drama/Rak-Lon-Jai-Nai-Klaeng-Joob

#2.) เล่ห์นางฟ้า Leh Nangfah (Angel Magic) [comedy/romance] starring ‘Vill’ Wannarot Sonthichai and ‘Push’ Puttichai. This story centers around Lallalit (Beauty,) a spoiled and selfish heiress who is cursed by karma to live as a human by day and a bird at night. To break the spell, her good karma must out way her bad, and she must also receive a kiss from a man that she loves more than herself. She has her work cut out for her dealing with her karma as well as trying to prove to her childhood friend Teepob that she can handle her half of the business with smarts and grace.

-No trigger warning needed for this, from start to finish it is good and clean fun.

-You can check out reviews and ratings here: https://mydramalist.com/10377-leh-nangfah

-You can watch this drama here: https://www1.ondramanice.io/drama/leh-nang-fah-detail

#3.) ภพรัก Pope Rak (Two Worlds Love) [action/comedy/romance/drama/supernatural] starring Mark Prin and Bella Vanita. This story centers around two main characters, the rice socialite Naamrin (Naam) and a police officer named Yeeo.  After leaving a dress fitting, Naam is involved in a street race which escalates and causes an accident for both drivers resulting in Naam becoming a spirit. Officer Yeeo is the only one who can see Naam and thus is tasked with solving her story and figuring out her identity while also helping to unravel a twisted plot directed at Naam’s mother.

-No trigger warning needed. (Even though this deals with spirits and the theme of death it isn’t horror genre or scary)

-You can check out reviews and rating here: https://mydramalist.com/12687-pope-rak

-You can watch this drama here: https://www1.ondramanice.io/drama/pope-rak-detail

#4.) เล่ห์รตี Leh Ratee (A Woman’s Trickery) [drama/romance/light slap-kiss] starring Sean Jindachote and Ester Supreeleela. (Now hear me out because the plot sounds insane but it is really good.) This story centers around multiple families. On one hand we have Sake and his family, they run a lucrative business and are very wealthy. He is married to Idsaya who is kicked out when Sake’s mother finds out she is a liar and a gold digger. Kate is a strong young girl who’s father works for Sake’s company but has been embezzling money to spend on his gambling problem. Kate’s childhood love is Poo who wants to marry her when she finishes school. However the plot starts thickening when Kate’s father’s embezzling comes to light and he flees. Once he is found however he is discovered to have a medical condition, and he decides to sell his daughter Kate to Sake in order to produce an heir and in turn pay off his debts.

-Trigger warning: There are two scenes with forced kisses.Their initial consent is dubious but it quickly turns into consent.

-You can check out reviews and ratings here: https://mydramalist.com/13397-leh-ratree/cast

-You can view this drama here: http://kissasian.ch/Drama/Leh-Ratree

#5.) กาลครั้งหนึ่ง…ใ��หัวใจ Karn La Krang Neung…Nai Hua Jai (Once Upon a Time…In My Heart) [action/romance/mafia/drama] starring Pimprapa Tangprabhaporn, Mik Thongraya, and Boom Piyaphun. This story centers around Fahsai who accidentally finds herself stuck between two warring mafia clans and a plot for revenge. On one side you have Daniel who coerces Fahsai to help him when he is shot in Japan and on the other you have Chen Min who attempts to use Fahsai to gain information on Daniel.

-Trigger warnings: In a fit of anger a character forces a kiss on Fahsai and also rips her shirt. There is mention sexual assault as well as a clip of a girl tied to a bed. Since this plot involves mafia, there is violence. I am not a fan of really violent or gorey things but I was able to still view this drama. -You can check out reviews and ratings here: https://mydramalist.com/19968-karn-la-krang-neungnai-hua-jai

-You can view this drama here: https://www.dailymotion.com/playlist/x4mska

[maspogipakesasayo]

Collection of Hindi Attitude Dialogues Shayari

Hindi Attitude Dialogues for GirlDoor ho jane se rishtey nahi tootte, Na hi sirf paas rahne se judte, Ye to dilon ke bandhan hain, Isiliye hum tumhein aur tum hamein nahi bhoolte…

Chehre ki hansi se har gam chhupao, Bahut kuch bolo par kuch na batao, Khud na rootho kabhi par sabko manaao, Raaz hai ye zindgi ka bas jeete chale jao.. Read More : http://www.rdshayri.com/hindi-attitude-dialogues/

Hindi Attitude Dialogues for Girl

Taaron me akela chaand jagmagata hai, Muskilon me akela insaan hi dagmagata hai, Kaanto se mat ghabrana mere dost, Kyuki kaanton me hi ek gulaab muskurata hai..

