#nusrat sad

[his-heart-hymns]

The last words of Vincent Van Gogh before committing suicide were:

The sadness will last forever.

And nusrat fateh ali khan sang a masterpiece that resonates with these words:

shab-e-gham ki sahar nahi hoti

ho bhi tou mere ghar nahi hoti

zindagi tu hi mukhtasar ho ja

shab-e-gham mukhtasar nahi hoti

The dawn of a night of sorrow does not exist. Even if it does, it's not for me.O life, become concise.. Because a sorrowful night is never short.

[siya-sayani]

Heya! Thankyou @shyam-kariya for tagging me in this. Mera Aisa koi particular genre nhi hai music ka... Thoda thoda sab sun rkha h. Lemme know if u guys like my music.❣️

Accha I think for Tumblr, Hindi music would be appropriate..so here goes.

1. Aarambh ~ Piyush Mishra Hassss to be my top one..cos it gives me positive energy and motivation when I'm low.

2. Humko kiske gham ne mara~ Ghulam Ali. If u are into ghazals and sufi , I bet u will like this too... It's all the genz needs and I love it for its harmonium piece.

3. Saason ki mala pe ~ Nusrat Fateh Ali Khan A weird thing of mine, but this long masterpiece of kawali is a beautyyyyyy it's all about dedication to higher soul and I let it just play while studying.

4. Rafta rafta ~ Mehdi Hassan. Ik it's been heard on insta too much now...but hey I looooveee this beauty. It's love described in words, I think if u want to know how it feels like to fall in love, just hear this.

5. Chingari koi bhadke~kishore Kumar. Looking for a good cry after a breakup but in the retro way??? Hear it and let the flow begin... It's just pain...plain old simple sadness.

6. Jis gali mei Tera Ghar ~ Mukesh. This is just dark in it's own way although it talks about a lover, and I love it for it's darkness. Do give it a try 😁

I'm giving the links to the songs... For your easy access.

Also , I'd like my frnds to join in on this...❣️❣️ @kyunbhai @hsnaayar @anarkali-disco-chali @seedhe-pahad-se @itsshivam05 @aahanna @hum-aapke-hain-kaun @emartirabdi (apologies if I forgot someone)

[sweetdreamsjeff]

There was all these great things that he was still going to do....

The Last Word: Elvis Costello on Reassessing His Back Catalog and Why He’s a ‘Freak of Nature’

Singer-songwriter talks new album The Boy Named If, the legacy of "Alison," the genius of Jeff Buckley, his past collaboration with Paul McCartney, and more

January 14, 2022

BY KORY GROW

What songs do you wish you could sing? It would be great to sing [Purcell’s] “When I Am Laid in Earth” like Jeff Buckley did at Meltdown in ’95. It was astonishing to hear him sing this piece of music from Jacobean times, and it just feel like it could’ve been written for his voice. But he had such a gift of an instrument of a voice. He could turn that to all sorts of music that took his interest, and it didn’t sound in any way an affectation that he did it. He would sing Nusrat Fateh Ali Khan pieces he’d learn phonetically; he didn’t understand the language. He talked about singing Mahler at that festival. I said, “That’s in German. Do you speak German?” “No, I’ll learn it.”

I was curating that festival. Now it’s very poignant because it was his last performance in London, but we didn’t know that then. His life was ahead. There was all these great things that he was still going to do. That was just a very sad coincidence. We should be happy that he sang it that one time. You heard him sing something like [“When I Am Laid in Earth”], surely you’ve heard Grace, you’ve heard “Corpus Christi Carol” by Benjamin Britten — he could sing that as well as he could sing a song by Morrissey, although why anybody would want to do that, I don’t know. Or a song by Led Zeppelin; why anybody would want to do that, I don’t know, but he did. That’s his choice.

BEFORE THE PANDEMIC hit, Elvis Costello��was living what he calls a “carefree and jet-set” lifestyle. He’d recorded a well-received album, 2020’s Hey Clockface, completed a tour, and had even tracked a handful of new songs in Helsinki and Paris before Covid hit pause on the world.

