Ahmed Rushdi was born to a religious, conservative family of Hyderabad Deccan in 1938. His father, Syed Manzoor Ahmed, taught Arabic and Persian at Aurangabad College, Hyderabad, Deccan, at the time of Ahmed Rushdi's birth.
Tragically, Ahmed Rushdi's father died when Ahmed Rushdi was only six years old. Ahmed Rushdi neither inherited music from any one, nor any body in his family was ever affiliated to music.
During those days, radio was a rare commodity. However, a radio set made its way to his house. From a tender age, Rushdi was fond of listening to the musical programs, including songs, which were broadcast from the radio.
Additionally he also possessed a good singing voice. Ahmed Rushdi's singing talents impressed a very close friend of Ahmed Rushdi's father, whom Ahmed Rushdi called uncle and who loved him dearly.
Ahmed Rushdi's uncle introduced him to his friend, who taught music at a local music academy in Hyderabad Deccan and enrolled Rushdi in that school.
Moreover, two popular composers of the time, M.A. Rauf and Iqbal Qureshi, also taught music in the same school. Thus, Ahmed Rushdi learned the basics of music from the afore-mentioned teachers. Soon, Ahmed Rushdi migrated to Pakistan along with his family and settled in Karachi in 1954.
His friends insisted and convinced him to participate in variety shows. Ahmed Rushdi made his presence felt in music programs, which also took him to radio Pakistan, Karachi.
Ahmed Rushdi started participating in children's programs on radio. The most popular radio program was 'Alif say Aban'. In 1954, he also recorded his first non-film song, 'Bunder road say keamari' ath the age of 16, which was written by Mehdi Zaheer. That song proved to be a steppingstone for his future aspirations. Memorable hits of Ahmed Rushdi Raat Saloni Aayi Baat Anokhi Lai, Movie : Zamana Kya Kahega Aaj Is Shahar Mein Kal Us Shahar Mein, Movie : Joker Raat Chali Hai Jhoom Ke, Movie : Josh Chalak Rahi Hain Mastiyan, Movie : Raaz Chal Na Sake Gi 420, Movie : Raaz Chand Sa Mukhra Gora Badan, Movie : Saperan Haal-e-Dil Humne Sunadiya To Bura Manoge, Movie : Aurat Ka Pyaar Chotti Si Yeh Titli, Movie : Anjan Gol Gappay Wala Aaya Gol Gappay Laya, Movie : Mehtaab Kisi Chaman Mein Raho Tum Bahar Banke Raho, Movie : Aanchal Wallah! Sar Se Paon Talak Mooj-e-Noor Ho, Movie : Daman Jab Raat Dhali Tum Yaad Aaye, Movie : Kaneez Akele Na Jana Humain Chodh Kar Tum, Movie : Armaan Betab Ho Tum Udhar Bechain Hain Hum Idhar, Movie : Armaan Jab Pyaar Mein Do Dil Milte Hain, Movie : Armaan Ko Ko Ko Reena, Movie : Armaan Meri Samajh Mein Kucch Nahin Aata, Movie : Behan Bhai Hello Hello Mr. Abdul Ghani, Movie : Behan Bhai Allah Bakhshe Waalidein ko, Movie : Tere Sheher Mein Bhooli Hui Hoon Dastaan Guzra Huwa Khayal Hoon, Movie : Doraha Haan Is Moor Par Is Jaga Baith Kar, Movie : Doraha Tumhain Kaise Bata Doon Tum Meri Manzil Ho, Movie : Doraha Aaye Meri Zindagi Aaye Mere Humsafar, Movie : Ahsan Madine Wale Se Mera Salam Keh Dena, Movie : Baazi Kabhi To Tumko Yaad Aaingi, Movie:Chakori Jane Mujhe Keya Hogaya, Movie : Bhaiya Husn Dekha Jo Tumhara To Khuda Yaad Aaya, Movie : Jahan Tum Wahan Hum Mujhe Talash Thi Jiski Woh Humsafar Tum Ho, Movie : Jahan Tum Wahan Hum Usay Dekha, Usay Chaha, Usay Bhool Gaye, Movie : Jahan Tum Wahan Hum Three Cheers For Bhabhi Hip Hip Hurray, Movie : Devar Bhabhi Kiya Hai Jo Pyaar To Paday Ga Nibhana, Movie : Dil Mera Dadhkan Teri O Lampak Jhampak Shampak Shoo, Movie : Eid Mubarak
The similarity in the structure and mode of playing musical instruments found in the Indus valley and those in other parts of the world is indicative of the close cultural and trade ties that existed amongancient civilizations
Chappar, chang and borrindo, are musical instruments of the Indus valley that have braved the ravages of the time and are still used in Sindhi music. The interesting fact is that chappar (castanets), Borrindo (clay trumpet) and chang (Jew's harp) are also used in other civilzations, some so far placed as Spain, the Mediterranean region and Australia. How these instruments travelled to these areas or whether they were brought to Indus civilization from other cultures is still unclear. However, the similarity in their structure and mode of playing gives rise to many probabilities, including those of close cultural and trade ties of the Indus civilization with other parts of the ancient world.
