** Back to posting lies again… Where did Nusrat deny the whole thing… He only denied that he never said Indian artists should be banned… Can you prove where he denied he said that Indian artists lack talent? (which by the way is so true)… Besides, he was already pissed at the indian idiots who copied his songs…**
As proven in this thread, asif_k ki aik bar phir dhoti jal gayi… btw, choohay buyat yaad arahey hain? indian airlines par tu nahee travel kiya recently?
Yeah Televised on PTV and Nusrat Chooha Khan Chaudhary telling this to the whole world :rotfl:
Since Peter Gabriel is the God for you and the you think he worked with Only NFAK, Here is what Peter Gabriel said about some Indian Artists :-
***“I have worked with L Shankar over the last ten years, and I have
probably been most influenced by his playing. It is the soulfullness in
the best Indian music that I love. For example, I had the chance to work
with a wonderful vena player called Ghopal Shankar Misra, who sadly died last year, and I hope some of his playing may appear on the next album. I also love the way different ragas evolved for different times of the day, and I am very attracted to the mix of improvisation and discipline. I heard some wonderful flute music recently by Ronu Majumdar. ***”
http://www.connectmagazine.com/JAN2001/Jan2001PG.html
Clearly your knowledge to Indian music is limited to the trash you live in.
Ps :- Now I know you will come back and call Peter Gabriel a Liar too :rotfl:
Another one of your lies :rotfl::rotfl:
*“NUSRAT was blessed with abundant patience; even while discussing copyright violations of his songs by some Hindi film music composers in India, he exhibited no outward signs of anger. He may have been flattered by the imitation, but he also felt that it was unjust. Yet he would not even contemplate taking action against them, for he did not want to indulge in mudslinging.” *
Here is one more special report from Dawn :-
http://www.dawn.com/events/millennium/29.htm
The tradition lives on…
By Shaikh Aziz
The political and social upheaval in the subcontinent could not break the basic structure and indigenous identity of South Asian music
The musical heritage of the subcontinent spans more than 5000 years during which it came to be exposed to a host of influences, both positive and negative. With every political, religious and sociological change brought on by countless military invasions the music of the subcontinent also underwent radical changes. Even so it always succeeded in retaining most of its basic structure and indigenous identity.
The Vedic music of earlier centuries changed under Turko-Arab-Persian influence lasting for over a thousand years. In the thirteenth century the subcontinent’s music was divided into two distinctive schools - the northern Indian music and South Indian or the Karnatica music. Before the advent of the Muslims, music was mostly confined to ritual forms of Chhand, Durband and Dhurpad. Muslims added Khayal, Thumri, Dadra, Tappa and Ghazal. These forms added a new flair to the musical heritage.
During the twentieth century, music in this part of the world came under western influence. The British in an effort to impose their culture on the subcontinent, introduced orchestration. They brought in alien instruments such as harmonium, clarinet, trumpet and violin. Many organizations of symphony and orchestration were formed and attempts were made to write Indian music in western staff notations. But it goes to the intrinsic strength and superiority of the indigenous music that it soon adapted these instruments to its own requirements. Today the harmonium is a basic instrument of accompaniment.
In the latter half of the century, the music of the subcontinent came to be confronted with new challenges. On the positive note, the advent of electronics added a new dimension to the quality of music, as it brought music to the average listener, specially the classical music which was till then confined to the royal courts. And on the not-so-positive note, the rising influence of jazz, rock and pop in all their various facets threatened the indigenous classical genre. But the sound foundations on which music in South Asia was built enabled great masters like Pundit Vishnu Digambar, Bhatkhande and others to survive the onslaught with only minor bruises.
Music in the first half of the century was particularly very productive. Big names like Allah Diya Khan, Allauddin Khan, Abdul Aziz Khan, Digambar, Bhaskar Rao, Ashiq Ali Khan, Abdul Waheed Khan, Abdul Karim Khan, dominated the scene and music came to be identified with Gharanas - Kirana, Tilwandi, Patiala, Agra, Gwaliar, Mewati, etc.