“The next thing, I found myself staring at the water on Vancouver Island, not knowing when I would leave again, not knowing when we’d start work again,” he says on a call from his Manhattan home this past November. “So I looked at a group of songs that I had begun that year, and I saw they were actually connected in some ways. They were, I hate to use the word ‘philosophical,’ but they did have a look at life at different times —the innocence of childhood, the confusion of young adulthood, and then looking back at different things with a different perspective later.” Those tunes — some of which sound carefree and jet-set, some which reflect the singer-songwriter’s trademark bittersweet brooding — now comprise his 32nd studio album, The Boy Named If, out this week.

Costello, who was born Declan MacManus in London 67 years ago, has always been an introspective songwriter, chronicling the acrimony, shame, and occasional glimmers of hope that accompany everyday life for the past 40-plus years. He’s the first to point out that while songs like “Alison” and “Pump It Up” are beloved classics, neither were smash successes. His biggest hit in the U.S. came in 1987 with “Veronica,” a song about the unlikely subject of Alzheimer’s that peaked at Number 19 on the Billboard chart. So his perspective on his career is that it’s been successful enough to allow him to keep making more albums, tour, and collaborate with artists he grew up admiring. Over the years, he’s taken advantage of opportunities to work with Paul McCartney, Burt Bacharach, the Roots, and many others. His artistry earned the singer an Order of the British Empire medal for his contributions to the arts.

In an interview for Rolling Stone’s Last Word column, Costello reflected on what he’s learned at nearly every stage of his life and what keeps him going. “I’ve been doing it long enough now that I should’ve learned something,” he says. “For heaven’s sake, you can become a priest and a doctor in seven years; I’ve been doing this 43, I should be able to do something by now. I certainly can’t do anything else.”

In 1977, you said that your primary motivations were “revenge and guilt.” Does that still hold true? Yeah, I had drunk about half a bottle of Pernod when I said that. I thought it sounded good and so did the journalist, and then I have people quoting it back to me as if it was a page from the catechism. It’s just some moment of bravado. It sounds dramatic, doesn’t it? But think it through for a minute and it doesn’t make sense. But awfully picturesque.

How did you learn to move past that press persona? Making 30 or more albums. Each one is different in personality. Those records sometimes require you to unpack that mythmaking aspect of those first few records, because if you listen to the individual songs on those first albums, you’ll find much more nuance to what’s being said about anything. And to some degree, if you’re stuck with my face and my voice, things sound more aggressive because I’m a freak of nature. I have a gap in my teeth. Everything explodes out of my mouth as either a threat or a snarl [laughs].

What do you think caused you to think about the various stages of life while writing the songs on The Boy Named If? I do have boys that will be 15 next week, and an elder son who’s in his forties, so I have the perspective on some of these transitions. And I lost my father 10 years ago; I lost my mother early last year. Those things will tend to make you think about yourself as a child because now you’re promoted by that event in some way.

How did your mother and father influence you as a songwriter? I wrote a 600-page book [2015’s Unfaithful Music & Disappearing Ink] sort of romanticizing the stories of my grandfather and my father as traveling musicians and how it influenced me. But I also began that book when my father was in his last illness with Parkinson’s. Although he had passed during the process of me writing that book, he was sort of alive on the page, wasn’t he? The actual truth was, it was my mother that told me to write things down that troubled me or bothered me, both good and bad ways. That was her example.

You have a line on “Farewell, OK,” a track from the new record, about “Elvis in the velvet hereafter.” What’s your relationship with the name Elvis now? I never really hear it because my family don’t call me that; most people call me by my initials, which my dad began. He called me “D.P.” [for “Declan Patrick”] so that’s an Irish convention, I guess, that he picked up. And I don’t really hear many people call me by that name, so I just don’t hear it anymore. It’s like a secret identity, or something; it’s like being called Clark Kent. It’s just a name. It’s just a brand.

