The dynamics of the copycat syndrome ....
Pakistani pop has become an industry in it's own right, but across the border our stars are still playing second fiddle to Indian media might, mainly because of the lack of a concrete system right here at home.
Music is a symbol of freedom. It is all about expression and when it is powerful enough, it can lead to a cultural revolution, as it is doing in Pakistan. The youth has found its voice. Indeed, the Pakistani pop omnibus has caught on like wildfire on it's home turf and is burning so brightly that it has succeeded in permeating through the pervasive influence of Bollywood, right into Indian consciousness.
The people of Pakistan and India have historically shared similar tastes in music and movies. When it comes to films, we lag miles behind. We are the tortoise who will have to struggle desperately to catch up with the Bollywood rabbit, but when it comes to music, especially pop music, Pakistan has zoomed light years ahead of the film dominated music that continues to dominate Indian sensibility. If all of India is still grooving to Atif's mesmerizing rendition of 'Woh Lamhay' after Zeher has sunk into oblivion, it is only because Indians haven't heard anything quite like this song. They can 'balle balle' with the best of them, but 'rocking your heart' out is not Bollywood's forte so Indians remain oblivious of its power. Yet, overawed as our musicians are by the forcefulness of Indian media, they have consistently short changed their craft for success in Bollywood.
At desperate hours our tunes have become 'inspiration' for our Indian counterparts. And indeed, this inspiration is so great; we hear similar tunes gracing the soundtracks of Hindi films, credited to some of the biggest names in Hindi film music. Okay, so Mahesh Bhatt has signed up Atif now, but he never signed up Najam Shiraz for Murder. 'Bheege Honth Teray' a direct lift of Najam Shiraz's song 'Menu Teray Naal' became the hottest ballad in India for the year 2004, the credit for which went to India's 'great' music director Anu Malik. The debut singer Kunal Ganjawala won awards everywhere. Murder got unprecedented hype and apart from Mallika Sherawat's assets it was more about the music than the movie. And 'Bheege Honth' owed everything to a Pakistani song.
Later, however, Mahesh Bhatt and Co, the producers of the film gave Najam Shiraz clips from the movie, for his video, perhaps as compensation for copying his song. And Najam went ahead and accepted with a gracious thank you, without realizing that he deserved more than few clips from the film. Another artist, who gave up his rights just to be a part of an Indian film, is Atif. Atif Aslam and Goher Mumtaz created a bang on the local music scene with their debut single 'Aadat'. After a few days of fame and glory together, both parted ways, Atif remained solo, while Goher recreated Jal with vocalist Farhan and bassist Shahi. First, both claimed of composing Aadat, and after Atif's entry in Mahesh Bhatt's film Zeher, both now claim to be the composer of 'Woh Lamhey', while accusing the other of cheating and stealing.
Surprisingly, singing for the Mahesh Bhatt film proved to be more fruitful for Jal rather than Atif, the man who went ahead and signed the deal without thinking twice. Jal got all the publicity for free and went onto release their album in India, even though their version of the song 'Woh Lamhey' was not used in the film, nor were they remotely involved in the project. Atif, who should have been counting his lucky stars for not being a victim of so-called inspiration, went ahead and gave up his rights. The lyrics, although altered, did after all belong to Atif (and/or Goher Mumtaz) and the music was their composition. But whenever the songs are aired on any channels, Atif's name is not mentioned, neither is he seen. It has to be said that our artists are equally responsible for this chase of cat and mouse. When they are so generous with giving away their creative inputs to Indian films, then no wonder, the Indian film music directors, don't ever shy away from using and later abusing them.
There are times when instead of hiring our local artists to compose for them, which is what should have been done in the first place, Indian music directors, when not being able to come up with decent tunes for movies, copy our songs. There are those who use inspiration as a motivation factor, they want to try and live up to the standards maintained by their favourite artists and be as good composers as they are. And then, there are those who take the easy way out. When lacking originality, they choose to remake or remix, instead of composing something original. (contd...)
I think we should interpret these loop divergences,
not as a break down of the supergravity theories,
but as a break down of naive perturbation theory.
In gauge theories, we know that perturbation theory breaks down at strong coupling.
In quantum gravity, the role of the gauge coupling,
is played by the energy of a particle.
In a quantum loop one integrates overů So one would expect perturbation theory, to break down.