AND THE EVERGREEN–STILL ALIVE; "CE CERA CERA…
***(whatever will be..will be!) *** by Doris Day for the movie I love to watch again & again now even;
***THE MAN WHO KNEW TOO MUCH;
***
**ROCK-n-ROLL ** can feel great when it would hear Kishore Kumar’s breath-taking act and singing of the mega-hit song on which I myself still dance, occasionally’
**EENA MEENA DEEKA;
**
Amitabh-Shashi Kapoor-Perveen Babi & Hema Malini paired in a movie which no one can forget.. from FUN n FROLIC point of view… and as they say (FILMFARE etc) that no song of any movie with four top artiste could have been more enjoyable then this;
***Do Aur Do Paanch;
***
**ONE OF THE MOST VIBRANT MOVIE
OF ITS TIMES…INDIA PRODUCED
IN EARLY 80’s WAS ARMAAN WHICH HAD VIBRANT SONGS & DANCES AS WELL WHICH BECAME QUITE POPULAR & CATCHY…
FIRST THE ORIGINAL SUNG BY KOLKATA’S FAMOUS
USHA UTTHAP; Ramba Ho…Samba Ho;
***
AND THEN THE SAME SONG SUNG BY
A YOUNG GIRL AT A COMPETITION
WHERE USHA HERSELF WAS A JUDGE;
******
^ Everything has its time. Things come and go. But its good to keep in touch both past and present. Not into old songs much but if someone nearby listenin to it then I dont mind paying attention to such songs either.
***WHILE “BHAI BHAI” HAD
THE MOST MELODIOUS SONG
***“AIE DIL MUJHE BATA DE” IT ALSO HAD ONE OF THE MOST
POPULAR SONG EVER OF THAT ERA FILMED AT THE FAMOUS “SHOE”
OF THE HANGING GARDEN AREA
OF MUMBAI (1958)
**Mera Naam Abdul Rahman;
**
NOW WE ALL KNOW THAT “Rupert the Bear” IS THE EVER POPULAR BRITISH
NEWSPAPER TOON OF 60’s
AND THIS SEGMENT BY THE
TWO RONNIES…
BRINGS A ROAR OF LAUGHTER;
NAYYAR SULTANA… WHO MARRIED SANTOSH KUMAR’S BRO DARPAN DIED YOUNG OF CANCER.
SHE IS DISTINGUISHED AS ONE OF THE MOST
RESPECTED HIGH PROFILED SCREEN GEM OF PAKISTAN.
I HAVE HAD THE PRIVILEGE TO MEET HER VARIOUS TIMES
THAT HER HUSBAND’S BRO MANSOOR IS A BOSOM FRIEND
OF MY YOUNGER SISTER’S HUSBAND.
NAYYAR’s ACTING WAS MESMERIZING!
SHE CAST A SPELL ON HER VIEWERS FROM A UNIQUE
INNOCENCE SHE HAD ON HER FACE… BE IT ANY SITUATION
SHE WERE TO CHARACTERIZE.
THIS CLIP COMES FROM HER MOVIE
“BAAJI”
(1964)
AND THE EVER RESOUNDING SONG
BY NONE THE OTHER BUT NOOR JEHAN;
***AND THE ADAPTATION FROM MOMIN KHAN MOMIN’S
FAMOUS *** "WO JO HUM MEIN TUM MEIN QARAR THAH… TUMHEIN YAAD HO KE NA YAAD HO" FOR THE MOVIE
“GHUNGHATT” WHICH GOT NAYYAR SULTANA THE THEN COVETED
PRESIDENT OF PAKISTAN’S PRIDE OF PERFORMANCE GOLD MEDAL (1966)
Shadows have been a part and parcel of just about every song and movie of CLIFF RICHARDS “FOOT TAPPER” has been their most liked number
***since 1961;
***
LETS GO BACK TO THE GOOD OLD DAYS OF
P. T. V WELL RECALLED DURING THE PTV AWARDS CEREMONY
OF 1985 AT LIAQAT MEMORIAL-RAWALPINDI:
Video: 01 (The first GM OF PTV-K, Z. A. Bukhari, the young & robust
Moin Akhtar and the MNA of today…KHUSHBAKHT ALIA
THEN…SHUJAAT now..also seen in that classic B&W Zia Moheyuddin Show of 70’s recorded before a live audience at the Fleet Club-Karachi by PTV-K)
WHO DOESN’T REMEMBER SOUND OF MUSIC AND IT WAS JUST A YEAR BACK THAT THE
ENTIRE CAST LESS CHRIS PLUMMER MET IN VIENNA TO RECAP THE
SWEET MEMORIES (with their spouses and children) REMEMBER
***“DO RE MI”;
***
Today is the 25th death anniversary of this under-rated genius of our film industry.
l have been researching the life and works of Waheed Murad for more than 20 years now and the mystery around him deepens with every new clue that I come across.