Chappar is also widely used in Spanish folk music. In European music, it draws its origin from ancient Greece where boot-shaped castanets were played. It is also likely that it was introduced to Spain through ancient Phoenician colonization or, in their pear-shaped form, by the Moors. The Spanish castantilde "chestnut", or a clapper consists of two hollowed-out pieces of hard wood, ivory, shells or other substance usually held in the hand and struck together according to rhythmic pattern of the musical composition. As a folk instrument played by dancers in Spain, the Balearic islands and southern Italy, they are pear-shaped, tied together by a cord firmly secured to the thumb and clapped with the fingers.
In the music of the Indus valley the ancient castanets were made of fire-baked clay and later from the hard wood. They are not tied together and are played by the singer with one hand while in the other hand, yaktara (single or two stringed instrument) is played. In Spain, the castanets are played with both hands in which a simple rhythm is performed on a pair held by one hand, while the smaller hand pair plays a more complicated rhythm. The castanets played in orchestra are attached to handles and shaken or fastened to a block of wood and played with the fingers or drumsticks.
The chang, played by the lips, has been in practice in the Indus valley since ancient times while in Mediterranean, Europe and the rest of the world, it is called Jew's Harp with no variation in size, structure and mode of playing.
The Borrindo, the other ancient instrument is a clay flute in the spherical form, hollowed from inside. This instrument is also in use in some African communities, aborigines of Australia and Irian tribes of Indonesia. While the similarity of the traditional instruments is strange to explain, what is more baffling is how and where this instrument originated? Which community borrowed it from the other?
Let us first see the origin of the chang of the Indus valley. All the musical instruments fall under four major categories: Enchordon or the stretched strings; the Pneumatikon or the wind-blown instruments; the Krousticon or the percussion instruments; and the Electrophones. Almost all civilizations have instruments falling in these categories, the basic phenomenon being to produce certain notes and rhythms.
Scrapping of notched bones and later wooden sticks was the most primitive form of producing rhythmic sounds. Blowing into shells and horns was an advancement and formed the basis of wind instruments. The presence of shofar, still being blown in synagogues on new year's eve, and Sankh in this subcontinent are two instruments that have survived and represent that group of ancient instruments.
The concept of stringed instrument came from the use of bow. The brief sound created by the bow's string after the release of arrow formed the basis of today's stringed instruments. The chang of the Indus valley, and played all over the subcontinent, is the reminiscent of the early Enchordon group improved by using mouth as sound membrane. It consists of a metal frame to which a metal tongue is attached. This metal tongue is free to be swung between the teeth when placed at the lips and subjected to vibrate when struck by the index finger, and the mouth serves as the sound box, creating a note which can be varied at will through human tongue. With strikes at regular intervals, a compositions is produced.
The borrindo, or the clay trumpet, is another ancient instrument that is still played in parts of Sindh. It is a hollow sphere of clay with one main hole to blow into while there are three or four smaller holes in semi-circular way that are closed and opened at the will of the player to create musical notes. A similar instrument with little variation, but smaller in size, is found in use in Australian aborigines.
From the ethnomusicological point of view, both these instruments fall in the utilitarian form of music serving the purpose of herdsman who roamed about in the grazelands, in late neolithic period or about 9,000 years back. By then, man developed the knowledge of metals. But we hardly find any sign of chang-like or Borrindo form of instruments on any archaeological relics found from Jericho or other Mediterranean civilizations. What we find are the lutes, lyres and pipes which are later developments.