You’ve played with the Attractions’ Steve Nieve and Pete Thomas for more than 40 years in different capacities. What’s the secret to making a collaboration like that work? Well, of course there was a time when we didn’t work together. They had different views of what that band was; we had reached an end with that band a couple of times, two or three times, long before we actually disbanded for the first time, let alone the second time. … Even when we weren’t cohesive, we made good records. Blood & Chocolate was a good record, and we were completely at war most of the time. Sometimes not getting along can be good. You didn’t have to be happy-go-lucky or cheery all the time. That’s not really what it’s about.

What still attracts you to writing rock music? I don’t like much rock music. I like rock & roll. I think if you lose the roll part, a lot of the fun goes out of it. And when people ask me, “What’s your favorite record?” I usually don’t name any electric-guitar records made in the last 30 years because the beat is so square. I like things that float a bit or swing a bit, whether it’s rock & roll or actual jazz that swings, or even the way Hank Williams records lope.

You listen to these records out of Nashville, they couldn’t float if you filled them full of water. They just don’t; they’re square and they sound like bad rock records from the Nineties. To my ear, they just do. But somebody likes them. My grandfather — he was a trumpet player — never used to criticize other musicians. I’m trying to live by his example a little better these times and not be so critical of everybody else. But you can’t like everything.

Do you wish you could record songs in a different style? I wish I could sing certain types of tunes that I’ll never be able to sing. I don’t think I’m ever going to sing as a countertenor.

What songs do you wish you could sing? It would be great to sing [Purcell’s] “When I Am Laid in Earth” like Jeff Buckley did at Meltdown in ’95. It was astonishing to hear him sing this piece of music from Jacobean times, and it just feel like it could’ve been written for his voice. But he had such a gift of an instrument of a voice. He could turn that to all sorts of music that took his interest, and it didn’t sound in any way an affectation that he did it. He would sing Nusrat Fateh Ali Khan pieces he’d learn phonetically; he didn’t understand the language. He talked about singing Mahler at that festival. I said, “That’s in German. Do you speak German?” “No, I’ll learn it.”

I was curating that festival. Now it’s very poignant because it was his last performance in London, but we didn’t know that then. His life was ahead. There was all these great things that he was still going to do. That was just a very sad coincidence. We should be happy that he sang it that one time. You heard him sing something like [“When I Am Laid in Earth”], surely you’ve heard Grace, you’ve heard “Corpus Christi Carol” by Benjamin Britten — he could sing that as well as he could sing a song by Morrissey, although why anybody would want to do that, I don’t know. Or a song by Led Zeppelin; why anybody would want to do that, I don’t know, but he did. That’s his choice.

You’ve collaborated with Paul McCartney and Burt Bacharach on songs, but they seem to write words to fit the melodies where you have said you do the opposite. What have you learned from working with them? With Paul, we started very spontaneously. One of us would start strumming a rhythm and then some harmony would emerge. Like most everybody, I’ve been watching Get Back. And it’s really amazing to see the Beatles writing like that … taking those same stumbling steps that all songwriters take, letting the nonsense words almost carry the tune for a moment, and then the real meaning comes out from that. So I did actually have that experience of writing with Paul in that manner. I’m not saying [my experience is] equal, but that was one of the ways we worked.

What about working with Burt Bacharach? With Burt Bacharach, it was very different. It was predominantly music first and often one or the other of us would make the first musical statement. In some cases, I wrote a melody to which he would write the bridge. Sometimes writing every other line would come from one or the other of us once we’d got a dialogue going. But then my job would be to respond to the mood and the implication of that music, what would serve that music in a narrative. The mood of the music was very apparently melancholic and reflective, so I didn’t want to overcomplicate lyrics with lots of showy images. I wanted to keep the language fairly plainspoken.