He is the greatest screen legend of Pakistani cinema and therefore we forget that he was also a writer, director and producer who entered filmdom with the intention of making some serious statements about the nation (he didn’t even appear on screen in his first two productions). As soon as we shift our attention from the Chocolate Hero to the film-maker, we are in for a volley of surprises. Here I discuss just one of the many.
As an actor Waheed Murad featured in more than 120 films but he also produced 11 titles under his banner, Film Arts. The first two in which he didn’t appear may rightly be regarded as pilot projects since he hadn’t even formed his team by that time, and it can be presumed that the statement he was trying to make didn’t come across effectively. That leaves nine films which can be rightly considered as his “statements”. Quite surprisingly, they seem to depict the gradual unfolding of a single profound message — sometimes too bold to be given directly and hence necessitating the use of masks and parables.
The first is Heera Aur Patthar (1964), which was the story of two brothers hailing from a working-class family on the outskirts of Karachi. One of them gets educated in the city but in order to marry in a wealthy family he disowns his ageing father, young brother and a sister of marriageable age. In the next film Armaan (1966), which was also written by Waheed, one saw just the opposite as here an educated young man (played by him) seeks his soul mate in a poor orphaned girl (Zeba). Ehsaan (1967) presented the story of an orphaned boy raised by a benevolent family falling in love with a young widow already the mother of a school-going daughter.
I see a definite pattern emerge here. If the torn-apart family in Heera Aur Patthar is taken as an analogy of Pakistani society then the message is clear — the educated middle class has severed its organic connection with the unschooled masses who are compelled to drive the wheels of the country all by themselves (the disowned brother is a donkey-cart driver played by Waheed).
If this was indeed the message that Waheed intended to impart through the film, then the very next one suggests the solution: Educated youth from well-off families should try to find out what their real ideal ought to be. Ehsaan (1967) seems to present the basic principle on which societies like Pakistan can be built. The principle is ehsaan which, roughly translated, means ‘benevolence’ but has a deeper meaning in sufi terminology and these meanings are successfully explored by the gifted poet Masroor Anwar in the film’s songs and dialogue.
If Waheed was a film-maker who presented the anatomy of Pakistani society through his films then he couldn’t have remained indifferent to the rift between West and East Pakistan which had begun to appear by that time. It became the theme of his next film which was symbolically named Samandar (1968), since the sea and not the land connected the two wings of the then Pakistan. For the female lead role he invited the Bengali actress Shabnam from East Pakistan who had never worked in West Pakistan before.
The music was also composed by Deeboo Bhatachariya (instead of Waheed’s usual composer Sohail Rana). The lyrics were penned by none other than Sehba Akhtar who later became famous as the Poet of Pakistan for patriotic numbers such as Main Bhi Pakistan Hoon, Tu Bhi Pakistan Hai. In the lyrics for Samandar, he infused the same patriotism in layers of allegory, such as the famous title song Saathi, Tera Mera Saathi Hai Lehrata Samandar (O’ friend, the sea is our mutual friend).
Interestingly, the story of Samandar (also written by Waheed himself) shifted the focus from love interest to the strained friendship between two friends. Set in a fishing colony which can be treated as an analogy of Pakistan, one friend aspires for nothing except love while the other who aspires to become the next leader of the fishing colony ends up playing in the hands of outsiders. The first friend (Waheed) is persuaded by the people to defeat the other in the race for leadership, but having done that he transfers the power to his defeated friend after eliciting from him a promise that he would serve the community without playing into hands of the outsiders.
If Waheed Murad was a film-maker who presented the anatomy of Pakistani society through his films then he couldn’t have remained indifferent to the rift between West and East Pakistan. It became the theme of his next film which was symbolically named Samandar (1968), since the sea and not the land connected the two wings of the then Pakistan. For the female lead role he invited the Bengali actress Shabnam from East Pakistan who had never worked in West Pakistan before. In the lyrics for Samandar, he infused patriotism in layers of allegory, such as the famous title song Saathi, Tera Mera Saathi Hai Lehrata Samandar.