The objects discovered from Moenjodaro (2600 BC), such as the dancing girl, and other Harrapan sites also reveal the existence of music during those days. Some of the seals show the existence of a Mirdang-like drum being played by an artiste. Mohammed Idrees Siddiqi opines that some seals show artists playing castanets and chang-like instrument, denoting that metals, besides wood, was used in making musical instruments in Moenjodaro and that the dancing faculty had developed to a proper form.
The invasion of Aryans (circa 1750 BC), was a turning point in the cultural life of the Indus people. It is said that the Aryans deprived the people of Moenjodaro of their lifestyle and culture only to be survived by those who fled to far places or migrated to other territories. It is generally believed that as invaders, the Aryans imposed their culture on Indus and other Harrapan people but historians like Romila Thapar suggest that it was not the natives who benefited from Aryan culture but the Aryans got more from the Harrapan people.
To many, the existence of Jew's harp in Mediterranean and other European communities may pose an enigma, but if we follow the trade track of the Indus valley entrepreneurs with Middle East and Mediterranean communities, a striking resemblance can be found in almost all walks of life. The export of cotton, textiles, dyes, and other objects to these areas make it plausible that instruments like chang might have found a new home in Mediterranean and was called Jew's harp.
The Indus-Harappan civilization had economic relations of two kinds with other communities. Such trade maybe considered to be of two kinds: first, the obtaining of materials and other goods from the village communities or forest tribes in regions adjoining the Indus plain, and second, trade with the cities and empires of Egypt and Mesopotamia.
For the trade with Mesopotamia there is both literary and archaeological evidence. The Moenjodaro script has not been deciphered because no similar scripts have been found which could help decipher it. Some of the seals were evidently used to mark the bundles of merchandise. Historians cite that during the period of Sargon of Akkad (2371-16 BC) and the Isin-Larsa Period (2020-1763 BC), trade between this region and Mesopotamia was at its height. It was perhaps during this era that cultural exchanges took place and later when mass migrations from central Asia, Mediterranean and Asia Minor took place, a large number of objects including musical instruments found new homes. Historical evidence suggests that the period corresponding to Akkadian rule, Moenjodaro had developed the use of metals which led to the invention of stringed instruments and chang was one of them.
As for castanets and Borrindo is concerned the phenomenon was born simultaneously in all civilization, the only difference being the variation of size and form. (By Shaikh Aziz)
Cockfighting is popular in Pakistan. Betting is illegal, but police often turn a blind eye towards it. In Sindh (one of 4 major provinces), people are fond of keeping fighting cock breed, known as "Sindhi aseel" in Pakistan. These cocks are noted being tall, heavy and good at fighting. Cock-fighting is popular in rural areas, despite the fact that animal-fighting is banned under Islamic Law.
Mehdi Hassan was born in the village of Luna in Rajasthan, India in 1927 into a family of rich traditional musicians. He claims to be the 16th generation of hereditary musicians hailing from the Kalawant. Kala means "Art" and Kalawant means "artist" (in any Indian language).
He received his musical training under his father, Ustad Azeem Khan and his uncle Ustad Ismail Khan who were classical musicians, well-versed in the dhrupad style of singing. They instructed him in classical music and voice production within the framework of classical forms of thumri, dhrupad, khayal and dadra, from the young age of eight.
Hassan started to perform at a young age and the first concert of dhrupad and kheyal with his elder brother is reported to have been held in Fazilka Bungla near Ferozepur. After the Partition of India, 20-year-old Hassan and his family migrated to Pakistan and suffered severe financial hardships. To make ends meet, Hassan began working in a bicycle shop and later became a car and diesel tractor mechanic. Despite the hardships, his passion for music didn't wither and he kept up the daily routine of practice. Career The struggle ended when Mehdi Hassan was given the opportunity to sing on Radio Pakistan in 1952, primarily as a thumri singer, which earned him recognition within the musical fraternity. At the time, Ustad Barkat Ali Khan, Begum Akhtar and Mukhtar Begum were considered the stalwarts of ghazal gayaki.
He also had a passion for Urdu poetry and began to experiment by singing ghazals on a part-time basis. He cites radio officers, Z.A. Bukhari and Rafiq Anwar as additional influences in his progression as a ghazal singer. They gave him ample opportunities to display his mastery over the ghazal on radio. He sang ghazals of all the renowned Urdu poets and his innovative style was soon appreciated by both masses and discerning audiences.
