Annural Khalid and Burrah's 'Mumtaaz' is new Punjabi hit
On Wednesday, Annural Khalid, a rising star in Pakistan's music scene, released her new song, Mumtaaz, in collaboration with Indian artist, Burrah. The track, produced in conjunction with Warner Music India, showcases Annural's unique blend of chill pop and R&B, genres she has adeptly incorporated into her previous works. In the short and sweet number, Burrah longs for his lady love Mumtaaz, who he keeps searching for. The melancholic Punjabi lyrics are sung on a landscape of an even, mid-tempo beat.
The collaboration between Annural and Burrah on Mumtaaz was highly anticipated, as both artists bring their unique sound and perspectives to the project. Netizens swarmed to Burrah's Instagram post with excitement. One user dubbed the two artists "a lethal combination" while another ruminated "a parallel universe where Punjab didn't get divided".
Known for her soulful compositions and distinctive voice, the Dil De Bol singer has been making waves both locally and internationally.
In January 2024, she was honoured as Spotify's first female RADAR Artist in Pakistan, a testament to her growing influence in the music industry. Her track Trust Issues was featured on Spotify's EQUAL Pakistan playlist, highlighting her versatility and appeal. In addition to her musical achievements, Annural's presence in New York's Times Square underscores her international recognition, reflecting her dedication and the global reach of her music.
Alongside Annural, Burrah is another talented artist involved in the release. The Chaanani singer has been a dynamic force in India's indie music scene, blending hip-hop, alternative, and electronic influences. His style has resonated deeply with a wide audience, making him one of the most exciting and versatile names in contemporary Indian music. The singer's recent tracks have garnered attention for their experimental approach and thought-provoking lyrics, establishing him as an influential figure in the underground scene.
The track is now out on all streaming platforms.
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Express Tribune
a day ago
- Express Tribune
I have to say what's necessary for society: Banu Mushtaq
All writers draw on their experience, whether consciously or not, says Indian author Banu Mushtaq – including the titular tale of attempted self-immolation in her International Booker Prize-winning short story collection, as reported by AFP. Mushtaq, who won the coveted literature prize as the first author writing in Kannada – an Indian regional language – said the author's responsibility is to reflect the truth. "You cannot simply write describing a rose," said the 77-year-old, who is also a lawyer and activist. "You cannot say it has got such a fragrance, such petals, such colour. You have to write about the thorns also. It is your responsibility, and you have to do it." Her book Heart Lamp, a collection of 12 powerful short stories, is also her first book translated into English, with the prize shared with her translator Deepa Bhasthi. Critics praised the collection for its dry and gentle humour, and its searing commentary on the patriarchy, caste and religion. Mushtaq has carved an alternative path in life, challenging societal restrictions and perceptions. As a young girl worried about her future, she said she started writing to improve her "chances of marriage". Born into a Muslim family in 1948, she studied in Kannada, which is spoken mostly in India's southern Karnataka state by around 43 million people, rather than Urdu, the language of Islamic texts in India and which most Muslim girls learnt. She attended college, and worked as a journalist and also as a high school teacher. 'Confused' But after marrying for love, Mushtaq found her life constricted. "I was not allowed to have any intellectual activities. I was not allowed to write," she said. "I was in that vacuum. That harmed me." She recounted how as a young mother aged around 27 with possible postpartum depression, and ground down by domestic life, she had doused petrol on herself and on the "spur of a moment" readied to set herself on fire. Her husband rushed to her with their three-month-old daughter. "He took the baby and put her on my feet, and he drew my attention to her and he hugged me, and he stopped me," Mushtaq told AFP. The experience is nearly mirrored in her book – in its case, the protagonist is stopped by her daughter. "People get confused that it might be my life," the writer said. Explaining that while not her exact story, "consciously or subconsciously, something of the author, it reflects in her or his writing". Books line the walls in Mushtaq's home, in the small southern Indian town of Hassan. Her many awards and certificates – including a replica of the Booker prize she won in London in May – are also on display. She joked that she was born to write – at least that is what a Hindu astrological birth chart said about her future. "I don't know how it was there, but I have seen the birth chart," Mushtaq said with a laugh, speaking in English. The award has changed her life "in a positive way", she added, while noting the fame has been a little overwhelming. "I am not against the people, I love people," she said, referring to the stream of visitors she gets to her home. "But with this, a lot of prominence is given to me, and I don't have any time for writing. I feel something odd... Writing gives me a lot of pleasure, a lot of relief." 'Patriarchy everywhere' Mushtaq's body of work spans six short story collections, an essay collection and poetry. The stories in Heart Lamp were chosen from the six short story collections, dating back to 1990. The Booker jury hailed her characters – from spirited grandmothers to bumbling religious clerics – as "astonishing portraits of survival and resilience". The stories portray Muslim women going through terrible experiences, including domestic violence, the death of children and extramarital affairs. Mushtaq said that while the main characters in her books are all Muslim women, the issues are universal. "They (women) suffer this type of suppression and this type of exploitation, this type of patriarchy everywhere," she said. "A woman is a woman, all over the world." While accepting that even the people for whom she writes may not like her work, Mushtaq said she remained dedicated to providing wider truths. "I have to say what is necessary for the society," she said. "The writer is always pro-people... With the people, and for the people."