Tu Mera Sapna, Mera Armaan Hai Par.. Shayad Tu Apni Ahmiyat Se Anjaan Hai, Mujhse Kabhi bhi Ruth Mat Jana Aap, Q ki Meri Duniya Aap K Bina Viraan Hai..

Teri Khushiyo Pr Muskrane Ko Ji Chata He Ho Tujhe Dard To Udas Hone Ko Ji Chata He Teri Muskurhat Hi Itni Pyari He K Tujhe Bar Bar Hansane Ko Ji Chahta Hai…              

Zindgi Ko Ek Rangeen Sapna Samjo Dukh Ko Sach Or Sukh Ko Apna Samjo Bhulna Chahte Ho Sabhi Ghmo Ko To Zindgi Me Is Sms Bhejne Wale Ko Apna Samjo…

 Best Dialogues

Ek Hasti Hai Jo Jaan Hai Meri Jo Aan Se B Barh Kar Maan Hai Meri Khuda Hukam De To Kardon Sajda Usey Q K Wo Koi Aur Nahi “Maa” Hai Meri…

 Meri Zindagi Ka Koi Sahara Nahi Hai Is Jahaan Mein Koi Humara Nahi Hai Thamaa Jo Un Ka Daaman To Wo Hass Kar Bole Dost Ye Daaman Tumhara Nahi Hai…

 Pal Pal Ki Dosti Ka Waada Hai Apnapan Kuch Itna Zyada Hai Na Sochna Ke Bhul Jayen Gay Hum Aap Ko Zindagi Bhar Satane Ka Irada Hai..

 Ye Arzu Thi K Aisa B Kuch Hua Hota Meri Kami Ne Tujhe Bhi Rula Diya Hota Mai Loat Ati Tere Pass Ek Lamhe Main Tere Labon Ne Mera Nam To Liya Hota…

 Apni Aakhon Ke Samunder Main Utar Jaane De Tera Mujrim Hoon, Mujhe Doub Ke Mar Jaane De Zakham Kitne Teri Chaahat Se Mile Hain Mujhko Sonchta Hoon Kahoon Tujhse ,Magar Jaane De…

Hindi Attitude Dialogues in Two Lines

Aitbar Kissi Ajnabi Par Kya Nai Karte Kissi Bedil Ko Dost Bnaya Nai Karte Ye Afsane Sirf Khawabon Mein Ache Lagte Hain Haqeqat Mein Unhen Badla Nai Karte… 

Yeh Bhi Aadab Hamare Hai , Tumhain Kya Malum Hum Tumhain Jeet Ke Harey Hain ,Tumhain Kya Malum Ek Tum Ho Ke Samajhte Nahi Hum Ko Apna Ek Hum Hain Ke Tumhare Hain, Tumhain Kya Maalum…

Aey Zindagi Mujh Se Ye Dagha Na Kar May US Ke Bina Jiyun Ye Dua Na Kar Koi Daikhy Bi USAY To Hoti Hai Jalan Aey Hawa To Bi Ab USAY Chua Na Kar…

Thukraa K Uss Ne Muje Kaha K Muskrao Main Hans Diya Aakhir Sawal Uss Ki Khushi Ka Tha Main Ne Khoya Wo Jo Mera Tha Hee Nahi Uss Ne Khoya Wo Jo Sirf Ussi Ka Tha…

Aane Ka Wada To Ker Lete Hain, Par Nibhana Bhool Jate Hain Lagaaa Kar Aaag Dil Main Wo, Bujhana Bhool Jate Hain… Screen Award for Best Dialogue

Dosti Najaro Se Ho To Kudrat Kehte Hai, Sitaro Se Ho To Jannat Kehte Hai, Husn Se Ho To Mohbbat Kehte Hai Aur Hamse Ho To Use Kismat Kehte Hain !!