In those days Samandar was not taken as anything but an ordinary film, but now it seems almost certain that it was an analogy of the East Pakistan crisis: Waheed was suggesting that the only moral ground for asking the East to give up on the Six Points for the sake of the federation was that the politicians of West Pakistan should agree in return to let the next prime minister be from the East. It may be asked why Waheed didn’t elaborate his message so that people could understand what he was trying to say. This is a question which should answer itself. Those were the days when Sheikh Mujibur Rehman was being tried for treason by a military government and what Waheed was saying about the issue could have landed him in jail and earned a permanent ban on his film.
Quite understandably, the next was Ishara (1969), literally meaning ‘hint’ or ‘suggestion’. It is the only film ever directed by Waheed (he also wrote it) and turned out to be an allegory about the film-maker’s creative self. The film opens with the subjective camera moving into an alley, and Waheed’s voiceover telling us that this is the street where he lives. Thus the camera becomes the eye of the viewer visiting the inner world of Waheed’s creative self (he plays a painter whose paintings are “admired by many but purchased by none”).
Quite interestingly, we see him entertaining three little children in his studio. He asks their opinions about his newly finished painting, and the opinions turn out to be very immature. Here is Waheed and his audience then. He has got no option but to wait for the day when they “grow up” but even while they are immature, his affection for them is unfailing.
Naseeb Apna Apna (1969) takes this analogy into a darker zone by portraying a sister who works as a dancing girl in the red light area in order to “educate” her brother who lives in a hostel and is unaware of the dark side of his family. Needless to say the dancing girl can be taken as an analogy of the entertainment industry which is unfairly treated as a mere plaything (a point which Waheed’s team of Pervez Malik, Sohail Rana and Masroor Anwar were also trying to drive home in another film called Doraha around the same time).
The East Pakistan crisis is revisited in Mastana Mahi (Punjabi), which was released in early 1971. Sheikh Mujib had won the elections but the politicians of West Pakistan as well as the army were reluctant in transferring power to him. Failure of negotiation was followed by a disastrous army action which resulted in the break up of the country.
The opening sequence of Mastana Mahi was about a village thug who prevents a married woman from going to her husband belonging to another village. In retrospect, allusions to the political situation are extremely obvious throughout this sequence (such as the skin of a Bengal Tiger displayed on the wall of the village thug although the tiger is not found in Punjab), and the rest of the film places the question of national integration in its larger perspective — and it is a perspective which is relevant even today.
Waheed’s last two films, Jaal (1972) and Hero (1985), although separated by 13 years (the last film was released more than a year after his death), have the common theme of the agonies of a soul which knows too much. Jaal’s poor taxi driver educates his sister and gets her married into a well-to-do family. While raising money for that purpose he falls into the trap of a crime racket which, he learns only at a later stage, is being run by none other than the father-in-law of his newlywed sister. For her sake he is willing to risk all but she risks her own life in order to force him to speak the truth. Hence we see a complete reversal of the Heera Aur Patthar situation as things come full circle and for the better.
Waheed had claimed before the press that “A new Waheed Murad will appear before you in Hero.” It is the story of a thief who is so perfect in his craft that he leaves no trace behind (just as Waheed doesn’t leave any clue of the underlying subversive messages in his films, and yet they could not be more perfect in allegorical structure). This becomes his Achilles’ heel because he gets caught every time the police don’t find any evidence on the scene of the crime. His boss provides him cover by setting up a fake film company and introduces an illiterate look alike of the thief as a hero. The police mistake him for the thief and maintains surveillance on his activities while the real thief goes about his business — he now has an alibi.
Needless to say, the story was written by Waheed. This leaves us with a nagging question about who the real Waheed Murad was — the one we watched on screen as the Chocolate Hero or the genius who stayed behind in the dark and played around with our emotions? In one of his last interviews he had said, “Sometimes I think that if I suddenly disappear or am no more for any reason, I would like to be remembered by the song ‘Bhooli hui hoon dastaan, guzra hua khayal hoon/ Jiss ko na tum samajh sakay mien aisa aik sawal hoon’.” (I’m a tale forgotten, a though bygone. I’m the question which you couldn’t understand).
