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THE FLYING WOODEN FLY OF LAHORE

THE FLYING WOODEN FLY OF LAHORE
KARAM SINGH MUSSAWAR AND MAHARAJAH SHER SINGH

An event of 1842 in Lahore

When a fly can be made of wood
When a fly can be made of wood

We came across a news of a robotic wood fly made in the United States and the owner was very proud of same. In his posting he proudly narrates the same:

March, 2008
There is no more rewarding moment for roboticists than when they first see their creations begin to twitch with a glimmer of life. For me, that moment of paternal pride came a year ago this month, when my artificial fly first flexed its wings and flew.
It began when I took a stick-thin winged robot, not much larger than a fingertip, and anchored it between two taut wires, rather like a miniature space shuttle tethered to a launch pad. Next I switched on the external power supply. Within milliseconds the carbon-fiber wings, 15 millimeters long, began to whip forward and back 120 times per second, flapping and twisting just like an actual insect’s wings. The fly shot straight upward on the track laid out by the wires. As far as I know, this was the first flight of an insect-size robot.

Fly experiments
Fly experiments

This immediately took us back to a news about 1842, which involved a painter of Lahore, and his name was Karam Singh Mussawar. He was a craftsman and could do many things. He was an expert carver too.He was also a carpenter par excellence and loved to experiment with his wood making techniques. One such experiment involve a fly made of wood which could actually fly in the air.

Karam Singh requested a meeting with Maharajah Sher Singh, and met the Sikh leader. He showed him his fly and the Maharajah jested, it was a fine creation, and would be best if it could fly too. Karam Singh released the fly and it flew and settled on the PAGH of the Maharajah, that is his turban. The Maharajah was perplexed and full of wonder, but unfortunately, he never felt it worthy to give any reward to Karam Singh, who was totally disappointed at the response. In any case it is a record of a wonder of Lahore of the 19th century.

Sher Singh
Sher Singh

WHO BROUGHT ARCHITECTS AND ARTISTS TO KANGRA FIRST?

WHO BROUGHT ARCHITECTS AND ARTISTS TO KANGRA FIRST?

EMPEROR JAHANGEER AND EMPRESS NUR JAHAN OF COURSE

A hidden story no one likes to repeat

From where
From where

Kangra Fort was captured by various Muslim rulers a number of times but full control was not possible, because it was difficult terrain to reach, conquer and maintain a possession. Even Raja Todar Mal of Lahore was put as resident there by Emperor Akbar but of no avail in the long run. Finally Emperor Jahangeer had set eyes on it. A fragmentary story is told of a parrot which Prince Saleem liked and the Prince of Kangra was not willing to give same to him. In any case Jahangeer set an eye on the Fort and it was finally in Mughal hands in 1621-22 AD. When news reached of same, the Emperor was in Lahore and overjoyed with the idea. He took Empress Nur Jahan herself and went to the Kangra Fort.

The allure of Kangra was very strong. The funniest thing missed by historian is that even the name Kangra meaning fortress was given by the Mughals, as the ancient name of Kangra was Susarmapura. That is why Jahangeer went on work here immediately on arrival. Jahangeeri Darwaza was commissioned and mosque made there and Jahangeer had his inscriptions put on it. The inscriptions were removed later on and were in the Kangra Fort from where they were brought to Lahore by Prince Nau Nehal Singh. Later on the inscriptions were moved to the Lahore Museum and not all of them, but some are still there in broken form.

Emperor Jahangeer wanted to place his presence there and sent for architects to build him a palace there. Even the foundations of the palace are still there and it commenced in its buildings. He had also taken Court painters with him, as he usually did on his tours, to record whatever he liked, and as Kangra was new and exciting for him, the painters must have recorded each and every detail of the Fort at that time. Unfortunately with time what remained and what gets lost is not in the custody of anybody.

