It is so exciting when new films are released in Pakistan weeks after their worldwide premieres. The excitement is doubled when the film coming here is MI 3, the Tom Cruise starrer that kickstarted the summer blockbuster season globally. The premiere last week saw a huge turnout, which is rare for premieres. When passes are given for free, a lot of people don't show up, unless they are really interested. MI 3 definitely qualifies as interesting for the kind of people who are inivited to movie premieres

A Tom Cruise franchise, of Cruise, by Cruise, for Cruise fanatics across the globe, MI 3, like it's predecessors pushes the action thriller envelope further than most movies take it. A thrill a minute joyride, it puts directorial reins in the hands of J.J. Abrams, the creator of the hit TV series Lost. With Tom Cruise as producer, Abrams must have had all the help and technical wizardry of Hollywood at his disposal and it shows. After all, MI 3 is his directorial debut on the big screen and it is such a pro effort.

Non stop action from start to finish glosses over a paper thin plot and allows the director to get away with murder. At the heart of it is a deadly weapon called the rabbit's foot, which you don't know about to till the end. But you don't care because the film is a visual roller coaster keeping you on the edge of your seat, reaching mechanically for your popcorn. The MI franchise is spectacular because it translates into great entertainment. It may not be 'good cinema', but it is paisa vasool. It is not designed to pull at your heartstrings, but to make you dole out the ticket money and give in unashamedly to mind numbing/blowing entertainment.

After coming out of the cinema and dissecting the film with friends, we decided that we didn't really get the plot but neither did we care. We were happy has clams, it was an hour and a half well spent – such a different feeling from when one goes in to see a Pakistani movie.

Foreign films have spoilt us rotten. The Hollywood and Bollywood juggernaut has hit us via cheap 100 rupee DVDs, pirate prints, demo prints, master prints. V for Vendetta, Rang De Basanti, Desperate Housewives and Ekta Kapoor's serials all make their way into our homes. The piracy distrbution network thrives as cinema as it is supposed to be seen dies. Our film industry has been fractured beyond repair and going by the reputation our filmmakers have in Thailand of defaulting on payments, it's not exactly doing wonders for Pakistan's image.

The most creative work in the country is being done in the realm of ads and videos followed by television. However, cinema, the most artistic medium that has the potential to boost a country's profile beyond belief has been shunted off to the side with so much dilly-dallying by the government on policy that time is running out.

Pakistan has a lot of catching up to do, but the problem is that we no longer have what it takes. Our cinemas have been converted into shopping malls, the good film directors relinquished television for film a long time ago and the remaining film investors are highly dubious characters. The system here is that there is no system. The competent directors who will do a different kind of cinema are facing a problem. Saqib Malik's Ajnabi Shehr Mein has been delayed. Jami's (Jamshed Mehmood) foray into film also came to naught. The only beacon of light seems to be Shoaib Mansoor's Khuda Key Liye, but how much time will lapse before that venture too sees the light of day.

Rumoured to have army backing, Shoaib Mansoor's epic seems to be facing problems. It had enough problems getting off the ground. In a place without a system, filmmakers need godfathers who back them. When these people are not cinema friendly, there are differences and an eventual fall out. This is happening with every filmmaker who is trying to do something different. It's a vicious cycle that will continue till things fall into place.

What one cannot understand is the policy on Indian cinema. The day films (worth watching) are made here, India will be the biggest market for them. They have the cinemas, cineplexes, multiplexes. All Pakistan has got is a cinema circuit shrinking by the day and promises by Cinepax that they will build cinemas all across the country, on which the work has yet to start. Realistically, it is impossible that cinema can be revived by the Hollywood juggernaut. Indian films will have to come in. The longer the dilly-dallying continues, the more of an uphill task it will be when push comes to shove.

The efforts towards rapprochement so far have been pathetic. Taj Mahal was as much of a box office disaster here as it was in India. Ditto for Bride and Prejudice that is not pulling in the crowds; bad films never do. A grand premier happened last night for Mughal e Azam. The film was released prematurely in a cinema in Lahore, perhaps to make it the first Indian film to be released instead of Taj Mahal. It was a very short sighted move on part of Nadeem Mandviwalla. He could have taken solace in the fact that Mughal e Azam will be the first 'great' Indian film to be released in Pakistan.

