Pakistan’s Music Scene: Would Billo or Chief Saab Approve?

Urdu and Punjabi pop have swept Pakistani teenagers, as well as adults, off their feet.

Pakistan is swinging these days—and one is not talking about the inswings or outswings of cricket batsmen. The country is swinging to the beat of popular music, suddenly all the rage. Youngsters are dancing to the tunes of Sayen Sayen Mera Sucha Sayen Too Hai" (God you are my truth) by Ali Azmat or "Assan te jana Billo de Ghar, Kinne Kinnejana Billo de Ghar" (We all want to go to Billos house, whos coming to Billos house?) by Abrar-ul Haq, or "Bus Bhai Bus Zyada Baat Nahin Chief Saab" (Enoughs enough, boss) by Sajjad Ali-not to mention the all-time favourite, "Mast Mast" by Nusrat Fateh Ali Khan.

The initial wave was started by stateowned Pakistan Television, which tapped the pulse of the times by airing music videos by local groups in the programmes Pepsi Top of the Pops and Lolly wood Top Ten. This was indeed a far cry from 1989, when the religious right created such a furore over PTVs broadcasting a pop music programme that it nearly toppled Benazir Bhuttos first government.

In Pakistan, pop music can generate as much controversy as its nuclear programme, but PTV was willing to try again. This time, the music scene really took off with the cultural festivities associated with the Cricket World Cup. Lahori boys and girls, who are generally segregated in public, could be seen swinging to the tune of "Billo De Ghar" on television. The move invited the wrath of the clergy and the scandal-loving opposition, but there was no stopping the music craze.

Enoughs Enough

 When the Karachi-based Sajjad Ali sang "Chief Saab", he hardly expected the Urdu song to create such an impact in Pakistans music scene, to the extent of inspiring a full length feature film. Similarly, Abrars Punjabi language Billo, with its catchy bhangra-beat, was a runaway hit all over the country. It blared from car decks, at weddings and at the swankiest New Year parties.

Abrars maiden cassette release is said to have sold 200,000 copies, and, unlike popular local tunes of the past, the song seems to have struck a chord with everyone. Even a maulvi in a Lahore mosque was recently heard calling the faithful with a tuneful "Kinne Kinne ]ana Rasool de Ghar" (Whos coming to the house of the Prophet?). The song has also been featured in a film, Munda Tera Devana (The boys crazy about you) and a host of plagiarised variations have been recorded.

The boyish-looking Abrar, an unknown before the release of Billo, used to teach geography at Lahores elite Aitchison College for Boys (the Chiefs College of colonial times). Billo instantly found an audience even among young urban sophisticates whose musical interests rarely lean towards anything local. Rumour has it that Abrar was kicked out of the college because of the notoriety of his song, but he denies this, saying he quit teaching to concentrate on his music and studies.

Pop Commentators

It could be said that both Chief Saab and Billo reflect the present-day social and political psyche of Pakistanis. Specifically, they seem to speak the publics mind against the mindless violence that has overtaken the land, and on the need to free the social agenda from the clergys grip.

If Sajjad Alls song focuses around a man who, fed up with criminal life, finally tells his Chief Saab that hes quitting, Abrars Billospeaks of the innocent desires of a young man expressing sentiments for his beloved. Chief Saab, in particular, is a commentary on the never-ending violence in Karachi, the bomb blasts that are rocking different parts of the country, and the overall environment of fear and discontent.

Although there is nothing new in the idea of a heros defection from a criminal gang in Chief Saab or in a young mans love for his Billo, the expressive, street-smart lyrics and lively tunes of these songs have made all the difference. In Billo, Abrar skillfully employs the slang of self-conscious urban youth, with lyrics like "Gel shel la key, kangi shangi wa hey" (After putting on hair gel, combing and grooming…).

Sajjad Ali may have had no political target in mind when he penned the lyrics to his song, but it is said to have reached (and offended) a certain "Chief Saab" in Karachi. (Eyes turned to Afaq Ahmed, leader of the Haqiqi group which defected from the Mohajir Qaumi Movement, who is called Chief Saab by his comrades.) According to some reports, the singer even received a thrashing from the Chief Saabs henchmen-which Sajjad All denies.

As for Billo, it has remained for months on top of Pakistans music charts, and critics have rated it the best song of 1995. However, it too has attracted the ire of members of the public, particularly young men whose sisters happen to be named Billo (a popular nickname in Punjab). The streets of Lahore are dangerous for potential Romeos singing the song near the homes of real-life Billos. Some womens organisations have objected to the Abrars lyrics, terming it anti-feminist. A certain grandmother doesnt like him because her nickname happens to be Billo, and only her late husband was allowed to call her thus. Someone else has even moved the Lahore High Court on the matter, but, if anything, these reactions have made the song even more popular.

"Although I still love and own Billo, I apologise to those who have or had any problems with the song," says singer and lyricist Abrar. "It was not meant to start fights and quarrels, it is about love and love only."

"Who is Billo?" Abrar was asked before the release of his album. "Nobody," he replied. "Its only a fantasy." But a fantasy that has struck a chord in the country.

Billo and Chief Saab both speak to unsettled times in Pakistan, one a paen to love, and the other a rebuke to brutality and chaos.