There are paintings in the Lahore Museum which show Willim Moorcroft along with Raja Sansar Chand, but Moorcroft was not new to Kangra. Forster passed Kangra in 1783 at the time of great change. It was mentioned by William Finch, visited by Thomas Coryat 1615, Thevenot 1666, G. Vigne 1835, as well as others. In fact in the story of Raja Sansar Chand, he too had two foreigners working for him in the army, mainly Irishman O’Brien and James.

messenger boy
messenger boy

The question remains. Kangra Kangra Kangra! Actual ancient name Susarmapura not mentioned by anyone as Kangra is a Mughal name. Where were these so called Kangra paintings actually discovered. In the storeroom of Kangra Fort or somewhere else? The truth is that these so called Kangra paintings were discovered all over Punjab, in Amritsar, in Lahore and in other places, but most of them were in the store room of Harmandar or the Golden Temple itself. That is the place from where Bharani the art dealer of Amritsar was being supplied with these works. To put an allure to them, he stated talking about KANGRA to his clients. Even he did not knew their origin at all.

Who formed hundred and one schools of Pahari? William Archer the Indian Civil Servant did and he himself was paragon of confusion about it. When he came to see us with his wife, we had long talk with him and he left written note for us. But his confusion took the better of his sanity and he said he could not reconcile the various facets in his mind. In the end, as told to me by Doris Wiener, he commit’ed suicide for the disturbances in his mind. God bless his soul!

We have in our possession actual wrongly labelled works done by actual Mughal Artists. I never liked to call these works Rajput, or Pahari, or else, as in our view those are all wrong nomenclatures. They are done by artists of all religions and are done of all kind of subjects. I told Malik Shamas (Pakistani expert) the best nomenclature is PUNJAB PAINTING and it stands like that. Different styles of artists cannot be termed as different Schools of Art. So do not rant Kangra with us. Research yourself. Western scholarship is already in great decline and they have lost their ability of connoisseurship of art long time back. Now they see the world through Hindu eyes only!

KANGRA AND THE MYTH OF SCHOOLS OF ART OF PAINTING

KANGRA AND THE MYTH OF SCHOOLS OF ART OF PAINTING
ZERO PATRONAGE OF ARTS BY THE RAJAS

M A Rahman Chughtai’s visit to Kangra for exposures of Art

Kangra Fort
Kangra Fort

People talk of KANGRA all the time, without knowing anything about Kangra. The great Kangra Fort was in the eyes of the Mughals and its annexation was proving difficult. It was in 1621-22 AD that Emperor Jahangeer captured Kangra and built a mosque there. Kangra remained under the Mughals till 1783 when due to the waning conditions of the Mughal kingdom, it was captured by others. So pseudo historians would have us believe that in the course of a few decades the educated new Rajah developed a school of Art out of the blues. Shame on such people for demeaning the Mughal kingdom and making rats Rajah of great background and there is no doubt that Raja Sansar Chand was a mean person, hated by the people of Kangra. In the 1920s when MARC visited Kangra and asked an artist Hazuri there about the patronage of the Rajahs, tears came in the eyes of Hazuri, the last living artist of that area. He said we are considered worse than MOCHIS here and the RAJAHS do not patronize us, they steal what we make without paying for it. This is the Sansar Chand whose family is supposed to have given two artists to their daughters as dowry. Hogwash!

Kangra town
Kangra town

It is one of the oldest forts of India but it was first captured by Sultan Mahmud Ghazni in 1009 AD. By Muhammed bin Tughlaq in 1337 AD and then by Firuz Shah Tughlaq in 1351 AD. When Jahanger captured it in 1621-22 AD and he writes about it in his memoirs, he appointed Nawab Saif Ali Khan as its first Mughal Governor. A proud inscription was placed on the Jahangeeri darwaza there. Brought to Lahore by Nau Nihal Singh, the inscriptions of Kangra fort were transferred to Lahore Museum and they are still there with them. So to suppose that Mughal culture would not be at Kangra Fort is literally a load of crap.