However, at the risk of sounding cynical, I doubt that it will do well. The reason is that we have all seen it, both the black and white version and the redone coloured version. Only so many people will go and see it on the big screen. It is Kabhi Alvida Na Kehna and Fanaa that would be box office gold.

Come to think of it, the government's policy on Indian cinema that seems to hinge like everything else on Kashmir also seems very short sighted. Kashmir should have nothing to do with the revivification of the cinemas of our country. But since they do, they should take a closer look at Fanaa that makes a strong case for Kashmiri nationalism and is facing the wrath of Hindu extremists of the RSS. Had Fanaa been released here, a greater debate would have been instigated on Kashmir and the rights of its people on both sides of the border. It would have gone further in the war of words than both the Agra and Delhi summits combined. The beauty of cinema is that there are no ultimatums and therefore no stalemate.

Indian cinema is perceived as a leveraging tool by the government. The irony is that it is also the crutch our cinemas need to get back on their feet. The reality is that cinema is neither a leverage nor a crutch, it a medium to entertain that can also provoke, raise awareness or make a political statement. The tragedy is that we have lost our cinema thanks to short sighted policies and the great Indian bogey man.

In 2002, a video by the name of 'Behti Naar' grabbed the audiences of the Pakistani local channel watching community by surprise and alternatively, shock. Saqib Malik had begun to work his magic for music videos, but more striking than the treatment was the storyline, and a gorgeous girl cutting her hair off, accompanied by a song that took you to dim-lit halls and beyond. Another video followed soon after with flashes of a woman bound as a prisoner asking 'milega kiya tumhein ab/inn jalli katti baton se?'

Six months later, the videos for 'Behti Naar' and the anti-war 'Khwahish' were taken off air due to their controversial storylines and interest in the band began to generate in the music circles. The band came to surface soon after: Rushk, Uns Mufti and Ziyyad Gulzar's [of Milestones and Ali Azmat Band fame] brainchild was an amalgamation of haunting vocals, ringing telephones and music that pulled you right in.

But the album Sawal that Rushk had released was nowhere to be found. Bands like Noori had taken over the music arena and neither Uns nor Ziyyad said a word. A few precious tapes had been released, which had long since vanished, till 2004, when the tracks were put up on the internet to be released. The music industry was evolving, and acceptance for a new genre of music is extremely hard to achieve.

But this is 2006, and a record label in Pakistan has finally re-released Rushk's debut effort. For the recently held launch show the music and fashion industry turned out in full force, to support these two talented men. To represent the fashion industry were the top names: Nomi Ansari, Kami of Karma, Sarwat, Rubya Chaudhry, Sanam Agha, Vaneeza Ahmed and photographer Amean J, who had previously directed the Rushk video 'Khwahish'. The music industry attendees were as prominent: Ali Azmat, Sohail Javed, Alan Smith and Haroon. It was fitting that the event happened at The Basement, Shahbaz Sumar's groundbreaking venture. It's a great place to relax and the unique atmosphere is perfectly suited to enjoying music. With Rushk videos projected on a wall, Uns and Ziyyad in their understated way mixed a play list of house music and alternatively Rushk's music, which added immensely to the ambience. More venues like The Basement are sorely needed in this country, which allow the 20+ year olds to hang out at a place that doesn't reek of either teenage love or rich businessmen's bravado.

While it is great to see a record label, and a TV and radio station giving immense coverage to a band like Rushk, which was forcibly taken off air two years ago, it now depends on Ziyyad and Uns to make more videos and promote the album. Since concerts in Pakistan are a rarity, and Generation X and Y are hooked on to their TVs, music videos are the only way this band will move forward from its cult following to a more mass centered one and to educate the masses about more alternative genres of music than the usual bhangra, pop and more recently, rock. Nevertheless, the album is a rare gem amongst a sea of mediocrity that is currently prevalent in the music industry.

Footnote: Four years ago, Rushk's album did not have any takers. A week after it's release it is topping Vibes Charts in Instep. Goes to show how times have changed and tastes have grown.