Meri maut ka waja hai har koi maut to hum dono ki sath hui mere armanon ki jinho ne sada mera sath dia aur meri jis ne sirf tujhe hi yaad kiya…

Dulhan Bankar Ek Din Tu Jaa Rahi Hogi… Tere Hatho Me Mehndi Bhi Rachai Hogi… Us Din Teri Aankho Me Mere Liye Pyar To Nahi Hoga… Par Us Din Ke Baad Tu Bhi Mere Liye Ro Rahi Hogi…

Hindi Dialogues on Attitude

Intezar rehta hai har shaam apka, raatein katti hai le kar naam apka, muddat se baithe hai ye aas lagaye ki aaj aayega koi paigaam apka…

Duriyan he dilon ko nazdik lati hain Duriyan he ek duje ki yaad dilati hain, Dur hokar bhi koi kareeb hai kitna Duriyan he is bat ka ehsas dilati hain…

Zindagi Dene Vale Marta Chod Gaye Apnapan Jatane Vale Tanha Chod Gaye Jab Padi Jarurat Hume Apne Humsafar Ki Vo Jo Saath Chalne Vale Apna Rasta Mod Gaye…

Zindagi Ka Safar Toh Ek Haseen Safar Hai Her Kisii Ko Kisii Na Kisii Ki Talash Hai Kisii Ke Pass Manzil Hai Toh Raah Nahi Aur Kisii Ke Pass Rah Hai Toh Manzil Nahi…

Vishwas Banke Log Zindagi Main Aatey Hai Khwab Banke Aankhon Main Samaa Jaatey Hai Pehle Yakeen Dilate Hai Ki Woh Hamare Hai Phir Na Jaane Kyu Badal Jaatey Hai…

Jindagi Kisi Ki Amanat Nahi Hoti, Amanat Main Kabhi Kayamat Nahi Hoti, Dil Ko Sambhal Kar Rakhna, Meri Dosti Ki Kaid Main Jamanat Nahi Hoti.

Dil Chahta Hai Tumse Pyari si Baat Ho, Khamosh Taraane Hon, Lambi si Raat Ho, Fir Unse Raat Bhar Yahi Meri Baat Ho, Tum Meri Jindgi Ho,Tum Hi Meri Kaynaat Ho…

Roye Hai Buhat Tab Zara Karaar Mila Hai. Is Jahan Mein Kise Bhala Sacha Pyaar Mila Hai. Guzar Rahi Hai Zindagi Imtehan Ke Daur Se. Ek Khatam Hua Toh Dusra Tayar Mila Hai…

Bhale Hi Raah Chalton Ka Daaman Tham Le, Magar Mere Pyar Ko Bhi Tu Pahchan Le, Kitna Intezaar Kiya Hai Tere Ishq Mein, Jara Yeh Dill Ki Betaabi Tu Jaan Le..

Dil Ki Zalan Mitane Ke Liye, Tere Sitam Bhulane Ke Liye, Peete Hain Sharab Teri Yaad Mein Hum, Warna Lakhon Hain Ghar Basaane Ke Liye….

Mere Armano Ko Yun Kuchalo Na Tum, Ki Zindagi Adhuri Rah Jaaye Meri, Dikha De Khuda Is Kadar Karisma, Ki Har Tamanna Poori Ho Jaaye Meri….

phir Se Woh Sapna Sajane Chala Hun, Umeedon Ke Sahare Dil Lagane Chala Hun, Anzaam To Mera Bura Hi Hoga, Phir Bhi Tumhe Apna Banane Chala Hun…

Attitude Hindi Dialogues

Tanhai Mein Hum Teri Taakte Hain Raahein, Tumhe Dekhne Ko Tarsati Hain Nigahein, Bekhudi Ka Yeh Aalam Hai Kaisa, Tumhe Yaad Karke Nikalti Hain Aahein… IIFA Award for Best Dialogue

Tanhai Mein Hum Teri Taakte Hain Raahein, Tumhe Dekhne Ko Tarsati Hain Nigahein,

Bekhudi Ka Yeh Aalam Hai Kaisa, Tumhe Yaad Karke Nikalti Hain Aahein…

Zinda Hun Jab Tak Tu Aabad Rahegi, Pyar Ki Woh Chand Mulakaten Hamesha Yaad Rahengi, Udhar Tum Rahna Sanam Khushaal Hamesha, Aur Idhar Zindagi Meri Barbaad Rahegi….

[chaipecharcha]

मंज़िल Manzil Lyrics – Jatt Prabhjot, Gurvansh Gujral

Manzil Lyrics in Hindi, English. The song is sung by Jatt Prabhjot and Gurvansh Gujral. The lyrics for the song Manzil are written by Gurvansh Gujral.