Raja Sansar Chand
Raja Sansar Chand

Kangra was famous for four things:
1. Manufacture of new noses (yes some sort of plastic surgery was here). Home for thieves.
2. Treatment of eye diseases.
3. Basmati rice.
4. Strong fortress.
Nowhere it is mentioned that Kangra was famous for painting too. This is an innovation of 20th century.

The story is told like this. Raja Sansar Chand sent artists to Lahore and started a new school here. Spare me this bullshit! Lahore is a 1000 years old Muslim city with heritage of Painting from day one. Sultan Mahmud Ghaznavi had brought artists from Ghazni here and later Sultans developed a school of art based on Chinese culture. That is why we have a Sultanate School of Painting here. Kangra did not give any style here, Lahore gave style to Kangra, and we well understand that. This is merely a blog. M.A. Rahman Chughtai’s DABISTAN book has been translated into English and will be published soon.

Inscription missing at Kangra Fort
Inscription missing at Kangra Fort

The simple truth is that the famous art dealer of Amritsar Bharani used to sell works to various people and to romanticize his sales, he fixed names to them. All the names we currently use are the names given by the Paintings wizard salesman Bharani and my father very well knew this and he had asked Bharani this question. Bharani used to say the more alluring the background, the better the thing sells, and he narrated his experience of the Englishman. An Englishman walked in his shop in Amritsar and wanted to buy a painting. Bharani asked for Rs 100. The Englishman wanted to reduce the price. Bharani said that he will tear the work but will never give for less than 100 Rs. The Englishman smiled and taunted him to tear it. Bharani tore the painting. The Englishman was shocked and asked what he wanted for the painting then in torn condition. Bharani said Rs 200. Annoyance reached its zenith, when the man said, for an untorn painting it was Rs 100, for a torn work Rs 200. Are you mad? He said mad, I may be, but I will not take less than 200 Rs. In the end the Englishman bought the torn picture for Rs 200. That was the strength of Bharani, he knew the heart of all his clients very well.

The style of various different artists are based on the style of the uprooted artists of the Mughal Court and everybody knows that. Fear of people like Nadir Shah and Ahmad Shah Durrani, made them run to the hills, in search of living, these poor painters reached out to the people. By drawing mythology as well as Rajahs, they were trying to make a living from normal people of the area. The Arch School creator William Archer became so confused in the end with his analysis of things, that as told to me by Doris Wiener, he committed suicide. He could not reconcile the divergences of his research. May God bless him!

SOLDIERS AND POLITICIANS – TRUTH AND LIES

SOLDIERS AND POLITICIANS
TRUTH AND LIES

Young_Children
Young_Children

The story of indoctrinated approach to life

All children are born innocent. The Grace of Allah creates new human life. Fresh and beautiful, the future is there to be determined by ecological factors. All parents try to teach their children the value of truth but the child learns from the life of their parents itself. Parents who lie in their life cannot teach their children the value of truth. Truth remains the domain of truthful families.

Stress in children
Stress in children

Soldiers go through their training with acute discipline and this discipline teaches them the truth. Faced with matters of life and death, truth is the need of their lives, both personal as well as professional. On every day duty or on the front, without truth the future of life is not there. And their parents as well as children raise their chest high with pride at the spirit of their children.

defiant-boy
defiant-boy

Politicians are a separate breed altogether. Deprivated children of love and attention, they are defiant from day one, and they get away with it all, by lying all the time. By the time they grow up, they have become born liars, expert in fooling everybody, by twisting and turning the truth, and making mockery of life. Pragmatic approach becomes the way of Nicholas Machiavelli. Our Pakistani politicians can even teach the Prince of Machiavelli some new tricks, for that man suggested some face saving tactics, here we have literally faceless people, picking up any face they like to the extent, that they cannot even recognize their own face.

Genius boy
Genius boy

So believe not politicians, believe in our soldiers! Bad times are coming. Good ones will not be far away! Only our Army will deliver the goods!