Style watch

Nickie n Nina, the design label from Lahore has ventured into the Karachi market by opening their own store on the high street Zamzama. The shop opening took place this week where many people from the fashion industry showed up. Nickie n Nina specialise in formal wear and bridal wear. The flagship store is located on main Zamzama Boulevard next to Subway, the fast food outlet. Nickie Nina called other fashion designers and friends to this exclusive launch. This is the label's first entry in Karachi and they have not stocked before in the city, "We believe in having our own shops. That's how the idea of this store came about," said Nickie of the design duo. She added, "We have a lot of clients here in Karachi and we thought it's good to have our presence in the city. It's a part of our expansion and we are happy to be here." The label is stocking off the rack formal and evening wear. Zamzama is home to leading designers like Sonya Battla, Deepak Perwani, Rizwan Beyg, Maheen's Gulabo Khaadi and Tazeen Hasan while Lahore based labels HSY, Sublime and Karma are available here at The Designers. Nickie Nina are following in the footsteps of Maria B and Crossroads both of whom have outlets there. Here's to fashion connecting cities. It's as important as connecting people, we think!

When clothes shift from one city to another, can jewellery be far behind? AM Accessories, the label from Lahore recently came to Karachi for an exhibition which they held at Zamzama. The label is a joint venture of Amna Kardar, a graduate of the Pakistan School of Fashion Design and model, Maliha Naipul from Lahore. Jewellery labels have started to come up in the recent years as more and more people are finding designer jewellery more interesting as compare to the usual gold that is available in the market. They have started experimenting with semi-precious stones and metals and that makes the jewellery a lot more fun. This is exactly what AM Accessories is providing. Its good to see an exchange in the Lahore-Karachi brands. Zezeh is one jewellery brand started out from Karachi and now it is available through The Designers in Lahore.

Not content with just doing shows, Frieha Altaf seems to be diversifying as her twenty year mark in the fashion industry nears. With the re-launch of her modelling agency Cats, Frieha has started paying more attention to artist management as well. She already has a number of artists and performers consulting her for various projects. Whilst filmstars Shaan and Meera have been officially signed up with Frieha. Both these stars have been working with her. Shaan worked in Saqib Malik's 'Khamaj' and went through an image makeover. Meera started her stint in Bollywood and now TV actor and producer Humayoun Saeed is all ready to join the bandwagon. Humayoun, who is active in Pakistan-India exchange on the entertainment front through his productions, is also appearing as an actor in TV and film projects.

Flash

Summer is all about movement, especially when it comes to clothes. The latest trend is to wear chiffon wraps over the hips when you're in your jeans. It's the femininity of the sarong that compliments the harshness of denim so well. Opt for gentle floral prints and teemed with a white top you'll find yourself in a fashion hotspot. As with jeans, skirts are all about movement too. The wider, billowing bohemian gypsy is still in; as is the delicately pleated pheasant blouse - but not worn together. The trick is to mix and match. When you're in a gypsy skirt, top it off with a tee. Simply wrap a wispy scarf around your neck and you have the look. When you're planning a wardrobe, just think what'll move on your body and avoid anything that seems stiff. If you're a fashion addict, then 'go with the flow'

Judgment Day

Late last year they finally got him. Director of The Message, Moustapha Akkad, was killed in a terrorist bomb attack at a 5-star hotel in Amman, Jordan. It was a horrendous coincidence (poetic to the terrorists) that Moustapha was among the many "heretics" and "infidels" they randomly targeted at the hotel. What's more, Moustapha's 34-year-old daughter too lost her life.

Though no Salman Rushdie, Moustapha had been a much-hated figure among many sections of world's Wahabi and Deobandi Muslims ever since he went ahead and shot a big-budgeted, Hollywood film on the life of Prophet Muhammad in 1976. Incidentally, though the film (The Message), was poorly received at the American box-office, over the years it became a massive cult classic among a number of more liberal minded Muslims, some of whom actually started to use it as part of their efforts to reform the commonly perceived face of Islam.

In fact, impressed by epics like Jesus of Nazareth and The Ten Commandments, Moustapha's main goal was also to make a film on the Islamic prophet for a western audience who only saw him either through the eyes of Christian evangelists or the secular media. For this Moustapha also managed to sign up the services of veteran Hollywood actor, Anthony Quinn, who plays the role of Hamza.

While trying to raise funds for the film, Moustapha faced stiff resistance from Hollywood in making a film about the origins of Islam. Even though the reasons behind this were fears of monitory loss, the fact that with various Palestinian guerrilla units being extremely active in the '70s (in collaboration with various Left-wing European groups), in attacking numerous Western and Israeli/Jew economic and political interests, it can not be dismissed that many in Hollywood also saw the making of this film as a way to counter the Western media's take on Muslims in this regard.