When you’re writing without a collaborator, you can choose to speak simply, or you can sometimes explore more images that the listener has to ponder more. There’s some lyrics that I wrote for Imperial Bedroom that are quite opaque. There are some songs that I wrote 10 years ago that have very clear narratives, like “Jimmie Standing in the Rain,” and then others that are much more impressionistic, like “Stations of the Cross.” If you read that lyric, you can see the seams within each verse, but each verse does not necessarily lead to the next; they lead to the chorus. Sometimes it’s almost like the editorial function because the bridge might be from the perspective of the other character in the song, or it might step outside a first-person narrative to observe that. You can travel in time and space just like a novelist can, but you’re doing it in a much more compressed form in a song.

What have you learned about expressing complicated perspectives in your lyrics? You don’t usually get taken to jail for killing people in songs. “Watching the Detectives,” “Alison,” “Man Out of Time” — these are just early songs that seem to mention murder or shooting people, but they don’t actually describe shooting people. That’s not what they’re about. They’re not about an act of violence at all. They’re about observing violence on a TV or they’re about taking the hope from somebody or taking the will to carry on from yourself. There’s all sorts of ways that you might choose to express it: Sometimes extreme language is used to convey something very mundane, but nevertheless, something that you feel you want to say.

Early on you actively kept “Alison” out of your set lists. Why was that? Because it was the only ballad we had. It was like a moment where the tension would slacken in the show, and that wasn’t what I wanted. So I felt, “Well, that makes it too easy. Let’s make it a little harder. Let’s play a bunch of songs they haven’t heard yet.” So, we played the second record, which nobody had heard. I think those were probably stronger songs for the Attractions because we had started to record them [for Costello’s first LP with the group, This Year’s Model] and they belonged to us.

Last year, you released Spanish Model, which featured Spanish-speaking singers covering This Year’s Model. Did that give you a new perspective on those songs? I was sort of shocked to find several of these songs had much better tunes when sung by somebody with an evidently more beautiful voice than I have. “Hand in Hand” quite surprised me. That’s quite a pretty tune. It literally never occurred to me, because it was “don’t ask me to apologize” — all attitude. And then [on Spanish Model] I heard that I’d actually set it to quite a tender tune, much more so than I sang it.

Speaking of attitude, in 1977, you were famously banned from SNL after suddenly switching to “Radio, Radio” in the middle of your slot. How do you look back on that decision now? Before anybody noticed that we’d even done it, we were back in England, recording the rest of This Year’s Model. We’d forgotten about America temporarily, because we had to be on Top of the Pops in England. We never thought about NBC again. …  It’s clear we weren’t going to have a career in television; they told us that. And guess what? I never wanted one, really.

[chandtarasblog]

اون کی طرف سے طرک ملاقات ہو گئی،

ہم جس سے ڈر رہے تھے وہ ہی بات ہوگئ۔

-نسرت

[notsoseriouslyserious]

Looking for someone to listen and appreciate classical Hindi songs with me

[darksideoflsr]

Hasseyan toh change menu lgde ne athru, jhede teri yaad wich vgde ne athru.

NFAK

[dearurdu]

[harpreetsblog]

Shab E Wasl Bhi Hai Hijab Is Qadar Kyu Status Video | Nfak Status | Sad Whatsapp Status Video

Shab E Wasl Bhi Hai Hijab Is Qadar Kyu Status Video | Nfak Status | Sad Whatsapp Status Video

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[bollywoodproduct]

Lyrics Dekhte Dekhte

Lyrics in Hindi | Dekhte Dekhte | Shahid Kapoor | Shradha Kapoor Raj Ke RulaayaRaj Ke HansaayaMaine Dil Kho KeIshq KamaayaMaanga Jo Us NeEk SitaaraHam Ne Zameen PeChaand BulaayaJo Aankhon Se HayeWo Jo Aankhon Se Ik Pal Na Ojhal Hue (2)Laapata Ho Gaye Dekhte DekhteSochta HoonSochta Hoon Ke WoKitne Masoom ThaiSochta Hoon Ke WoKitne Masoom ThayKya Se Kya Ho Gaye Dekhte DekhteSochta Hoon Ke Wo Kitne…

[delicioustimemachinekitty-blog]

Download Rahat Fateh Ali Khan Songs Rahat Fateh Ali Khan Is Best Pakistani Musician, Primarily Of Qawwali, A Devotional Music Of The Muslim Sufis. He Is Also Most Reputed Singer In Bollywood Film Industry. Search The Name "FogStudio" Over The Playstore. Here You Have More Entertaining Music Apps Collection.