Song Details

Song: Manzil

Singers: Jatt Prabhjot, Gurvansh Gujral

Lyrics: Gurvansh Gujral

Manzil Lyrics – Jatt Prabhjot

Jude zameen se Aasmaan pe rakhe pair Pehle teri mehnat phir hoti rab di mehr Lekeer ka fakeer ban’ne ka tha na shauk Tabhi to ban paya aap sabka Jatt Prabhjot

To good morning friends Sat sri akal namaste Badon ko pairi pauna chhoton ko hello

Umar 10 tera bhai tass se mass School ke khoob maze maze loot Aur padhne mein tha main mast Shauk the do Ghoomna phirna aur padhai Baaki aankhon se dikhta na thi utni kamayi Jo le jaaye mujhe baahar, dilaye kapde Main paagal sa bachcha Lagta tha unse jhagadne

Pyar karne se zyada papa majboor the Tabhi to dost yaar mere mujhse door the Purane mere kapde, purane joote Purani yeh kitabein Woh hanste the mere munh pe Kyun be ismein meri kya hai galti Par jald hi main seekh gaya Majboori bhi ek galti

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai Tukhe jeetna hai

Kuchh hi samay nave kaam pe main jaane laga Umar thi 12, 22 ki soch ko laane laga Kam thoda khaane laga Aansu ko dabaane laga Apne se bhaari wazan main uthane laga

Padhne ka shauk kaam karne ki majboori thi Raat raat bhar padhai se Kamzor aankhein ho rahi thi Meri umar mein laundon ke toot’te dil Yahan meri aankhon ke saamne Meri dukaan toot rahi thi

Woh bhi tha samay room ek rehte log 5 Wahin tha khaana peena wahi bani apni dukaan Kayi baar socha ki le leta hoon apni jaan Par imaan bola papa ki baat ka banega kaun shaan Zaruratein poori hon na hon Par meri fees bhari jaati thi Meri maa ki aankhon mein woh ek tasveer Mujhe hamesha dikhlaati thi Ke mujhe hona kaamyaab Karna kanyadaan meri chhoti behan Meri jaan mera samman Mere ghar ki khushiyon ko wapas deni jaan seedhi baat Waapas lana apna aatmsamman

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai Tukhe jeetna hai

Poori padhai kiya thi naukri ki talaash Saal bhar ghoome baby bana na paaye koyi baat 4000 koyi deta 5000 Is’se zyada dukaan pe mere chhotu ki thi pagaar Kaam pakde jo bhi mujhe takkre Na the koyi nakhre Kyun ki saaf mere sapne Sath mere apne Sath kiya kaam, sath faila naam Aaj bhi thok ke salaam apne bhaiyon ko Jinhone diya sath Jinhone mere bure waqt mein bataya hath Yeh zamana hath kaatne walon ka Jaat-paat mein baatne walon mein se Na tha koyi mera yaar

Dhool vi chatt layi, duniya vi takk layi Koyi kise da yaar nai jadd hundi ae takleef Yaar pra vi nakli eh gall ch koyi shakk ni Paalo tussi kutta par paalo kade sapp nai

Poori zaruratein ab ho rahi thi Meri maa bhi ab sukun se so rahi thi Par mere andar ka jwala tha Mujhe jo sata raha tha Us’se meri neendein ab kho rahi thi

Kaam kar raha hoon, ghar bhi theek hai Yaar dost kehte toone paa li jeet hai Par aana mujhe rona yeh kaisa mera naseeb Kaamyaabi ke baad bhi mujhe mili na koyi jeeta hai

Dum mera ghut raha Maa mujhe poochhti Raaton ko mujhe neend nahi kaam mein aati Sochti santushti nahi hai Kisi bhi baat ki mujhe khushi kyun nahi hai Chardiwari ko chhod karna aasmaan ki sawari Maine soch liya yeh kaam mere bas ka nahi hai

Zindagi jeeni hai ik baar jee shaan se Manzil hai door par lagaam tere hath mein hai Zinda hai tu kyun ki khuda tere sath mein hai Na dar tere kala tere hath mein hai

Kaamyaab banda kaam ke baad bhi khush nahi hai To woh kaamyaab hi nahi hai Iklauti zindagi ko ro kar jeena Achchi baat to nahi hai

Job se off lekar savings ko tod diya Kar explore mujhe yeh hai maine thaan liya Ghar walon ne bhi mujhe poora support kiya Soch liya gaadi maine Laddakh ko mod liya

Lagaya go pro Jaane laga slow slow Leta raha photo Ab leta raha slow mo Dekha maine jo jo Main chahta sab kuchh mera ho Main chahta har koyi dekhe kabhi Banaya pehla video Start to end maine poora record kiya Ghar aake dekha edit kiya phir upload kiya Sach bataun woh pehla zindagi ka din tha Jab har ek lamha maine poori khushi se jiya