SENSE AND SENSIBILITY – LACK OF DEPICTION OF MALE GENITALS IN ART

SENSE AND SENSIBILITY
LACK OF DEPICTION OF MALE GENITALS IN ART

The Subtle aspect of Fine Arts

Avoiding male genitals
Avoiding male genitals
No emphasis on genitals
No emphasis on genitals

Different cultures carry different attitudes towards Art and different attitudes in Art are reflective of their approach to sense and sensibility. Cultures like India, Africa and Japan have heavy emphasis on depiction of Male nudity in their Art forms but the Judeo-Christian-Muslim attitudes were totally different from other societies. The male genital is hardly shown in European tradition and when it is shown in some sculpture, there is no emphasis on the genital itself. It is either erased or shown in a very minor and insignificant way. Sir Kenneth Clarke discusses this extensively in his study of the nude in art history. Similarly in other traditions. One odd view we see all the time is boys urinating water in form of fountains spread all over ancient Europe. Entering museums and exiting from them, we find this urination process a fun tactic for those people. Similarly drinking water fountains have similar antecedents, which to our aesthetic is not acceptable at all.

Title: Man & Satan
Title: Man & Satan
Subtle display of male nudity
Subtle display of male nudity

Sexual display in Western Art is a more modern phenomena and when you enter Tate Gallery London and you see huge portraits of sexual nature, it is easy to get embarrassed or rude shock at such vulgar displays. Similar display can be seen in Shakir Ali Museum too. But vulgarity is now no longer a neutral or passive word. Vulgarity is a set of choices related to morals and ethics and the line between good and bad has not only diminished but is erased in the modern scenario of times.

sadequain-1970
sadequain-1970
Rarest description of genitals in Islamic Art
Rarest description of genitals in Islamic Art

In Islamic culture where artists depicted everything, again the emphasis has never been on male genitals. We hardly see their depiction except perhaps in TIB or medical treatises. Whereas female nudity has been depicted in Pakistani Art, male nudity has never been the point. Sadequain became an exception with his study of male female poses of sexual nature, and he was heavily criticized for those portrayals. Another male nude artist is Ms Lala Hayat, who has held exhibitions of her male nude subjects. One of her big fans was Asad Salahuddin. But even Lala does not draw the genitals in her nude sketches. There are aesthetic restraints in our culture and the same are followed not merely by compulsion but also as an act of tradition, and social norms. Internalized society is the conscience of the times.

Urinating fountain boys
Urinating fountain boys

 

THE EGERTON CONNECTION – CONSTRUCTION WORK IN LAHORE

THE EGERTON CONNECTION
CONSTRUCTION WORK IN LAHORE

The insight of the British administration

Commissioner RE Egerton
Commissioner RE Egerton

There is a busy road in Lahore called Egerton road. No one even remembers who Egerton actually was in Lahore. In biographical data of British officers, we read a lot about Robert Eyles Egerton and his aristocratic background. But few may know that he was responsible for a lot of construction in Lahore, including the Railway Station and the New Delhi Gate Lahore.

The job was being done under Mian Muhammed Sultan Contractor but the person who was actually doing it was namely Raheem Baksh Mimar. R.E. Egerton was at that time Commissioner Lahore. Later he became Governor of the Punjab too. In 1861 this is what he wrote on a certificate for Raheem Baksh Mimar:

“Raheem Baksh also known as Heemoo is in the employ of Md. Sultan, the contractor. He is an excellent Mistree and appreciates the work on which he is employed. I have known him for some years and has always been engaged on important works.”

This photograph was made in Murree by John Burke, who was having a studio in Lahore at that time. Advertisements for photographs used to appear in the Civil and Military Gazette Lahore (newspaper). Strange that in our National Archives we see no photograph of Governor Egerton. He seems to have gone into oblivion. There was a portrait of him in Old Gymkhana around 100 years ago but disappeared with time. Even British records have very little representation of him; although his name does appear in some WHO WHO directories. We know more about him too.

Mian Raheem Baksh Mimar
Mian Raheem Baksh Mimar

In any case it is good that he is remembered with the name of a road named fer him. Obviously our Slaves won’t change this name ever, although all the Muslim names are getting obliterated with time and obsequiousness of our people to the great Raj.