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[grandmilkshakekid]

Download Rahat Fateh Ali Khan Songs Rahat Fateh Ali Khan Is Best Pakistani Musician, Primarily Of Qawwali, A Devotional Music Of The Muslim Sufis. He Is Also Most Reputed Singer In Bollywood Film Industry. Search The Name "FogStudio" Over The Playstore. Here You Have More Entertaining Music Apps Collection.

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[chandtarasblog]

"Pyar manga tha ghum dy gaye hai"

-Nfak

[dreams4kahaani]

Thank you @shiyaravi for tagging me in this delightful game! I'll try to not get completely distracted listening and actually list the song.

D - Dil Se Re by A R Rahman

R - Raat Kali by Kishore Kumar

E - Eyy Macarena by Tyga

Lol

A - Afeni by rhapsody PJ Morton,

(Afeni is among the few rap and pop category that I absolutely lovee)

M - Mann Bharrya by B Praak

(The music, B Praak's voice and the sad reminder about how many women and children faced DV during lockdown, but also the fact that this song was filmed on one of my fav geographical wonders of this world, Garadia Mahadev Cliffside!)

S - Sagar Pani by Jyotica Tangri

4 - 4 seasons, 4 loves by Uncle Iroh (Mako) in AtLA, Pastelle

(Couldn't find the original song, but Pastelle does an awesome female version of Uncle Iroh's phenomenal song!)

K- Kinna Sona by Sunil Kamath

A - Aawaz by Kamal Khan

(Another Punjabi song, couldn't resist Kamal Khan's voice)

H - Haal kya hai Dilon ka by Kishore Kumar

A - Aawari by Adnan Dhool and Momina Mustehasan

A - Ammi by Kamal Khan

N - Nazrein ( tum Agar yunhi nazrein milate rahe full qawwali) by Nusrat Fateh Ali Khan

I - Innum Konjam Neeram by A R Rahman

(This song has been going on for hours in my head even though I do not understand Tamil at all. )

Since I have a long long handle, I've exhausted my audio limit for a post lol so I added some and left some :p

This was so refreshing from the hectic frenzy that real life is at the moment so thankaa again @shiyaravi and I tag @ahankar1610 for the game!

[firstpersontoadroad]

Nusrat fateh Ali Khan sad status

[australian-desi]

Asur - Review/Reaction

Okay so I loved it! This show has changed me as a person somehow. But honestly speaking it was fucked (some people said more fucked than sacred games but I dont watch that so I dont have a reference). The background of Hindu mythology was used amazingly and holy shit the actors. Guys the actors need a round of applause coz they were simply amazing. I’m still shaking after watching the last episode I literally finished the show in 1.5 days so like safe to say I was hooked. I would also like to say that the show itself was very well paced, at no point did I think that the story was going too slow or too fast, everything was perfectly timed and perfectly revealed. I will be cutting this post for a more in-depth review - and after the cut everything are 

Also before you guys watch - this show is very dark - it depicts suicidal tendencies, gory murders and gruesome scenes - things that will make you lowkey vomit (I have a pretty high tolerance for these things so I was fine, but just in case you aren’t it’s good to know coz they spring those up on you) 

SPOILLLLERRRRSSSSS

Actors/Characters: 