Hassan’s voice and unique performance skills in ghazal singing were unmatched in the world of South Asian music. The 60s and 70s can be named Mehdi Hassan’s decades’, as there was hardly any hero in the Pakistani musical scene on whom Mehdi Hassan’s songs were not filmed.
King of Ghazals Mehdi Hassan is universally acclaimed as the finest ghazal singer of his time. His unsurpassed vocal range and his mastery over even the most difficult of raags makes him the undisputed emperor of ghazals. His popularity amongst the masses, appreciation by the masses, and continued success over five decades makes him on par with Noor Jehan in the league of the greatest Pakistani singers of all time. The ultimate tribute to his greatness was from the eternal nightingale, Lata Mangeshkar, who compared his songs to " voice of god " . he is only the singer whose low note are matchless among all singers of subcontinent.
Parvez Mehdi and Talat Aziz are among his famous disciples who took his knowledge and rendition further to audiences..
Later career Following a severe illness in the late 80s, Mehdi Hassan stepped down from playback singing. Later due to severity of his illness he completely departed from music. He now lives a secluded life in Karachi which he has made his permanent residence. Nevertheless he often visits Lahore where he spends most of his time with his children and other family members. Awards He has been the recipient of numerous awards and recognitions: the Tamgha-i-Imtiaz granted to him by Gen Ayub Khan; the Pride of Performance bestowed on him by Gen Ziaul Haq; and the Hilal-i-Imtiaz conferred by Gen Pervez Musharraf. Besides the Nigar Film and Graduate Awards from Pakistan, he was presented the Saigal Award in Jalandhar, India, in 1979, whereas the Gorkha Dakshan Bahu Award was given to him in Nepal in 1983. Recently, he travelled to Dubai to receive yet another award. Some famous Ghazals. Aage barhe na qissa -e -ishq -e- butaan se hum Aaj Tak Yaad Hai Woh Piar Ka Manzar Aankhon Se Mili Aankhen Aap Ki Aankhon Ne Aaye Kuchh Abr Kuchh Sharaab Aaye Ab Ke Hum Bichde To Shaayad Kabhi Khwaabon Mein Mile Ae Raushnion Ke Shahr Apnon Ne Gham Diye To Yaad Aa Gaya Bhuuli bisri chand umeedein Chalte ho to chaman ko chaliye Charaag-e-toor Jalao Bada Andhera Hai Dekh to dil keh jaan se uthta hai Dil-E-Nadan Tujhe Hua Kya Hai ( Lyrics: Mirza Ghalib ) Dil Ki Baat Labon Par Laakar Dil Men Toofan Chupae Betha Hon Duniya Kisi Ke Pyaar Mein Jaanat Se Kam Nahin Dayam Pada Hua Tere Dar Pe Nahi Hoon Main Ek Bar Chale Aao Fikr Hii Thaharii To Dil Ko Fikr-E-Khubaa.N Kyo.N Na Ho Ga Mere Dewane Dil Garmii-E-Hasarat-E-Naakaam Se Jal Jaate Hai.N Gulo.N Me.N Rang Bhare, Baad-E-Naubahaar Chale Gulshan gulshan shola e gul ki Guncha-e-Shauq Laga hei Khilne Hamari Sanson Men Aaj Tak Har Dard Ko Hum mei koi ghum nahi tha ghum-e-aashiqi sai pahlay Ik Husn Ki Dewi Se Mujhe Pyaar Hua Thaa Jab Bhi Aati Hei Teri Yaad Kabhi Shaam ke Baad Jab Bhi Chahen Ek Nai Sorat Jab Bhi Pee Kar Jab Koi Piar Se Bulaae Ga Jahan Jake Chain Kahan Gai Woh Wafa Kiya Hei Pyaar Jisse Humne Zindagi ki Tarah Kya Bhala Mujhko Parakhne Ka Nateeja Nikla Kyoon Humse Khafa Ho Gaye Ae Jaan-E-Tamanna Main Hosh Mein Tha Mohabat Karne Wale Mohabat Zindagi Hai Aur Tum Meri Mohabat Ho Mujhe Tum Nazar Se Gira To Rahe Ho Naavak andaz jidhar diida-e-jaana honge Phuul hi phuul khil utthe Pyaar Bhare Do Sharmile Nain Rafta Rafta Wo Meri Hasti Ka Saamaan Ho Gaye Ranjish Hi Sahi Dil Hi Dukhaane Ke Liye Aa Rim Jhim Ki Barsaat Hai Aur Jaage Huye Jazbaat Hain Saamne Aa Ke Tujhko Pukara Nahin