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai

Chalna sikhaya tujhe daudna hai Jeena sikhaya tujhe jeetna hai Kehna sikhaya tujhe cheekhna hai Tukhe seekhna hai Tukhe jeetna hai

Back to square one, one on one Shuru huyi jung jo thi meri khud se Kamaun thoda kam par karun kaam Jismein lage mann Yeh maine thaan liya man se Back to back phir video banane laga Chhutti to milni nai thi salary katwane laga Daant bhi khaane laga par baat nai koyi Dilli Manali Mussoorie to ghoome mila Dekh dekh views badhne lage Log mere naam se mujhe jaan’ne lage Road pe rok ke mujhe bulane lage Phir ek din hua kuchh aisa Meri aankhon se aansu na ruke

Paa li jeet bhale aa jaaye maut ab Hua kaamyaab na bacha kisi ka khauf ab Shohrat paa li maine, daulat paa li Papa ki chhaati chaudi ke saame tikega kaun ab Record kiya fastest growing youth Youtuber ki lagi bet Time hua mujhe aaye 2 saal 2 saal mein tera bhai 1 million paar

Diya shot maine short notice mein Aane lage notice mein tere bhai ke kisse Load kare shot kare video mein gaur kare Mere liye comments mein logon ki maa-behn kare Mere fans ne diya bohat pyar Haters ne mere liya rakha mangalvar Samachaar aaya Jatt Prabhjot ko mila pyar Tabhi to KTM se seedha le li BMW car

Bana blogger na kisi ka naukar Din mein kaam khud ka shaam mein hoon shopper Hip hopper bhai mere sath Gurvansh Gujral gol maare jaise soccer Plan tha foolproof na khela main gambling Tumhare liye tough jaise carry of gavin Off road zindagi mein smooth rakhi handling Tumhein laga shot put maine javelin Subscribe karein dislike ke liye Face hide karein meri ek bite ke liye Lakhon mein views har video ko aate Haters ka aabhari main iss hype ke liye Door se dekh kar murjhane wale log aaj Door door se aate mujhe milne Purani tasveerein inbox mein bhej kar Aate banane nave nave rishte Jo na karte the follow Aaj tweet karte hain mere baare main Waise to manzil hai boht door Par kayi log humein ginte sitaaron mein

Tumhare saame hai aaj mera kal Na yeh chamatkaar bas mehnat ka phal Aap sabhi ke pyar se haters gaye jal Aur main seekh gaya zindagi ka jeena har pal Haan manzil bohat door hai Par yeh mukaam mere liye kisi jeet se kam nahi Bure samay ko sahi banana hamare hath mein hota hai Bas sachche man se mehnat karte jao Aur pyar failate jao Isiliye main yeh kehta hoon

Dua bani dawa Jahan kabhi socha na tha Wahan aaj hoon khada Jo na jaante the woh bhi aaj hain mere gawah Mata pita aur chahne walon ko dil se shukriya

Music Video of the song Manzil by Jatt Prabhjot

मंज़िल Manzil Lyrics in Hindi – Jatt Prabhjot

जुदे ज़मीन सी अस्सलाक़न पे राखे जोड़ी पेहले तेरी मेहनात फिर होति रब दी मेहर लेकेर का फेकर बान न का था ना शुक तबहि ते बान पै आप सब जट प्रभजोत

तोह गुड मॉर्निंग फ्रेंड्स सत श्री अकाल नमस्ते बदन को पियरी पौना छोटन को नमस्कार!

उमर दस तेरा भाई तस से मास खेल ख़ुद और भूलभुलैया और पधने में था मुख्य मस्त शौ द दो घूमना फिरना और पढाई बाकि आंखों से दीखता न थी उतनी कामाय जो ले जाए मुजे बहार, दिलय कपडे मुख्य पागल सा बचचा लग गया था अनसे झगड़ने

प्यार करे से ज़ियादा पापा मजबूर द तबही टू दोस्त यार मेरे मुजसे दरवाजा पुराणे मेरे कपडे, पुराणे जूटे पुराणी येह किटबिन वो हन्स्ते द मेर मुन पे क्यूं रहो इस्माईन मेरी क्या है ग़लती परल जलद ही मुख्य सींच गया मझौरी भई इक गलति

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है तुझे जीतना है

कुच ही समै नव काम पे मेन जाने लागा उमर थी १२, २२ की सोक को लने लागा काम थोडा खाने लागा आंसु को डाबाने लग आपन से भरि वजन मुख्य उतने लागा पधने की शुक के करम की मजबूरी थी रहत भरत पद पावै कमज़ोर आंखें हो रही थी मेरी उमर में लौंडों के लिए ते दिल यहान मेरी आंखें के साथ मेरी दुकाँ तोत रहि थि