Arshad Warsi as Dhananjay ‘DJ’ Rajpoot: This is the first time I’ve seen Arshad Warsi in a non-comic role, and I was honestly truly blown away. He was simply amazing. Now coming to character. The main message of this show was that ‘evil lives in all of us’. But the way they revealed it was quite phenomenal. DJ is shown to be the ‘innocent’ ‘good guy’ and how is was wrongfully framed for his wife’s murder, but is still working to find the actual serial killer - not because to save himself, but in order to save other people. It is then shown, that he had done something ‘bad’ ‘immoral’ and ‘wrong’ in his life - 10 years ago he caused a 15-year-old to go to jail rather than a juvenile detention centre for the murder of his father. He did this by faking his birth certificate and forging evidence - since there was no evidence to connect the child to the murder (but the audience knows that he did it). Thus, begins the game for his repentence. 

Barun Sobti as Nikhil Nair: So here’s the ting - I genuinely forget how good of an actor our boi is (don’t blame me I’ve spent the last 8 years, watching him go “what the” and “Khushi Kumari Gupta”, throwing anger fits and tantrums), but holy shit I was blown away. Barun has this ability to make his audience feel every emotion he’s going through - anger, sadness, despair, happiness, joy, relief - everything, he is a brilliant actor. Nikhil was an amazing character. He was an all-in-all protagonist. He had a loving relationship with his wife and a daughter that he loved very much. However, when he is kidnapped by the serial killer himself - he is given an option - to either let his wife and kid die, or become an accomplice to murder, where he meticulously plans the murder and the killer goes and does the job. He chooses the latter, thus, blurring the line between good and bad. It is also interesting considering the man that saved lives ended up taking them. The final test for him is when in order to save three hostages, he is asked to sacrifice his daughter. He does that and it is shown that due to the trauma they have faced, one of the hostages shoots the other, making Nikhil regret his decision instantly - the killer thus proving his point, human nature is evil, that even the good turn to evil in hardship. Nikhil blames DJ’s deeds for his daughter’s death, and Naina leaves him, blaming him for their daughter’s death. 

Ridhi Dogra as Nusrat Saeed: Nusrat is shown to be the ex-gf/ex-love etc. of Nikhil, before he left CBI without telling her about where he was going and for how long. In all these years she has been unable to move on from him and has replaced her love life with work as a forensics expert. She is shown to be very talented in her job and is shown to have a friendly relationship with everyone - although, in a hallucination, Nikhil is shown to feel guilty for what he did to her and deep down does love her, but loves his wife more 

Anupriya Goenka as Naina Nair: Naina is shown to be a doting mother, and a loving wife, who has issues that although her husband loves her very much, wants to rejoin the CBI, even if he has to leave her for it. She ends up going to him and is shown to be a very talented software engineer working in cyber-security. She then ends up helping the CBI in order catch the killer 

Vishesh Bansal as 15-year-old Shubh Joshi: This kid holy shit. I watched him in IPPKND as Aarav and some other serials here and there, but man he blew me away. Like I was sitting there shook half the time as to how can someone be this talented. Now Shubh Joshi was who this story was about - the asura, the rakshas, the one who was awaiting for Vishnu to return on this Earth to vanquish him. When Shubh’s mother was pregnant with him, his father the head priest wanted a ‘devta-like putra’ he wanted a god on the form of the Earth to the point, he made his kundli in advance and did not allow for his wife to give birth until the right month. He failed, as his wife slipped down the stairs, and ended up giving birth 2 days before he wanted her to. She gave birth in the month in which demons were said to be born. Thus, Shubh turned out to be extraordinary - he learnt how to walk at 2 days old, he was able to read the scriptures by the time he was 3, and had an IQ of above 160. His dad used to curse him, beat him, and call him an ‘asur’ to the point he started believing it. When his grandfather took him to the psychologist - he was diagnosed with autism, causing him to not have the same social skills and unable to connect with others as well as other kids. His father’s abuse caused his brain to become extremely violent, and it is then shown that he goes to a skeleton and breaks its index finger, then finding a dog and burning it alive, with no emotion. At 15 he poisons his father causing his father to fall into the river to his death - he drops the lota in which he was poisoning him with getting rid of the evidence. However, DJ sees this, and sees no remorse for his father’s death, he seems unaffected by it, and continues on his day as normal. DJ then fakes evidence and his birth report - causing him to go to jail rather than receive therapy and counselling for a better future. In jail he becomes a leader - he is able to convince people to let the evil in them take over the good because that’s what human tendency is. It is what we are meant to do and that those who do not entertain the evil in them, deserve to die. 