After independence, a lot changed but the tradition of music remained largely intact. Bundu Khan, Nathoo Khan, Akhtar Hussain Khan, Amanat, Fateh, Nazakat and Salamat came to Pakistan. Later, they were joined by** Bare Ghulam Ali Khan but due to the apathy of the government he spent some miserable days and went back to India where he was accorded Padma Bhooshan and died honourably.** In India, great masters like Abdul Wahid Khan, V. D. Pulskar, Amir Khan, Rajab Ali Khan, Mushtaq Hussain Khan, Begum Akhtar, Hirabai Barodekar, Fayaz Khan, Omkarnath Thakur, Girija Devi, Kumar Gandharwa, Gangoo Bai Hangal etc gave new life to classical music. Among the present-day generation a new liking for the classical music has drawn a number of highly educated literate artistes, some of them even abandoned their professions in microbiology and engineering and adopted music as their living. **At present over 5,000 artistes are engaged in the pursuit of music, among them are masters like Pundit Jasraj, Pundit Bhimsen Joshi, Dr Prabha Atre, Kishwari Amonkar, Malini Rajorkar, Perveen Sultana, Nirmala Devi and Ganpatti Bhat. **
India has also produced a number of great instrumentalists. A few of them are Allah Diya Khan, Bismillah Khan, Vilayat Khan, Allah Rakha, Ahmed Jan Thirakwa, Ravi Shankar, Ali Akbar Khan, Panalal Ghosh, Amjad Ali Khan, Shivkumar Sharma and Dr M. Rajam.
At the time of independence, Pakistan had a galaxy of artistes Some of them were Roshan Ara Begum, Mubarak Ali Khan, Sardar Khan, Bhailal Chhela, Barkat Ali Khan, Bundoo Khan, Umeed Ali Khan, Habib Ali Khan Beenkar and Allah Ditta Khan.** But owing to bureaucratic indifference and lack of public support, they all faded with the passage of time. Whenever, a maestro died, there was no one around to succeed him and carry on the tradition, and classical music suffered heavily.** At present Hamid Ali Fateh Ali, Amjad Amanat, Ghulam Hussain Shagan, Suraiya Multanikar, Ashraf Sharif, Saleem Khan, Rustam Fateh Ali, Badruzamman Qamaruzamman, Akhtar Ali Zakir Ali, Sharafat Ali comprise the total legacy of classical music we are left with. With the exception of Mehdi Hassan, Malka Pukhraj, Iqbal Banu, Farida Khanum and Tahira Syed, the** Ghazal or Thumri gaikee, too, is on the way out in Pakistan. **
Film music
Besides classical music, folk, film and fusion music are the other areas in which music has undergone visible changes in the subcontinent. In the pre-independence period, film music drew its existence from the theatre music which later changed in content and form. While in India, music directors such as Master Ghulam Haider, Naushad, Anil Biswas, Khemchand Parkash, Master Sajjad and O.P. Nayar produced some of the memorable tunes; in Pakistan Khurshid Anwar, Baba Chishti, A. Hameed, Tasadduq Hussain, Robin Ghosh, Sohail Raana and Nisar Bazmi made outstanding contribution in the field of film music. Some of their compositions were even copied by Indian musicians. And of course, the melody queen, Noorjahan dominated the scene for decades.
The western influence on film has been overly visible on film music in both India and Pakistan. During the 1950s, rock-n-roll, African and Latin American music was evident in compositions. Film directors used to make a conscious effort to create a situation wherein they could add at least one club song or dance for accommodating western tunes. This fusion tendency found instant popularity which continued for quite some years till in the 1980s it was overshadowed by another western influence - the pop.
Modern music
Today’s pop is quite different from the earlier one. In the beginning, the western pop was directly copied along with its chords, but the present generation of modern singers took cue from folk music. Sohail Raana’s efforts need special mention in this regard. Indian musicians made a fuller use of modern influences and folk music and created a number of new compositions.
An example of the folk influence on film music is the popular Indian song ‘Chhanyaan Chhanyaan’ which has been copied from Pakistan’s Seraiki kafi ‘Thayaan Thayaan’ sung by Faqir Abdul Ghafoor, thirty years ago. One name that cannot be overlooked is that of Nusrat Fateh Ali Khan who has left an indelible mark on modern folk singing in the subcontinent.