Moustapha had to go outside the United States to raise the production money for the film. However, many Muslim governments, fearful of "offending" the large conservative sections of their own predominantly Muslim populations, were hesitant in financially and logistically supporting Moustapha… until word reached Libya's Col. Qaddafi, then at the height of his defiantly anti-West and revolutionary, "Green Book" phase.

With the backing of the then radical Libyan government, the film was shot in Libya and parts of Morocco. While creating the plot, Moustapha consulted Islamic clerics and scholars and devised the storyline from the views he got from these gentlemen. As a token, Moustapha would also produce a film based on the struggle of radical Libyan nationalist, Omer Mukhtar, four years later (and also starring Anthony Quinn).

Though mindful of the fact that Islam did not allow the showing of the Muslim Prophet, the completed film failed to get a release in a majority of Muslim countries. Even in the United States some cinemas received threatening telephone calls from those who thought that the film offended Islam by portraying the Prophet in a physical way. The truth was Muhammad was never shown on screen.

On March 9, 1977, a group of Black Muslims, led by Hamas Abdul Khaalis, seized several buildings and took 134 hostages in the District of Columbia. While their actions were related to a sectarian dispute within the Black Muslim community, one of their demands was to prevent the release of The Message. One of the terrorists specifically said "he wanted a guarantee from whole world it will never be shown" or they would execute some of the hostages.

Holier than thou

Panned by western critics for pretending to be another Lawrence of Arabia, the film was kept at an arm's length by most Muslim countries, especially those that came under the "American camp" (during the Cold War).

Apart from Shah's Iran where a fundamentalist but indigenous Islamic movement had already gained momentum against the country's pro-West monarchy, the so-called Islamic movements and forces in most other Muslim countries were largely being financed and backed by the United States and Saudi Arabia! A trend that would eventually evolve into the Mujahideen Movement in Afghanistan.

In Pakistan's context, where The Message remained banned throughout Zia-ul-Haq's dictatorship in the '80s. A majority of the country's major politico-religious parties were all said to be on the payroll of the American CIA and Saudi Arabia. These parties' main role (led by the Jamaat-e-Islami) was to demonize the Left and later fuel "jihad" in Afghanistan against the Soviet Union.

It is thus interesting to note that most of these parties were the first to condone and enforce Zia's ban on The Message, even though thanks to the time's rampant video rental boom (and racket!), shops having a video print of the film thrived.

Nobody's quite sure as to why exactly these parties and the Pakistani government were so much against the showing of The Message, especially at a time when both the CIA and the Pakistani government were aggressively advertising and glorifying "jihad" and assorted Islamic propaganda to counter Soviet occupation of Afghanistan?

However, many do believe that the underlying message of the film was of a version of Islam that contradicted the versions being peddled by the Zia regime. And anyways, his hostility towards radical Muslim leaders such as Col. Qaddafi was no secret. Zia had also directly been involved as a hired Pakistan army man who led the Jordanian government's armed onslaught against PLO camps in Jordan in 1970. Thus, a film that was seen by conservative Western political observers as an attempt by Libya to propagate the legitimacy of Qaddafi's and the PLO's struggle against the state of Israel and the United States, was a big no for those using increasingly conservative, militant and puritanical strains of Islam to recruit men for the so-called Mujahideen Movment in Afghanistan.

Some 30 years later after it was first released, with no Soviet Union in Afghanistan (or no Soviet Union at all!) and no Cold War diktat, The Message finally arrived in Pakistan beyond the shady videotape deal. Last year it was shown repeatedly on one of Pakistan's biggest private TV channels . This time however, there were no cries of "blasphemy", at least not outwardly so. The film's original purpose remained intact: Not only to show the West "Islam's true history and face," but also to a whole generation of Muslims who for the last three decades had been indoctrinated with a rather violent and intolerant strain of Islam; the sort various Islamic governments had originally propagated, but were now trying to distance themselves from, post 9/11.

It's the spirit, dude!