MIR JAFFERS OF ART – INDIAN INFILTRATION OF ART IN PAKISTAN

MIR JAFFERS OF ART
INDIAN INFILTRATION OF ART IN PAKISTAN

Art and artists on Indian payroll

Mir Jaffer and son Mir Miran
Mir Jaffer and son Mir Miran

M.A. Rahman Chughtai was an exceptional man. He loved his country long before the country even came into being. In 1938 artists, critics as well as his loving admirers were convincing him to stay back in London and not going back to Indian region. The potential of great success was promised to him. It was possible for him to have all kinds of future there but without his country, he felt his life was meaningless. He came back and created a storm in the history of art in Pakistan.

This was obviously resented by foreign lobbies. Pakistan inherited a person who was termed as the “GREATEST LIVING ARTIST OF INDIA” in 1946 by Bombay Times. The object from day one was to bring him down. Much loved by Quaid-e-Azam and Dr Allama Iqbal, the artist was heavily patronized by Prime Minister Liaquat Ali Khan, and the PM of Pakistan used to take the artist to the airport to receive incoming foreign guests as part of his team of Ministers. But at that time speaking against Chughtai was like treason and no one dared to do the same. The exhibition at Alhamra in 1949 and Governor General Khawaja Nazimuddin was all praise for him. But jumping forward to 1952, when Governor General Ghulam Muhammed inaugurated his exhibition in Karachi, the speech written by the speech writers (and we know who wrote the speech) talked of being forward looking and leaving our art legacy behind. Governor General Ghulam Muhammed looked stupid in front of the journalists as well as people when he saw the subjects of the works at display, as the speech writer had made a nincompoop of him.

Governor General inauguration and speechwriters gaffe
Governor General inauguration and speechwriters gaffe

Field Marshal Ayub Khan was a big fan of the artist and visited his home in 1959, and later inaugurated many shows of the artist. The show in 1968 of AMAL E CHUGHTAI was the greatest, when the President presented a GIFT OF TWO LAKH RUPEES to the artist for the publication of Iqballian dream.

In 1950s foreign lobbies put the country on the Western bandwagon, and scarecrow artists started coming into Pakistan from India mainly as well as other places. Some flourished French beards and pipes in their mouths and spoke of PICASSO RENAISSANCE. Other alcoholics reveled in cut necks and dripping blood as imagery. Rootless, without Ideology, these mongrels were like those dogs who were neither of the home nor of the ghat (washing place) of the dhobi (washerman). A famous saying of here not without reason. Suddenly the people were cut of from art and culture in one sweep, for this new wave of art, engendered with money and use of media, had no sense or common sense for anyone here. VIPS could not differenciate mud on the canvas from a Master piece. The Ideology was under attack. Sensitivity of art became alien for the masses for they had no relation to borrowed art from other worlds.

PM and Artist
PM and Artist

I wish I could take names and expose these philistines (bastards and bitches) who just for material gain could put their country at stake. Indeed they were the Mir Jaffers and Mir Sadiqs of Art, and they are very much here. Regularly going abroad as well as to India, they put a question mark on any patriotic activity and hail the literal shit of Pakistan as Fine Arts. Who can stop them? They think once Pakistan is finished, they will be well received in India.

TUM APNI KOM KAY NAHI HAMARI KOM KAY KEYA BANO GAI. It looks so old and like a stereotype but it is all very much true. Mr Jaffer’s children are still alive. Recently the grave of Mir Sadiq has been discovered in a waqf property of India. The graves of Mir Jaffers in Art of Pakistan will remind us of the great traitor of all times, like Judas and Brutus as well as others. It is the hero who survives intact in history and M.A. Rahman Chughtai thought in terms of Tipu Sultan that one day of a lion is better than 100 days of a Jackal. Allah bless you, Chughtai! You did well for your country and will continue to do so through Art that reflects the Ideology of Pakistan. An Ideology not merely of past but a blend of past, present and future, with innovations at every stage of life. The Quran with each scientific discovery becomes all new for us. We learn our lesson from the Divine revelations of life. Pakistan the most progressive Muslim Nation of the World.