वोह भई ठा समै कमरा एक रहटे लॉग 5 वाही ठा खन्ना पेना वही बानी अपणी दुकाँ कइने बर सोचे अइ ले लेत हु आपनी जान पार इमान बोला पापा की बात का बन्ने कोन शान

जरुरतिन गरीब हो ना हो पार मेरी फीस भरती जाती थी मेरी माँ की आंखें मैं वो एक तसवीर मुजे हमेश दीखलाती थी के मुजे होना कामायाब कर्ण कन्यादान मेरी छोटी बेहन मेरी जान मेरा सम्मान मेरे घर की ख़ुशी को कोस देनी जान सेदिहि बैत वपस लना अपना आपत्समन

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है तुझे जीतना है

गरीब पदै किय, थी नुकरी की तालश साले भर घूमे बेबी बन ना कोई कोई बात 4000 कोयि डेटा 5000 इस्से से ज़ादा दुकाँ पे मेरे छोटू की थी पगार कहम पकडे जो भई मुजे तकरे ना कोइ नखरे क्यूं की साफ मेरे सपने, साथ मेरे अपने सठ किआ काम, शत फला नाम आज तक ठोक के सलाम अपना भायों को जिनोन दीया सठ जिनोन मेरे बूरे वक़्त में बत्तया हाथ ये ज़माना हठ कातने वालन का जात-पात में बाटन वालन में से ना था कोय मेरा यार

धूल वि छट लेई, दुनीया विठ लेकी कोइ किसे दा यार नै जद हुंडी ऐ तकलेफ यार प्र व वक नली एह गल च कोइ शक नी पेलो तुस्सी कुट्टा पार पलो कदे सप नं

पूरि जरुरतिन अब हो रहि थि मेरी माँ बोली अब सुकून से तो रही थी पार मेरे अंधेर का ज्वाला थ मुजे जो सता रहा था उसस से मेरी नेन्दीन अब खो राही थी

कहम कर रह ह, घर ब द थ ह यार दोस्त केते तू पा ली जीत है पार आना मुजे रोना ये कासा मेरा नसीब कामायाबी के बड़ भाई मुजे मिलि न कोय जीत

दम मेरा घौटा रह, माँ मुझ पूछती राटन को मुजे नेंद न काम में आटी सोचि संतति न होई किसि भी बात की खुशियाँ क्यूँ नहीं हैं चार दीवारी को छोड कर्ण अस्समान की सावरी मन सोच लिआ ये कहम मेरे बस का नहीं है

ज़िन्दगी जीना है इक बार जी शान से मंज़िल है द्वार पार लगाम तेरे हाथ में है ज़िंदा है तू क्यूं-क्या ख़ुदा तेरे साथ में है ना डार तेरे कला तेरे हाथ में है

कहमब बन्दा कहम के बड़ भी खुश होते हैं वोह कहमायब हाय नहीं है इकलाती जिंदगी को रो कर जीना अछि बाट से नहि है

नौकरी से दूर लकर बचत को टोड दीया कर अन्वेषण मुजे ये है मन थान लिया घर वालन न भई मुजे बेचारा समर्थन किया सोख लिया गादी मन लद्दाख को मोद लिया

लगाय गो प्रो जाने लागा धीरे लेटा राह फोटो और लेटा राह धीमी-मो दे खा मेन जो जो मुख्य चहत सब कछ मेर हो मुख्य चहत हर कोय दीखे कभी बनया पेहला वीडियो स्टार्ट टू एंड मेन पूअरा रिकॉर्ड किया घर एके डेखा संपादित कइया फेर अपलोड किआ सच बेटन वो पेहला ज़िन्दगी का दिन था जब हर एक लम्हा मेरी गरीब ख़ुशी से जिया

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है

चलन सिखाय तुझे दोधना है जीना सिखाय तुझ जीतना है केहना सिखाय तुझे चेखना है तुझे चाहना है तुझे जीतना है

बैक टू स्क्वायर वन, वन ऑन वन श्रुण हुई जंग जो थी मेरी खुद से कहमुन थोडा कम पर करुण काम जिस्मिन लागे मान ये मन थान लइया मन से

बैक टू बैक फायर वीडियो बने लागा छुटि ते मिलनि नाइ तेरी कटारें लागा दैत भए खने लगि परबत न कोइ दिली मनाली मसूरी से घूमने मिला