Apart from tackling the political and religious fall-ins and fall-outs of making a film like The Message, Moustapha also had to pull off a convincing portrayal of the Prophet without ever being allowed to show him. He had to make a film whose protagonist was, in effect, absent. He knew what was at stake. No one had ever successfully attempted a film about the Prophet. If he pulled it off, he'd be the cinematic voice of the Muslim world. If not, they might literally kill him. Faced with such daunting dilemmas, Moustapha decided to shoot around the main character. Muhammad never appears in The Message. He's presented in the first-person. Moustapha uses the camera to represent what the Prophet sees. He goes places, people talk to him, but you don't hear him.

Moustapha hired four seasoned Muslim clerics to oversee the production of the film that began shooting in Morocco in early 1976 and where a huge replica of the Kabba was built. Soon the clerics got cold feet and quit! Then King Faisal of Saudi Arabia managed to convince Morocco's King Hassan that the false Mecca built for the movie might draw pilgrims away from the real holy city. This saw the Moroccan government kicking out Moustapha off his own set, and out of Morocco. Moustapha was then invited by Qaddafi to Libya where much of the film was completed.

No learning lessons

The only other attempt to film the Muhammad came in 2002. This was the animated movie, Muhammad, The Last Prophet, directed by Richard Rich, a veteran Disney animator who had also directed The Fox and the Hound.

The Last Prophet was released in the Middle East after being sanctioned by the same Islamic authorities who had originally banned the appearance of Mohammed on film, and who now demanded that Hamza, the character portrayed by Anthony Quinn in The Message, appear only from behind. The animated film borrows Moustapha's "Prophet-cam technique", and in one scene Mohammed is critically wounded in battle – a rock hurtles into the camera!

The Last Prophet never hit U.S. theaters, and has yet to be released on DVD.

The IIFA Awards weekend was held in Dubai and predictably enough, Black swept the Awards. The ceremony was rather lackluster without Shahrukh Khan, who many believe was absconding because of differences with the Big B. The differences are being put down to Shahrukh's insecurity with Abhishek, but we believe the game is different here.

Bollywood remains a highly politicized industry and even as Amitabh and Jaya Bachchan have often come under fire for their close relationship with Amar Singh of the Samajwadi Party, it is has also been widely reported that Shahrukh Khan is a personal friend of Priyanka Gandhi and her husband Robert Vadra. Add to that, the growing distance between the Bachchans and Sonia Gandhi that has become rather vicious of late and you you may have an inkling of the root of the estrangement.

And then of course, there is the reality that each year, SRK is becoming more aligned with Subhash Chandra's Zee, while Amitabh has been supporting all awards actively, except the Zee Cine Awards. This happened after the organizers were rude to him at a Zee Cine Awards ceremony some years ago.

Shahrukh was also absconding at the all-important Filmfare Awards when it was understood that Amitabh would win for Black. He has repeated his absence with this year's IIFA, another awards ceremony he has always taken care not to miss.

It can also not be ruled out that Shahrukh is perhaps licking his wounds after the critically and commercially disastrous Paheli. Will he bounce back to life and all the awards ceremonies if Kabhi Alvida Na Kehna takes off like a skyrocket in the tradition of recent Karan Johar films?

But anyhow, we give you an account of the glittering yet lackluster IIFAs that still seemed very pale without Shahrukh and because they didn't play up the Aishwarya Abhishek card. After all, dignified silences never make for great entertainment...

Concerts are inarguably one of the most common ways of how Karachiites relax after a long weekend. Top that with Ali Azmat, Jal and Aaroh being the performers – the event is a sold out show.

What was worth watching that night was the fact how three similar acts, all belonging to the same genre, can be so different when performing live. Notably, it was Ali Azmat who stole the show, followed closely by Aaroh who managed to create a stir with their opening while Jal proved to be a disappointment. Ali was the turning point that night and the reasons are quite simple. Ali has toured all across the globe since his old Junoon days that date back to the mid nineties. He has always managed to command an audience of 5000 or more by consistently delivering bouncy, melodic and playful performances that exceed the expectations of all attending. That's pretty much want happened at DA Club that night – Ali performed the classic Junoon single, 'Neend Aati Nahin' and the crowd loved it. It was nostalgic, bringing back memories of old Junoon concerts as well as personal connections. This song was an unpredictable addition to the playlist. On the other hand, Jal continued to perform the same old numbers with nothing new to offer. Moreover, there performance was neither playful nor energetic. 'Aadat' and 'Woh Lamhay' – both tracks remind one of Atif who is a powerhouse performer with his dancing and swinging at stage. Some people from the crowd actually started yelling "Atif, Atif." Farhan on the contrary was somewhat stiff when performing.