(Note: Further information about his statement films is available on The Untold Story of Waheed Murad, which is a non-commercial endeavour launched on the occasion of Waheed Murad’s 25th death anniversary.
OFF THE RACK: The Eternal Hero
By Rishad Mahmood
His co-star Rani once said his name should appear as a synonym for the word ‘hero’ in language dictionaries. This month, the Lollywood and fans across the world will observe the 25th death anniversary of Waheed Murad, arguably the greatest romantic matinee idol to grace the silver screen in this part of the world.
Embodying everything that is cool about being a gentleman, Murad brought class and style to an industry of ‘gawky’ leading men who cared little about personal grooming. None amongst Santosh Kumar, Darpan, Kamal, Mohammad Ali or Sudhir fitted the bill of a ‘prince charming’ until Waheed Murad came along.
A well-dressed, educated, soft spoken hero who didn’t shirk from throwing a few punches for damsels in distress, Murad was to soon become a cult figure in the subcontinent. Everything he wore became the rage, be it his hairstyle or the drainpipes. The cars he drove were the talk of the town and, with his uncanny sense of song picturisation, he inspired millions of young men to ape him either on the dance floors or around trees in the parks.
And what to say of the fairer sex; they simply went gaga over the handsome actor. For the ladies he was the ultimate dream man, having stepped straight out of a Mills and Boons novel.
However, it didn’t end just there for Waheed Murad. He was much more than a pretty face, a superb actor whose emotional intensity on the screen could be both overpowering and exciting. In light romantic movies like Armaan and Insaaniyat, he played with aplomb a distressed man torn between love, his family and his profession.
His vast repertoire as an emotive actor can be gauged in films such as Jab Jab Phool Khile, Bandagi, Jaag Utha Insaan, Waqt and Dushman where he rose beyond the dyed-in-the-wool romantic to deliver a series of strong performances which established him as a front-ranking artist in the annals of Asian cinema.
Nowadays actors like our own Shaan or Shah Rukh Khan of India often descend to overacting and aggression to make their mark. Murad never resorted to that method of acting. He preferred the undertones; a low keyed portrayal of characters that left an indelible impression on the cinegoers. One also has to give him credit for never shying away from competition. He featured in a number of multi-starrers and stole the show almost every time.
The fact that his popularity transcended the borders could not be denied. He worked in an era when liberal exchange of movies between Indo-Pak had been rendered forbidden by the respective governments. Yet, the artistes of the two countries often met and their movies screened at international forums such as the Tashkent Festival in Russia as well as in Iran and elsewhere.
On one such occasion, newspapers across India published a rare photograph from the Tashkent Festival which pictured five of the top Bollywood leading ladies –– Hema Malini, Zeenat Aman, Parveen Babi, Bindiya Goswami and Reena Roy –– turning around in unison to focus their attention on a handsome man walking behind them in an impeccable white suit. He was none other than Waheed Murad who had bowled these maidens over with his style and looks.
Those were the halcyon days of Lollywood and Waheed Murad’s success, its finest hour. However, nothing in this world is eternal. Not even Waheed Murad. By the age of 43, he was dead, acute depression stemming from fear of rejection and a ghastly car-accident taking its toll on him in the last few years of his life.
Some say the early death immortalised him. He has lived in the memories of millions as the evergreen hero who neither aged nor experienced a decline. And from the little one knows about the psyche of this fledgling nation, it perhaps would not have sustained the shock of Waheed Murad’s fall from the top or his fading away into oblivion had he been alive.
May Allah bless his soul.
ARMAN (1966)
FILMARTS…‘ARMAAN’ was yet another blockbuster–right after HEERA AUR PATTHAR–which also did PLATINUM JUBILEE–at NAZ Cinema, Karachi.
The cast was quite an ordinary apart from Waheed Murad and Zeba, most belonged to Radio Pakistan-Karachi and Karachi Stage artiste’ like;
ZAHOOR AHMED (NIAZ of KHUDA KI BASTI) as Waheed’s dad, BIBBO (the famous visitor/betor at Karachi’s famous horse race club), the then charming Rozina..(who married TV star of today…Faysal Qureshi’s uncle Riffat Qureshi later. Her daughter SAIMA made it big in private productions-TV till recently).
Then there was Tarranum…the serious yet not so serious—mid 30’s lady who vanished after appearing in but a dozen+ movies.
NIRALA (real name Muzaffar) having acquired a place in Waheed’s eyes..was again there after HAP..as Waheed’s close friend..pairing with Rozina.