Sahar Ho Rahi Hai Shikwa Na Kar Gila Na Kar Ye Duniya Hai Pyaare Shola Tha Jal Bujha Hoon Tanha Thi Aur Hamesha Se Tanha Hai Zindagi Tark-e-Ulfat Ka Sila Tere Bheege Badan Ki Khooshboo Se Tere Mere Piar Ka Aisa Nata Hai Thah ar Thorri Der To Tu Meri Zindagi Hei (Copied by Nadeem Sharavan in "Ashiqi" Hindi Movie India) Usne Jab Meri Taraf Uzr Aane Mein Bhi Hei Aur Bulaate bhi nahin Wo Dil Nawaaj Hei Lekin Nazar Shinaas Nahin Yaaro Kisii Qaatil Se Kabhii Pyaar Na Maa.Ngo Ye Dhooan Kahan Se Uthta Hei Ye Kaghzi Phool Jaise Chahre Ye Mojazaa Bhii Muhabbat Kabhii Dikhaaye Mujhe Ye Tera Naazuk Badan Hai Ya Koi Mehka Gulaab Yoon Zindagi Ki Raah Mein Takra Gaya Koi Zindagi Mein To Sabhi Pyaar Kiya Karte Hain Zulf Ko Teri Ghataon Ka Payam Aaya Hai
Syed Zaheer Abbas سید ظہیر عباس (born 24 July 1947) is a former Pakistani cricketer regarded as one of the finest batsmen produced by that country.
Zaheer played his first Test in 1969, and in his very second Test he scored 274 against England, still the fourth ever highest score by a Pakistani batsman. This was the first of four double-centuries Abbas made; only six men have scored more. Abbas, fondly called the 'Run Machine', also had great success in first-class cricket, and is the only Asian batsman to have scored one hundred first class centuries. . He also had a long stint with Gloucestershire; joining the county in 1972, he remained there for thirteen years. During that time he scored over a thousand runs in the majority of his thirteen seasons. He also made over two thousand runs in a single season on two occasions for the club (1976 and 1981). During those thirteen years at Gloucestershire he played 206 First Class games, scoring over 16,000 runs. He averaged 49.79, hitting 49 100s and 76 50s. Sunil Gavaskar, the former Indian Test captain, has said while commentating that the Indian players would often say to Zaheer, "Zaheer Ab-bas karo", which means "Zaheer, stop it now" in Urdu and Hindi, referring to Abbas' free scoring. He remains the second highest on the all-time ICC ODI batting rankings.
Zaheer retired from international cricket in 1985, and has officiated as a match referee in one Test and three ODI matches.
Zaheer is known in Pakistan as the "Asian Bradman", a reference to former Australian great Sir Donald Bradman Test Centuries Zaheer Abbas's Test Centuries Runs Match Against City/Country Venue Year  274 2 England Birmingham, England Edgbaston Cricket Ground 1971  240 15 England London, England The Oval 1974  101 21 Australia Adelaide, Australia Adelaide Oval 1976  176 27 India Faislabad, Pakistan Iqbal Stadium 1978  235* 28 India Lahore, Pakistan Gaddafi Stadium 1978  135 31 New Zealand Auckland, New Zealand Eden Park 1979  125* 46 Sri Lanka Lahore, Pakistan Gaddafi Stadium 1982  126 51 Australia Faislabad, Pakistan Iqbal Stadium 1982  215 53 India Lahore, Pakistan Gaddafi Stadium 1982  186 54 India Karachi, Pakistan National Stadium 1982  168 55 India Faislabad, Pakistan Iqbal Stadium 1983  168* 70 India Lahore, Pakistan Gaddafi Stadium 1984
One Day International Centuries Zaheer Abbas's One Day International Centuries Runs Match Against City/Country Venue Year  108 20 Pakistan Sydney, Australia Sydney Cricket Ground 1981  123 26 Sri Lanka Lahore, Pakistan Gaddafi Stadium 1982  109 31 Australia Lahore, Pakistan Gaddafi Stadium 1982  118 34 India Multan, Pakistan Multan Cricket Stadium 1982  105 35 India Lahore, Pakistan Gaddafi Stadium 1982  113 36 India Karachi, Pakistan National Stadium 1983  103* 42 New Zealand Nottingham, England Trent Bridge 1983