It is an understood fact that classic numbers should always be performed, but new material is also essential. Because not only does it give fans a taste of for the next album but it also reestablishes their faith in an artist. It also breaks the image of a singer from being a one-hit wonder. Back in 2002-03, Noori did it throughout with 'Neend Aaye Na' and 'Dil Ki Qasam' – these songs had never been released, neither on the internet nor the album, which was still waiting to come out. Yet Noori continued to perform throughout the country. Today these tracks are signature Noori songs. The same songs over and over again just don't have the same impact. For precisely this reason, Jal's performance was mundane at best. It was only 'Dil Harey' and 'Teri Yaad' that the crowd hooted and whooped for. And it was Goher Mumtaz who generated that reaction. His vocals on 'Dil Harey' were far better than Farhan on any other track. And his clean picking of the opening riff of 'Teri Yaad' was spot on. The same issue was prevalent throughout Aaroh's performance. They did not sing one new number even though their album is slated for a July '06 release. However, Aaroh still managed to make an impact with their fast rock numbers such as 'Dil Ke Batton Ko', 'Sawaal' and Abida Parveen's 'Gharoli' – all of which they performed tremendously well. Farooq was shaking his head and literally talking to the crowd through his lyrics and managed to capture his audience very well. 'Gharoli' was the biggest hit that night as far as the band was concerned. It's an old song from Abida Parveen and she has a huge following. But instead of tablas, guitars and drums took centerstage and Farooq with his classically trained voice shook the crowd.

Concerts also are the simplest way to analyse how a band actually works together. What makes them tick? In both Aaroh and Ali Azmat's performance, it was visible that all the guys were having a ball. Farooq kept his mike moving from Haider to Khalid, both of whom nodded their heads along. And in Ali Azmat's performance, Alan Smith and Kamran Zaffar (bass) were laughing on stage as Ali was talking to them through his eyes. Ziyyad Gulzar was menacing with lead guitars. His opening of 'Main Challa' was a live evident factor. But the Jal guys seemed to be three separate people onstage. They were all on their own. The only one who looked as if he was having fun was Goher.

Live energy is raw and cannot be mistaken for. If a band is having fun onstage, the energy moves around and makes a room in the audience. It is easy to capture a small gathering but not your masses. And that night, the crowd was just that: the masses. These people had come on a 400 rupees ticket to see their favourites weave the same kind of magic that is apparent all over MTV and Channel V when Daler Mehdi or A.R. Rahman or Sonu Nigam are performing.

Ali Azmat rocked that night because out of the three acts his album is relatively new. It still has that hype built around it and everybody knows that this is the man who was once a Junooni. He makes up our rock music history as we know it. He also has a presence and he is an entertainer on and offstage. Plus, he is never boring. No matter how funny he looks, Ali always dances on the stage and swings his guitar and fortunately that night he did it quite well with 'Dil Ne Dil Se Kaha' and out of nowhere broke into 'Mumbai Se Aaya Mera Dost, Dost Ko Salaam Karo, Raat Ko Araam Karo.' That was again an unexpected twist to one of his songs.

Ali is also very much grounded to his identity. The minute he opens his mouth, a Punjabi accent slips out unconsciously and that makes it easier for one to connect to him. With complete makeovers and identical shades, it is hard to make an identity out of Jal. Aaroh survives solely on the shoulders of Farooq Ahmed who has immense potential to take Aaroh to the masses. Whether he will conquer them or not, that solely depends on their upcoming album but he has what it takes to be the next rock entertainer.

In the end, live performance is not just about having the right sound or playing the entire record out or performing for 60 minutes nonstop. An integral part of concert is to provide entertainment. Ghazals and qawwali nights are for sitting and listening quietly and back to back recitals. Clapping is considered to be an interruption. Proper codes have to be followed. Wearing jeans is considered bad manners. Similarly, a rock concert has its own unwritten rules to be followed. The biggest rule however is that any singer or artist who is able to shake the crowd and make them dance while keeping the sound right is a great live act.