देख देख दृश्य बधें लागे लोग मेरे नाम से मुजे जान न लागे रोड पे रोक के मुजे बुलाने लागे फिर एक दिन हुआ कुच आइसा मेरी आंखें सी आंसु ना रुके

पा ली जीत भाल आ जाई मूत अब हुआ कामयाब ना बच्चा के खौफ अब शोहरत पा ली मान, दौलत पा ली पापा की छैती चौड़ी के साथ तमेगा कोन अब रिकॉर्ड किआ सबसे तेज बढ़ता युवा YouTuber Ki Lagi बेट समय हुआ मुजे आय 2 साला 2 साले में तेरा भाई 1 मिलियन पार

दीया शॉट मेन शॉर्ट नोटिस में आने लगे सूचना Mein तेरे Bhai Ke Kisse लोड करे शॉट करे विडियो में गौर करे मेरे Liye टिप्पणियाँ Mein Logon Ki Maa-Behan Kare मेरे फैंस ने दीया बोहत प्यार किया हटर्स नी मेरे लइया राखा मंगलवार समचर आया जट प्रभजोत को मिला प्यार तबी टू केटीएम सी सेधा ले ली बीएमडब्ल्यू कार

बाना वलगर ना किसी का नौकर दीन मैं क्या खुद् का शम हूँ हू दुकानदार हिप होपर भई मेरे साथ गुरुवंश गुजराल गोल मारे जायस शॉकर योजना था फूलप्रूफ ना खेला मुख्य जुआ गाविन के तुमरे लइये कठिन जायस कैरी ऑफ रोड ज़िन्दगी में चिकनी राखी हैंडलिंग तुम लग जात शॉट मेन जेवलिन

सब्सक्राइब करें Kare ki Ke Liye चेहरा छुपा के मेरि एक बइठे के लिय लाखन मीन दृश्य हर वीडियो को आटे हेटर्स का आभारी मेन इज़ हाइप के लिये

द्वार से देख कर मुद जेन वले लोग आज दोर द्व

The Full Lyrics for the song Manzil by Jatt Prabhjot. If you have any suggestions or want to suggest any change to the lyrics, please contact us.

Find other super hit Punjabi Song Lyrics here.

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source https://chai-pe-charcha.com/manzil-lyrics-jatt-prabhjot-gurvansh-gujral/

[bollywoodirect]

Remembering Raaj Kumar on his 91st birth anniversary. Raaj Kumar (8 October 1926 – 3 July 1996), born Kulbhushan Pandit, was an actor. He worked as sub-inspector of Mumbai Police in the late 1940s before he turned to acting with the 1952 film Rangeeli. He appeared in the Oscar-nominated 1957 film Mother India and went on to star in over 70 Hindi films in a career that spanned over four decades. Raaj Kumar made his acting debut in the 1952 film Rangili and appeared in films like Aabshar, Ghamand and Lakhon Mein Ek, but it was as Prince Naushazad in Sohrab Modi’s Nausherwan-E-Adil (1957) that he became famous. In 1957, he achieved prominence with his brief role as the husband of Nargis in Mother India. He followed this with the unglamorous role of a mill worker in Paigham (1959) alongside Dilip Kumar. He was cast with Sunil Dutt, Shashi Kapoor and Balraj Sahni in Yash Chopra’s family drama Waqt. In Sridhar’s Dil Ek Mandir, Raaj Kumar played the role of a cancer patient for which he won the Filmfare Award in the Best supporting actor category for movies Dil Ek Mandir and Waqt. He became known for his distinct style of dialogue delivery. His other notable films included Hamraaz (1967), Heer Raanjha (1971), Lal Patthar (1971) and Pakeezah (1972). He acted in fewer films by the mid 1970s and became a character actor in the 1980s with films like Kudrat (1981), Ek Nai Paheli (1984), Marte Dam Tak (1987), Muqaddar Ka Faisla (1987) and Jung Baaz (1989). In 1991, he reunited with Dilip Kumar after 32 years in Subhash Ghai's Saudagar and appeared in the 1992 hit film Tirangaa. His last film appearance was in 1995's God & Gun. From his screen debut in Rangili in 1952 to his last film God & Gun in 1995, he played memorable characters in 70-odd films. Like बॉलीवुड डायरेक्ट Bollywoodirect

[comm106gtourismgroup-blog]

Cultural Tourism in Thailand

One of the biggest draws for tourists in Thailand is the country’s rich culture and history. One of the main cultural experiences that cater to the tourists in Thailand are the performative and theatrical acts put on by Thai people, who dance, perform variety shows, and put on traditionally styled plays. Visitors who watch these performances come to gaze upon the elaborately-styled Thai women and men who adorn themselves in traditional garments and accessories in order to enhance the cultural experience and environment for their audiences. In this way, the country’s history and culture are literally put on a stage for tourists- in a way that allows them to feel as if they are experiencing true Thai culture. Staged Muay Thai fights and puppet shows are also popular draws for tourists, those who aim to truly “grasp” the Thai lifestyle and experience. These performances capitalize upon the tourist gaze of encounter, and the desires of tourists to observe real and authentic Thai culture. 