In India, composers such as A.R. Rehman, Bally Sagu, Gulshan Kumar, Jatin-Latlit and Anu Malik continue with their efforts. Singers like Daler Mehndi, Sukhbir, Ila Arun mix western music with the Indian folk. In Pakistan, pop singers Alamgir, Mohammad Ali Shehki and Nazia/Zohaib founded the modern music of Pakistan in the mid-1980s. New singers such as Sajjad Ali, Ali Haider, Shahzad and groups like Junoon, Vital Signs and Aawaaz have created some scintillating compositions which reflect the modern influence.
Folk music
Pakistan and India are two countries where folk music has survived over the centuries. This is the true cultural heritage that has thrived with popular support and acclaim.
In Pakistan, the institution of folk music is as alive today as it ever was. The Punjabi, Seraiki, Sindhi, Baloch, Pashto, Balti, Chitrali, Sheeni, Kashmiri, Pothohari, Sohni are the main strains. Zahirok, Durgaee, Nimkai, of Baloch music, Mahya, Dhola, Bhangra, Kikli of Punjab, Kohiyari, Rano, Sorath of Sindh, Chaarbita of Pushto music, Sortha and Teej of Rajasthan are some of the rich compositions that have been preserved for ages by the people. Some of our modern composers have used this heritage and reset the tunes in modern compositions. Faiz Mohammad, Reshmaan, Mai Bhagi, Pathane Khan, Alam Lohar sang some of the traditional folk songs which became instantly popular among the urban population.
The 20th century could be said to be the confluence of several influences. This century saw successive changes in the form and content of the music of the subcontinent. Perhaps, no other century brought about such dynamic changes in the realm of music - be it classical, folk or film. Technology also played a great role in this. The transistor, television, loudspeakers and now the audio cassettes and cds not only revolutionized communication they also made music more accessible to the masses.
^
Aaj pata chala ke kutey ke dum kion sedhi nehein hoti.
Are jaane de yaar spock hai hi aisa 
.
it was directed to you.
Asif, posting stuff that has nothing to do with the fact that Nusrat said “India had no talent” doesnt prove anything on your part…
Nusrat believed Indian artists had no talent and said that, and never refuted that statement. The only statement he refuted was the one that he never said that he would like to see a ban on indian artists in Pakistan.
Oh, and everyone here is right, Asif is a kuttey ki dum, no doubt about it. Thats what the K stands for 
Now go and worship baghvan tendulkar while youre at it.
**An exasperated Nusrat was quoted as having said that the instances of plagiarism were indicative of a lack of talent among Indian music directors. *A few months back, another statement attributed to him, in which he reportedly said that Indian film and music personalities should not be invited to Pakistan, whipped up a controversy. Citing this, Shiv Sena chief Bal Thackerary ordered a “ban” on Nusrat. Nusrat later conveyed to Thackeray that it was not he but a person with a name similar to his who had made the statement (not statements, Mr. Asif_K). The Sena chief acknowledged that there had been a misunderstanding
See the words ‘citing this’ in the above? Pea-Brain?
[QUOTE]
*Originally posted by Spock: *
Oh, and everyone here is right, Asif is a kuttey ki dum, no doubt about it. Thats what the K stands for ;)
Now go and worship baghvan tendulkar while youre at it.
[/QUOTE]
aur koi aisey waisey kutey ki dum nehin hai yeh, kasi deith khujli waley kuti ki dum hai.
[QUOTE]
Originally posted by Spock: *
Asif, posting stuff that has nothing to do with the fact that Nusrat said *"India had no talent"** doesnt prove anything on your part...
[/QUOTE]
When did Nusrat said "India had no Talent " ?? I dont think Nusrat ever used that statement - Now you have started putting word in his mouth too.
Anyways, According to your ususal habit you have started calling names when lost an argument. Keep Quoting Nusrat Chooha Khan Chaudhary, It's not going to make any difference. Nusrat was a fan of Indian artists like Naushad, SD Burman. He himself said A R Rahman was a Genius.
Enough.