In our live act scene, we either have good sound artists or performers. There are very few who actually make a wholesome concert. Jal has some great songs to its credits but the time is now to work on their performing ability as a group before Atif Aslam steals the game from them for good. Aaroh, they have a long way to go but as long as Farooq Ahmed remains the leader of this band, hope is still there. As for Ali Azmat, he is still comfortably perched on the live rock throne and after this crackling show, one is sure he's not going anywhere anytime soon.

Kabhi Alvida Na Kehna's music by Shankar-Ehsaan-Loy has just been released. The highlight of the album, without a doubt, is 'Mitwa', sung by Shafqat Amanat Ali Khan. It opens slowly but soon launches into a rock number with a classical feel to it. Guitaring is complimented by sounds of tablas and Shafqat is supported by Shankar behind the mike. 'Mitwa' has a very raw feel to it and is a celebrating track. At times, it reminds one of Junoon's 'Khudi'. Not because of its composition but primarily because of its sound. It starts with the words, 'Love Will Find A Way' and then the Shafqat magic takes over as he sings in his signature inimitable tone, 'Jo Hain Ankahi/ Jo Hain Ansuni/Woh Baat Kya Hai/ Bataa Mitwaa.' The lyrics point towards the universal emotion of love and moves onto talking about the unknown and unseen. If there is anyone who should be applauded for his break into the Bollywood after RFAK, it is Shafqat. Instead of remixing one of his own songs, he went along and sang a song that has a hit written all over it. And what better way to carve a name out for himself than a Shahrukh Khan film? One will have to wait for a few weeks before finding out on whom this song is picturised. We do hope that it is Abhishek Bachchan or even Arjun Rampal. For now, get a copy of KANK soundtrack and keep on listening to 'Mitwa' until the next Fuzon album finally sees the light of day

The biggest buzz is all the music channels that are coming up now. With the growing music industry in Pakistan, it seems that all television networks have zoned in on music as the next frontier. It makes perfect sense. Music is the strongest instrument we have that speaks to so many in Asia, specifically India and the diaspora all over the world. For the channels, a new breed of people is in place to amplify the videos that we see in cohesive programming. Names like Rohail Hyatt, Jaleel Akhtar aka Kuchu Khalid Soorty, Sohail Javed, Tanya Shafi and Shahriq Chhapra and other capable hands are taking over behind the scenes. Expect a full onslaught starting this July and August and wait for things to grow. More music channels mean more events, more music coverage, wider awareness and of course more job creation in a field where jeans and a t-shirt are the perfect work wardrobe. Hats off to musicians and all the other thousands that make it possible. And thank you all!

Eminem will return to the big screen in a version of the TV western Have Gun –- Will Travel a modern-day adaptation of a 1950s western TV series about a gunfighter for hire. Paramount Pictures has extended an 18-month option on the property to develop it as a vehicle for the Detroit rapper who won critical acclaim with his performance in the film 8 Mile. Eminem has committed to shoot the role and is excited about his latest opportunity. The concept of the series will be updated to contemporary times and feature Eminem playing a bounty hunter. Now that should be fun, but not as much fun as it will be to see Missy Elliot playing herself.

Hip-hop star Missy Elliott is to play the lead role in a film chronicling her life, Universal Pictures has announced.

The film, which is untitled and in the development phase, will be produced by actor Robert De Niro through his company Tribeca Films. Missy, who has won four Grammy awards during her career, is best known for her hit 'Get Ur Freak On'.

She has released six solo albums and produced for artists including Justin Timberlake and Janet Jackson. The musician, who was born in Portland, Virginia, began her performing career with all-female singing group Sista. She signed her first solo deal with Elektra Records on the condition that they would subsidise her own record label. Other recording artists she has worked with include Whitney Houston, Justin Timberlake and Madonna herself, but nothing beats her own albums. Get a hold of The Cookbook that came out last year and you'll see what we mean. If you're not a Missy Elliot fan, then you simply aren't hip! And there are no exceptions to this rule.

Pakistani

1. Sawal - Rushk

2. Green - Rung

3. Overload - Overload

4. Be The One - Omer Inayat

5. Mantra - Faakhir

1. Let Love In - Goo Goo Dolls

2. Bring You Home - Ronan Keating

3. Stadium Arcadium - Red Hot Chilli Peppers

4. Oral Fixation Vol 2 - Shakira

5. Ten Thousand Days - Tool

1. Fanaa

2. Kabhi Alvida Na Kehna 3. Krrish

4. Gangster 5. Chupke Chupke