Express Tribune
3 days ago
- Express Tribune
The fall of Bollywood's conscience
In the great theatre of the subcontinent, many roles are played. The diplomat with his pocket square, ever so cautious, so vary of his words; the journalist with his war drum baritone and breaking news ticker; the general adorned in ranks, with his maps, military insights and strategically placed metaphors. But perhaps the most watched performers, the ones that garner the most eyeballs, are the stars, the celebrities, the legends of celluloid — those silken, sculpted, social-media-verified wonders of Indian cinema, who, in times of tension, often hold more sway over the hearts of their fans than even actual heads of state. So, when the most recent diplomatic domino between Pakistan and India began to fall, sparked by a tragic incident in Kashmir and snowballing into a full-blown chest-thumping war mongering chaos, eyes obviously turned to the borders. For the latest updates and bulletins, eyes turned to the news. And for everything in between, they turned to mobile screens. While the news cycle monopolised missile updates and water cooler conversations stoked further trepidation, it was on social media, Facebook and Instagram pages, and Threads of the world that we witnessed, some with a shrug and others with resignation, a curtain fall. The fanfare of nationalist fervour is nothing new. We have seen it before — during surgical strikes, border standoffs, even high-stake cricket matches. But this time, it felt different. The air itself had a simmering quality to it. This time, it was the power corridors of Bollywood that stood in a staunch and ignoble salute. Fan favourite stars from the lauded Bollywood pantheon, like Akshay Kumar, whose recent filmography reads like a defence ministry-sponsored resume, wasted no time. His message was swift: unwavering support for the Indian response, patriotic hashtags, and a pixel-perfect picture of the tri-coloured flag. Quick on his heels was the ever-so-predictable Kangana Ranaut, Bollywood's resident Rottweiler of righteousness. Never known for subtlety, Ms Ranaut deemed it appropriate to post that Pakistan was a 'terrorist nation' and called for the 'cleansing' of traitors. 'These [insert PC term for insects known for their signature infestations and filth] should be nuked' she said. And in doing so India will actually be doing the entire world a huge favour. Even the usually discreet monoliths — Hrithik Roshan, Ajay Devgan, and Shahid Kapoor chimed in with near-identical messages support for the armed forces, for the government, for decisive action. A methodical barrage of copy-paste nationalism. Who would have thought that the modern face of digital diplomacy could be achieved in 280 characters or less? Citizens of a proud nation simply supporting their sovereign nation? That wasn't jarring really. Why would anyone assume otherwise? Why wouldn't the slumbering nationalism be kindled by the horns of war? But what truly unsettled fans, particularly across this side of the border, was how quickly this nuance petered out. And in that silence, there seemed to be no room for peace, no space for reflection. The world's biggest democracy was suddenly rendered to be nothing more than an echo chamber. Perhaps the most painful silence was from those who once told stories that made these very borders blur. Alia Bhatt, beloved on both sides of the Wagah gate, posted a vaguely-worded graphic: 'Strength. Solidarity. Resilience.' It was the PR version of nodding solemnly and exiting stage left. And then there was the illustrious Karan Johar whose popularity spikes are the bread and butter of the expat South Asian demographic (in its gargantuan entirety) posted an Indian flag. No caption, no context. Just 'vibes'. A hard one to reconcile was the bard of Bollywood, Javed Akhtar, also known as the poet of peace and author of anthems. The same man whose verses once melted hostility into harmony, proclaimed 'I'd rather go to jahannum (hell) than go to Pakistan'. Not a great commendation for his own nation in which he currently was, observed one keen eyed netizen. For Pakistani fans, this was nothing short of watching your favourite uncle suddenly flip the dining table during Eid lunch. Praise be, all was not lost. Amidst this morbid uniformity, a few voices of dissent also joined in on the chorus; one such unexpectedly (but most welcomingly) from Sonakshi Sinha. While others laced up their patriotic boots, she dared to 'run amok' on Instagram. 'The Indian media has lost the plot. This isn't journalism, it's dangerous fiction.' No flags. No warmongering. Not a battle cry. Just a slice of honesty. A whisper in fact. Of course, Ms Sinha was swiftly trolled, memed, accused of being 'anti-national,' and told to go to Pakistan (a favourite insult, it seems, for anyone who suggested peace in that time). But she reminded us of something crucial: bravery isn't always about standing tall. Sometimes, it can just be about not sitting down when everyone else has. While India's celebrity class was actively engaged in staging their synchronised salute, the world also had the pleasure (read titillation) of tuning into a very different performance, one that took place on Piers Morgan Uncensored. There, sat across from each other, were Barkha Dutt and Hina Rabbani Khar. One Indian. One Pakistani. One a journalist. One a former foreign minister. Both articulate, accomplished women; razor-sharp, and blessedly allergic to nonsense. Khar, with her characteristic calm and poise, spoke of nuance, context, and the inherent dangers of nationalist hysteria. Barkha, no stranger to war reporting, put on a grand show, pushing back at every notch she