THE FIRST PAKISTANI PAINTER IN USA – M.A. RAHMAN CHUGHTAI 1929 AND 1930

THE FIRST PAKISTANI PAINTER IN USA
M.A. RAHMAN CHUGHTAI 1929 AND 1930

DR JAMES COUSIN’S TOUR IN USA

American tour one
American tour one
American tour two
American tour two

The book Murraqqa e Chughtai (illustrating Mirza Ghalib’s verses for the first time) created great waves in India and then in Europe. USA was no exception. The book was reviewed in the magazine CREATIVE ARTS NEW YORK in 1928. The artist M.A. Rahman Chughtai was introduced to an American crowd of art lovers. As this was not enough, the famous scholar Dr James Cousin went on a tour to the USA in 1929 and again in 1930. His visit was accompanied by an exhibition of paintings of SIX LEADING INDIAN PAINTERS of that time. M.A. Rahman Chughtai was one of them and the only Muslim painter represented in the USA. The reviews were spontaneous, and we present some of them. The Women City Club of San Francisco found the works inspirational to the Americans.

American exhibition one
American exhibition one
American exhibition two
American exhibition two

Six painters were mainly represented in various American cities but the subject matter of five leading painters and the subject matter of the sixth one was different and there and then spoke in visual terms, which volumes of words could not express, the distinction between two nations. The two nation theory as being advocated by philosophers like Dr Allama Iqbal could be seen in visual terms in the Art of M.A. Rahman Chughtai.

Americans love Art. Americans have loved the Art of M.A. Rahman Chughtai, and there is plenty of the relation between the artist and the USA, but here the matter is not about Chughtai Art after 1947. Here the matter is about Chughtai Art before the inception of Pakistan itself.

American family dreams
American family dreams

And there we have the tale of the two Murraqqa prints printed by MAX JAFFE OF AUSTRIA. The two, namely ‘Desert in bloom’ and ‘Serenade’ , became the rage in USA. One could see them in many American homes, in American night clubs as well as restaurants. One even saw them in some movies as well as TV seasons. They became so legendary that the owners did not even know that they were made by a Pakistani painter. It was the stuff of dreams. Some time back an Israeli lady wrote to us that the same hung in their home in Israel Palestine ages ago. The same also hung at important institutions as well as governmental offices and royal palaces. The mythical Chughtai was born with these two everywhere.

From 1947 the contacts with Americans became very extensive but that is another story and we will take it up in another blog.

Monk Seven Season and MARC
Monk Seven Season and MARC
Monk 7th Season and MARC
Monk 7th Season and MARC

 

CONSPIRACY AGAINST IDEOLOGY BUILDERS – CONDOLENCES ISSUE OF M A RAHMAN CHUGHTAI

CONSPIRACY AGAINST IDEOLOGY BUILDERS
CONDOLENCES ISSUE OF M A RAHMAN CHUGHTAI

The first episode of Chughtai Museum

Compared to politicians, artists are there forever. The greater the Masters, the greater their continuity in the life on earth. That is why when bad things happen to artists, generally the leaders are supposed to listen to the wrongs being done to the segment of society which makes that ideology. The death of an artist is a catastrophe for any Nation. Leaders condole death of great artists as a matter of basic right of them.

No Government official in funeral
No Government official in funeral

M. A. Rahman Chughtai, the greatest Muslim Artist of the 20th century (western critics rating) died on 17th January, 1975. It was his right that his death should have been condoled by the President, Prime Minister, Governors, Chief Ministers and others. Prime Minister was out of the country and came back that night. He held a meeting at PM House about Chughtai. Faiz Ahmad Faiz was there as an adviser as well as Hanif Ramay. It was decided to keep a low profile. The result the death of the artist was not condoled by the stooge Fazal Elahi Chaudry, nor by Zulfiqar Ali Bhutto, as matter of state policy. The result nobody else did at federal level.