Amey Wagh as present-day Shubh Joshi: Gonna say it here - A+ casting. He looks exactly how you would expect Shubh Joshi to look when he is older. So Shubh Joshi is now a serial killer - who kills people from the horoscope of greatness, people who do good deeds - he does this to send a message to Vishnu to come on earth and now thinks of himself to be mighty and powerful as an asur should be. He is shown to now have a huge following to the point where Nikhil and DJ all think of him to look different, but he instead, is their coworker, Rasool Sheikh the hacker in the CBI. As he is quiet and aloof, no one suspects him, and thus, he is able to conduct these murders with absolute precision of planning. When Lolark finds out that he is the real Shubh, he ends up killing him, right after his child’s death and the CBI arrest the wrong Shubh who was shown to be Kesari - the first follower of Shubh in jail. The show ends when Shubh looks deep into DJ’s eyes reminding him of his 15-year-old self, causing DJ to realise he is indeed the real Shubh. 

The rest of the cast and crew were equally amazing but I just mentioned the main ones otherwise we’ll be here for days 

Things I liked: 

I loved the use of Hindu mythology, they also narrated some stories in Shubh’s POV questioning whether the gods were always right - was Vishnu right into tricking the asur’s into their death for no reason, was Krishna right, knowing about the war and not being able to stop it? 

Also loved how in depth the characters were - Shubh was horrible in what he did, but by writing in a way that if the things that happened to him hadn’t had happened owing to his developmental disorder he would’ve been a ‘good’ person. 

The fact that it wasn’t Shubh’s complete fault that he thought this way, and the fact he had autism + the system really failing him showed us that not all bad people are born bad - sometimes situations make them that way. And some don’t even know the difference between the right and wrong choice - what if some people do truly think evil is bad. 

I loved the concept of the main protagonists being good people but being pushed to embrace the evil - especially when Nikhil, who thought he did a good deed by saving the hostages to prove to Shubh that inherently good people do truly exist and he sees one of the hostages kill the other - truly shakes this belief. It shows that even after being forced to accomplice to murders - he still had hope, a hope that was brutally crushed 

I loved the cast as well, they all had good chemistry and Barun and Arshad were amazing. 

Things I disliked: 

The female characters weren’t explored at all. Nusrat’s whole arc revolved around Nikhil and finding the killer’s. There were some episodes where she wasn’t even there. And a lot of her character was an accessory to Nikhil’s and DJ’s characters. On the other hand, Naina’s character was only a mother and a wife. In fact she joins the CBI to help them find her husband, she isn’t even leading the investigation or anything. Also in the first half of the show she was truly very annoying and just deserved better in general rather than just being the parallel love interest. They should’ve done more with the female characters. What was stopping them from being as brilliant or as great as the male characters. Nikhil and DJ were described as geniuses and out of this world. While Nusrat just helped. 

The amount of Shuddh hindi - I know he’s a pandit’s son and his whole thing is religion he will talk in Shuddh hindi. But honestly, I wish they gave english translations or show it with pictures or something else coz it was very very very hard for me to understand some things and I lost a lot of context 

That is all - enjoy this review hopefully I didn’t spoil the whole show (I definitely did), and have a great day

[ridzmystique]

Asur - Episode 8 Live Blog

WHAT THE FUCK. SPOILERS below the fold.