Then it was this bloke called SOHAIL in the movie..who did but two movies—in his career-----for God knows reason–pairing with Tarannum (his only other movie was EID MUBARAK) and it looks like he had some money of his won invested…in EID MUBARAK–that he was given the role of Rukhsana’s husband.
Others in ARMAN included; AGHA SARWAR (my school friend/cricketer; Mubasshir Sajjad’s mamoon…Mubasshir’s wife is the real sis of beautician
Nabila), blokes like Ansari and Sharafat.
Almost ALL the outdoor songs were filmed in MURREE and NATHIAGALI…including the famous ‘BETAB HO UDHHAR TUM…’ at the famous CECIL HOTEL-Murree.
AKELE NA JAANA was filmed at KASHMIR POINT near the famous Church and Park…near Governor’s House.
ZINDAGI APNI THEEH ABB TUKK…was filmed at the outskirts of Mall Road-Murree…down towards Pindi’ Point.
KO KO KORINA was filmed at the EASTERN FILM Studios…where over 80% of the movie was shot in six straight months. I saw the filming of two
scene; Some parts of ‘JUBB PYAR MEIN DOU DIL MILTE HEIN’ and one take of Waheed Murad & Nirala…when Nirala is running away from the
house..ddue to his stupidity and Waheed pursuing him to stay back for the love of Dolly (Rozina)…!
ARMAN was a typical love-story well mixed with slapstick comedy as well as tragedy…WAHEED as AAMIR a son of a rich man in lookout for an
eastern girl as his better-half…and not meeting eye to eye with his dad’s family friend’s daughter…while the widow of the family
friend…dejecting NAJMA (Zeba)..their geometrical family friend’s orphan…at their house being liked by Waheed over her own daughter SEEMA
(Taranum)…and so forth on…that Seema already pregnant by her friend SOHAIL…gives birth to the child and Najma (Zeba) sacrifices her
love for the sake of the obligations on her by Begum Saheba.. that she claims the child to be hers..etc etc.
ARMAN had strong music..by Sohail Rana…equally strong direction by Pervez Malik and matchingly wonderful lyrics by Masroor Anwar. The
famous FOUR then–who ruled Karachi Film Industry for a while…were; WAHEED MURAD-PERVEZ MALIK-SOHAIL RANA and MASROOR ANWAR.
SOHAIL..the bloke can be seen in this scene;
I saw the shoots at Eastern Studios----courtesy Sohail Rana…our family friend…and I almost went in trance when I met WAHEED MURAD first
time ever…him being a close friend and school mate to my first cousin Ayesha’s husband Shamimul Islam at Marie Classo.
I thought this was the first ever film production of Pakistan…where the producer…drove in his car (DATSUN BLUEBIRD) all the way to
Murree from Karachi (at a gas station..scene between Waheed and Nirala …the car can be seen);
Plus Waheed also used his Caddillac for some powerful scenes…at entrance gate of his OFF: Tariq Road house which is still there…(in fact
me and my cousin..out of sheer craze for Waheed Murad..visited his Tariq Road house and insisted on his servant to call him outside and when
he came…we were sort of spellbound that we couldn’t utter a word…while Waheed smiled and encouraged us to be coherent:) )…that was when
ARMAN was in full swing with all shows house full!
Therefore-------ARMAN’ s most popular song which hit the then charts on radio Pakistan…then…were ;
KOKO KORINA became the SONG of the YEAR (now of DECADES)…it was filmed at Eastern Studios–where they now film adverts (I did ROSE PETAL one there in 2007);
JUBB PYAR MEI DOU DIL MILTE HEIN…again at Eastern Studios..and interestingly..right after the filming of KOKO KORINA…the next day! with adjustment of set from a club to some gloomy situation and smoke et—but same characters around–including Agha Sarwar!
ZINDAGI APNI THEEH ABB TUKK…was filmed in Murree…near Kashmir Point (Khurshid Shirazee the female singer sang but one para; AIK PAL KI MUSKURAHAT ZINDAGI BHAR KA HAI ROGE…JANE KIYON MUSKURA KAR DIL CHURRA LE TAY HEIN LOGE…that’s it and after that she was never seen or heard of!! the song…therefore—was the only one in her short career in singing!!!) ;
HAIL WAHEED MURAD ! for giving us such huge and worthy entertainment which we…do not expect in foreseeable future of Pak Film Industry
HEERA AUR PATTHAR under FilmArts of Waheed Murad’s Dad Nisar Murad…was perhaps the 3rd of their production..which had the newly debuted WAHEED MURAD (having done a side role as Sabiha’s son in ‘AULAD’-1961).