Who condoled on the Pakistani level? Abdul Hafeez Pirzada, the Education Minister, who led a plan for the encirclement of family of the artist later on. Governor Punjab Sadiq Hussain Qureshi and Hanif Ramay the Chief Minister of Punjab. Chief Minister of Punjab Hanif Ramay to satisfy the media came to the house of the artist to offer Fateha on the second day. There were his own people to receive him. He never met the wife nor the son of the artist. It was to be a low key affair. Startling by world standards. An unusual condolence came from the President of Azad Jammu and Kashmeer, Sardar bdul Qayyum, a stalwart who understood all this well. We were very grateful to him.

Queens Condolence
Queens Condolence

But then a new phenomena came into motion. Dr Kurt Waldheim, Secretary General UNO New York condoled the death of the artist (three of Chughtai’s works are at the UNO to this day). Queen Elizabeth II who was a collector of Chughtai art herself. The Prime Minister of India, Ms Indira Gandhi, who knew Chughtai from childhood as Jawaharlal Nehru was a great fan of the artist. President Walter Scheel of Germany, who again knew the artist well. Vice President Nelson A Rockefeller who and his wife had collected Chughtai Art from decades before and so on and so forth. Indeed Zulfiqar Ali Bhutto was acutely embarrassed for he was so adept at foreign relations, that these condolences unsettled his mind. Begum Nusrat Bhutto was quick to invite the artist’s son to the Prime Ministers House Rawalpindi for conference on issues. The ball was rolling. Destruction was the ultimate aim.

Indira Sahiba
Indira Sahiba

The Chughtai family said simply ONE THING. You did not bother to even condole his death, how can you put him on scale of a NATIONAL ISSUE? His body was buried in amanat. No one wanted to give an official place for his burial. The maltreatment had become exceptional. Rage was on. PNCA was told that if you want the Chughtai cake, you got to have all of it. You cannot eat the piece of your desire only.

JOKE OF THE YEAR:
For a grant of Rs 1000 per month to the family, the family was asked to donate the museum as well as all the art treasures to the Government of Punjab. HA HA HA or CURSE YOU CURSE YOU OR CURSE YOU is better, for the IQ of governmental mind.

NO LONGER ON HER MAJESTY’S SECRET SERVICE – ENGLISH POODLES IN LOVE WITH PRESIDENTS

NO LONGER ON HER MAJESTY’S SECRET SERVICE
ENGLISH POODLES IN LOVE WITH PRESIDENTS

LAHORE ABOUT TO HOST MOST ADVANCED SPY CENTER

At work
At work

All the stuff that makes up James Bond is coming to Lahore. But espionage has changed in our century. Now the cool stuff is no more. Nor the hot stuff. Only the stupid stuff is left. The aim mutual destruction of the world. And what spurs it? Not the National Security. Just the NEO CONS version of PURE GREED.

James Bond of future
James Bond of future

We all know what happens in the world? Media wars are the rage of the modern world. Even James Bond was pitted against a Media King in one of the charades of life.

Politicians who have no stake in the future of Pakistan specifically allow such activities with full of love for their Masters. One can hear them sing FROM PAKISTAN WITH LOVE all the time by crushing all the aspirations of the people of Pakistan. Their souls have no room for shame for they sold their souls long ago.

All the chatter of Pakistan is going to be on record. Massive computer jobs will be created as well as room for translators, while computers pick up words from conversations, key words, which will supposed to hit a hammer on the head of all with diverse views. No one is going to be allowed to bark, or for that matter sing. Much robotic banter would be allowed. The world predicted by analysts long ago is going to be here in full spread.

Bonds getting old
Bonds getting old

Will we be crushed? Will we survive? We are told that those who dig graves for others, are actually digging their own graves. Will we see such people buried in response too? Who knows? One thing we know, we will continue to believe in Allah, and we will all be prepared to die for Allah. Straight to heaven, promises the Quran. For us it matters more, that we acquit ourselves well.

Lahore centre
Lahore centre