1. Ooooh, did DJ fabricate the evidence to arrest Shubh? 2. Okay, DJ, what if you turned him into a serial killer? What if he wasn't a psychopath...YET? What if you turned him into one with your actions? 3. The gray layers to these characters are SO good. And I love how this ties back into the beginning of the last episode. Is this a story of justice or regret? Is there anyone good in this? Etc. etc. 4. And this is the case that broke the camel's back between Nikhil and DJ too? Nice tie in. 5. Okay this is not the case probably but I was like what if Rasool is Shubh instead of whoever is keeping Nikhil captured because he kinda looks like a grown up Vishesh, lol 6. If this doesn't at least end with Nikhil and Naina reuniting, I am going to be so mad. And sad. But mostly mad. 7. Nikhil WTF! 8. Is Kesar Shubh!? 9. OMG OMG OMG RASOOL!? 10. HE HAS A BURN MARK. 11. Remember when in the first episode I was like "Hey, what if" LOL 12. Okay tell me Nikhil didn't stab himself in the nose to then get a glass of water. What guarantee did he have that it would be glass? He could have brought plastic bottle! 13. Yikes, Naina is in jail with DJ... 14. Do NOT take Rasool. Lolark, mar jayega yaar. Don't take him. 15. Ah. He wanted the fingerprint. Okay Nikhil's not as dumb as I keep thinking, lololol. 16. Omg Nikhil's gonna get out and then Rasool will find him. UGH. 17. Okay so Rasool didn't find Nikhil but did him escaping reset the clock on that 3? I'm confused as to why it started decreasing rapidly. No one was at the computer. 18. Lolark, when you had a doubt about Rasool, why the FUCK would you go somewhere alone with him!? 19. Oh, fuck, fire again. AND NAINA'S THERE. 20. Is she there? 21. Kesar's not Shubh. Nope. 22. What is this, veritaserum? What are they injecting? 23. Lolark's gonna die and then I'm gonna be SAD. 24. Or he'll get kidnapped in place of Nikhil now just in time for season 2, because no one has BRAINS. 25. Lolark your gut instinct is telling you to bhaag, tu bhaag! 26. You can admire his art later, pull out your gun. 27. WHY WOULD YOU LEAVE YOUR GUN THERE 28. I knew it was coming and YET 29. Why didn't Nikhil call CBI yet?? 30. Why is Nusrat talking to him in front of Kesar? 31. Ah, if DJ admits to his crime...he'll let them go? 32. Oh Lolark's alive, phew 33. It is very uncomfortable to be agreeing with Shubh but...um...looks up at 2. 34. Is DJ gonna die? 35. Everyone portraying Shubh...great casting. Truly creepy. 36. Did Nikhil steal the phone? lol 37. Aw, Lolark has a kid...fuck. Don't die, I'm gonna be so sad. 38. Shubh I'll kill you myself. 39. Okay but...why doesn't DJ pretend to take the pill. Keep it in his cheek...like I used to as a child? 40. Okay how exactly did Nikhil get there before the TASKFORCE? 41. Aw Nikhil and Naina!!! 42. I'm happy but I'm also sad. SOMEONE SAVE LOLARK. 43. I don't like Naina messing with the door...it's not gonna end well. 44. Everyone's seeing their own Shubh? Their own Asur? 45. Oh fuck. Did he....wait...Nikhil!? 46. Oh no. Oh no, Naina knows. 47. Omg wtf is happening. 48. Jesus fucking Christ. Riya... 49. Omg 50. Omg Rasool's still in the CBI 51. Did Riya die? For real? What the fuck man. 52. The fact that Nikhil saved those 3 and then the woman shot the man anyway and Riya died!? 53. And NOW fucking Rasool is still here!? 54. I cannot....I can't

Overall Thoughts: I hate it. I hate everything. I hate ALL of it. LOLARK!? AND RIYA!? RIYA!?????? THIS IS WHY I WANTED THEM TO STAY IN THE US. NIKHIL’S GOING TO BE FUCKED UP. FUCKED UPPPPP. THERE’S NO COMING BACK FROM THIS. FUCK.