Directed by Pervez Malik, HAP became the first ever platinum jubilee (B&W) movie of Pakistan..which was wholly made in Karachi at Saeed A. Haroon’s Eastern Studios and about 65% on location at some guava farms of Malir and nearby Goths..a few odd miles from Karachi Airport.
Starring; Waheed Murad, Zeba, Kamal irani, Ibrahim Nafis, Adeeb, Nimmo her sister Kammo, Nirala, Naz Begum, Agha Jan and some famous regular visitors of Eastern Studios like; Feroze (who wanted to make ASSALAM ALAIKUM which had the famous Salim Shahzad song; Muhabbat Ke Deeay Jala Lo) and two faces I can never forget–seen in many Waheed movies of Karachi–doing something or the other in tidbit roles as badmash aur a friend or someone. I think one’s name was ANSARI ?
HAP covered just about all of Karachi’s serene and quiet areas of those days. From the songs you are to see by clicking the links below, you’ll see the famous musical fountain of Karachi which use to show off beautifully with water sprinkling and music played in front of the then REX cinema near Trinity church…jo ke subb gharatt hogaya Karachi se:(
You can also see the M. A. Jinnah road coming from Jinnah’s mazaar…when it was under construction. Also the National Stadium Karachi where one could just walk-in…(now it’s like you are a thief to even roam around that area:) )
Waheed did some shooting at his father-in-law Hamid Maker’s ‘H.M.SILK MILLS’ at SITE area..also which involved him, Nirala, Ibrahim Nafis and Adeeb.
I remember ALL this by heart and its the first ever time I scribe all this…before my memory gives up the huge data it has stored on GB basis.
The LYARI people had declared HAP as their NATIONAL movie on account of Waheed and his movie-Dad Kamal Irani being donkey cart drivers in that movie and the fantastic donkey cart race Pervez Malik beautifully picturized at Nazar Mohammad Goth-Konkar near Malir farms.
The swinging ROCK song ‘Diwane Ho Ke..Mastane Ho Ke..Aao Manayen Picnic…’ was shot at KARACHI AIRPORT CLUB which still exsists but in horrendous condition now. It is located just adjacent to my UBL’s Airport Main branch at Old-Old Airport.. now VVIP Airport…when you go through Star-Gate.
AIRPORT CLUB had one of the finest New year parties. My cousin Chicco Jehangir..I distinctly remember, danced JIVE there on LIPSTICK ON YOUR COLLAR…once. I was there as we use to regularly visit that club. It has a beautiful ambiance. A huge swimming pool (now filled with sand and rocks:( ) and a Squash Court. You’ll see in one of the links below…the swimming pool and all…when Adeeb is seen spending his rich dad’s money on his friends…and having fun…!
I saw HEERA AUR PATTHAR…at least 12 times (once a late night show with Ibrahim Nafis and Talat Hussain also..they both were Radio Artiste) at NAZ Cinema, Karachi opp: Nishat Cinema…while NISHAT survives…NAZ died and no thanks to Aslam for selling it off–where now stands NAZ PLAZA…!
HEERA AUR PATTHAR will live forever..for its strong story, melodious songs and superb acting of Waheed & Zeba..et al!
MY PERSONAL & SINCERE GRATITUDE TO THE ADMIN/MODERATOR HERE FOR MAKING THIS THREAD STICKY.
I STARTED THIS THREAD IN AUGUST-08 WITH A VIEW TO ENHANCE THE WONDERFUL EFFORTS OF THE FORUM FOR PROVIDING ENTERTAINMENT TO ITS MEMBERS.
I AM GLAD THAT THIS THREAD EXCELLED…ONLY DUE TO THE FANCY OF THE MEMBERS WHILE A FEW EXTENDED THEIR COGENT AND ASSISTING COMMENTS ALSO.
I HOPE TO CONTINUE PROVIDING DESIRED ENTERTAINMENT TO ALL MY FELLOW MEMBERS AT PL/GS FORUM WITH UNEQUIVOCAL SUPPORT TOWARDS THE BETTERMENT OF THE GROUP.