While the tourism sector is incredibly important and influential in Thailand’s economy, traditional performances that cater mainly to tourists present Thai people as “the other”- people that are different from the tourists themselves, and who are there to provide a means of entertainment for tourists and to simply represent and count for “genuine culture”. Traditionally performed dances like Khon and Lakhon nai were originally intended to be for royal court entertainment only, yet over time were made available to Thai commoners, and more recently, tourists. Through the widespread capitalization of these performances for tourists, the original cultural meaning and importance of them has been somewhat diminished, as tourists aim only to be entertained and generally don’t recognize the history of the art form. By educating oneself on the importance and historical significance of these performances, rather than simply regarding them as a way to observe and encounter culture, a tourist could enjoy these beautiful dances in a less detrimental manner.

Another popular activity for tourists aiming to experience Thailand’s culture is visiting one of Thailand’s impressive Buddhist temples, which are elaborately designed and decorated, with ornate, sweeping roofs and traditional Thai decorative styles. Tourists to these temples desire a rich cultural experience that can be fulfilled for them by gazing at and engaging with the historic buildings, which have deep meaning and importance for locals. Buddhism is Thailand’s main established religion, with 94% of the population following it. Thai people go to temples to pray, meet with monks, and develop their spiritual connection to their religion. Since these places are so ingrained in Thailand’s culture, tourists flock to these temples to take pictures, gaze upon the impressive architecture, and gain a feeling of understanding the Thai experience. These places are incredibly popular for tourists, due to their immense social and spiritual importance in Thailand.

The draw of tourists to important religious Buddhist sites and temples has caused these places to be crowded by non-locals, who often are aiming to gaze upon the buildings, rather than engage with them for religious and spiritual purposes, as Thai locals do. This can cause Thai people to avoid visiting their own important religious sites, due to the mass amounts of tourists who flock to them to satisfy their need for cultural exposure. Tourists can also act inappropriately inside temples, getting in the way of those who come there to worship and being distracting or otherwise disrespectful. It is commonplace for tourists to assume it is appropriate to take pictures inside the temples of worshiping individuals or monks, or of Buddha statues in a disrespectful manner. These things are highly disruptive to locals who simply come to these places to pray. By being educated on proper manners and behavior at a Buddhist temple as a tourist, one can minimize their harmful impact on religious locals.

Wat Rong Khun

Sea, Sun, Sand, and Sex

The three S’s of tourism are very much at play in Thailand, and are a big draw for tourists to the country, as seen through the beautiful beaches and islands that tourists flock to during their vacation. Another interesting, and arguably problematic, draw to Thailand for tourists is the country’s large and prolific sex industry. Technically, sex work is illegal in Thailand, but the laws surrounding it are ambiguous and largely unenforced. The country’s reputation as a sex destination dates back to the Vietnam war, and has persisted ever since.The industry mainly targets Thailand’s tourists, with several active red-light districts located in the country’s capitol, Bangkok. Due to its illegality, it is difficult to determine how many sex workers are in Thailand, but a UN-funded survey in 2019 estimated the amount of sex workers in Thailand to be around 300,000. In an earlier study from 2003, the number was estimated at a whopping 2.8 million sex workers, of which 800,000 were minors (under 18). 

Throughout Thai history, sex work has been prevalent and generally accepted, yet not condoned. Many Thai women choose to pursue sex work as a relatively high-earning job for their level of education, and are mostly economically motivated to take such jobs. This industry is unarguably sustained largely by the vast amounts of tourists that utilize it during their vacations. The vast nature of Thailand’s sex tourism industry leads to problematic outcomes, such as both adult and child sex trafficking. Although Thailand passed reforms in 1996 that aimed to prevent child sex trafficking through fines and jail time, in 2015 the UN labelled Thailand as a ‘Tier 2′ country, due to its lack of preventative measures and efforts regarding its human trafficking problem.