possibly could. For a brief moment outside the 'theatricality', the screens became a classroom. One where nobody yelled 'Jai ABC' or 'Death to XYZ', and everyone simply listened. What a contrast to Instagram's red carpets of conformity it truly was. For Pakistanis, Indian cinema has been primarily for entertainment, but additionally, it has also been a companion. A cultural mirror that everyone in the south Asian region can glom onto seeking valid representation and actually 'be seen' by the rest of the world. Bollywood to Pakistanis has been a secret rebellion against political bitterness. From DDLJ and Devdas posters adorning every other inner-city salon in major urban locales to Arijit Singh, Shreya Ghoshal and Diljit Dosanjh being played at almost every wedding function and celebration, Bollywood has always held an intimate and fortified place in our hearts. It is reasonable then that this moment in history did not go over too well with the Pakistani audience. It felt much like, to perhaps the uninitiated, being ghosted by someone who you had once loved unconditionally. To see your once revered icons tweet in unison about severe military action against your homeland with such brazen callousness was unmistakably heartbreaking. Especially when you factor in how the majority of it all actually appeared performative — as opposed to genuine patriotism. And what of the audiences who always consumed Indian cinema with rose-tinted nostalgia? Many now found themselves confused, disappointed, and quietly (but profoundly) wounded. It wasn't just that stars didn't advocate for peace, it was that they didn't seem to care really. No acknowledgement of the mutual love they received across the border. No reminder that their music was the soundtrack of Pakistani childhoods, their dialogues recited in college hallways. Instead, silence. And silence, when given a platform, can be very, very loud. Why did this happen? Why didn't more stars speak out for peace? Well, it's not just about courage. It is also about contracts. Since 2014, Indian cinema has become increasingly aligned with the political establishment du jour. Films like The Kashmir Files are tax-exempt. Directors with the 'right' politics get easier approvals, cheaper insurance, state PR. Meanwhile, those with inconvenient opinions get labelled 'urban naxals' or 'tukde tukde gang.' Ask Deepika Padukone, who showed up at a student protest in 2020. She said nothing, just stood there. But that silence cost her millions in brand deals and led to calls for a boycott of her film. The writing on the wall was quite clear: dare to speak against the tide, and you shall be made to disappear. Even the once mighty and untouchable Khans, Shah Rukh, Salman, Aamir, have faced the wrath of their fanatical home-grown audience, and have been left with no choice but to play it safe and stay 'mum'. Not long ago, SRK's son was jailed under suspicious circumstances with King Khan jolting from lawyers' chambers to police stations as an inconsequential and lowly civilian. Aamir was attacked for his wife's comments on rising intolerance and his movie 'Laal Singh Chadda' was massacred in the box office for his alleged (and somewhat imagined) anti-state rhetoric. Even Salman who has always kept his alliances clear has become a prisoner of the gallows, living in anguish under the ever-looming threat of the Bishnoi gang. We know, we understand and feel empathy for these stars. But not all was lost. Anurag Kashyap, never one to bow, tweeted cryptically about how 'conformity is not the same as unity.' Another personality, often chastised for her exceptionally 'woke' stances, Swara Bhasker shared an article on the need for empathy, adding: 'Peace isn't weakness. Hate isn't strength.' These voices were barely audible, drowned out by hashtags and hyperbole. But they mattered. Because resistance doesn't always come with fireworks. Sometimes, it just comes with a spine. This could have been a moment. A cinematic plot twist. Imagine if Shah Rukh had posted a throwback clip from Main Hoon Na. Or if Madhuri had tweeted 'Peace is patriotic.' If Priety Zinta had only quoted a line from her famous Veer Zaara song 'Aisa Des Hai Mera'. If Ranveer Singh had just... danced it out? But no. All we got brand-safe statements, media-managed mentions, and a whole lot of silence. What a story it could have been. What a script we missed. There was a time when Indian films imagined a better world. When screenwriters flirted with forbidden love across borders, when a song could soften suspicion, and when a poem could become protest. Today, those scripts are shelved, their authors quiet, their protagonists, for all intents and purposes, neutered by eagle-eyed publicists and spectres of political correctness. So here we are, popcorn in one hand, a tear stained handkerchief in the other, looking at the silver screen, waiting for someone, anyone, in this great theatre of the subcontinent, to play the role of the artist again. To remind us that before they were influencers, stars were simply storytellers. That their job was not just to reflect power, but to sometimes question it. And perhaps one day, they will. When it's safer. When the script changes. When bravery is back in vogue. Until then, we are left with silence. Polished. PR-approved. Politically correct. But silence nonetheless. Shahzad Abdullah is a PR and communications strategist, cultural curator and director of communications at Media Matters All facts are information are the sole responsibility of the
Express Tribune
5 days ago
- Express Tribune
Sabrina Carpenter drops new single ‘Manchild' and fans call it the summer anthem
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