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Emo Girls Wallpaper Biography
Dame Joan Alston Sutherland, OM, AC, DBE (7 November 1926 – 10 October 2010)[1] was an Australian dramatic coloratura soprano noted for her contribution to the renaissance of the bel canto repertoire from the late 1950s through to the 1980s.
One of the most remarkable female opera singers of the 20th century, she was dubbed La Stupenda by a La Fenice audience in 1960 after a performance of the title role in Handel's Alcina. She possessed a voice of beauty and power, combining extraordinary agility, accurate intonation, "supremely" pinpoint staccatos,[2] a splendid trill and a tremendous upper register, although music critics often complained about the imprecision of her diction.[3] Her friend Luciano Pavarotti once called Sutherland the "Voice of the Century"; Montserrat Caballé described the Australian's voice as being like "heaven".
Contents  [hide]
1 Early life and career
2 La Stupenda
3 Retirement years
4 Death
5 Memorial service
6 Voice
6.1 Vocal timbre
6.2 Vocal category, size and range
7 Honours and awards
8 Roles
9 Recordings
10 References
11 Further reading
12 External links
[edit]Early life and career

Joan Sutherland was born to Scottish parents in Sydney, and attended St Catherine's School in the suburb of Waverley, New South Wales. As a child, she listened to and imitated her mother's singing exercises. Her mother, a mezzo-soprano, had taken voice lessons but never considered making a career as a professional singer. Sutherland was 18 years old when she began seriously studying voice with John and Aida Dickens. She made her concert debut in Sydney, as Dido in Purcell's Dido and Aeneas, in 1947. In 1951, she made her stage debut in Eugene Goossens's Judith. In 1951, after winning Australia's most important competition, the Sun Aria, now known as the Sydney Eisteddfod McDonald's Operatic Aria in 1949.[4] She then went to London to further her studies at the Opera School of the Royal College of Music with Clive Carey. She was engaged by the Royal Opera House, Covent Garden, as a utility soprano, and made her debut there on 28 October 1952, as the First Lady in The Magic Flute, followed in November by a few performances as Clotilde in Vincenzo Bellini's Norma, with Maria Callas as Norma.
Being an admirer of Kirsten Flagstad in her early career, she trained to be a Wagnerian dramatic soprano. In December 1952, she sang her first leading role at the Royal Opera House, Amelia in Un ballo in maschera. Other roles included Agathe in Der Freischütz, the Countess in The Marriage of Figaro, Desdemona in Otello, Gilda in Rigoletto, Eva in Die Meistersinger von Nürnberg, and Pamina in The Magic Flute. In 1953, she sang the role of Lady Rich in Benjamin Britten's Gloriana a few months after its world premiere, and created the role of Jennifer in Michael Tippett's The Midsummer Marriage, on 27 January 1955.
Sutherland married Australian conductor and pianist Richard Bonynge on 16 October 1954. Their son, Adam, was born in 1956. Bonynge gradually convinced her that Wagner might not be her Fach, and that since she could produce high notes and coloratura with great ease, she should perhaps explore the bel canto repertoire. She eventually settled in this Fach, spending most of her career singing dramatic coloratura soprano.
In 1957, she appeared in Handel's Alcina with the Handel Opera Society, and in Donizetti's Emilia di Liverpool, in which performances her bel canto potential was clearly demonstrated, vindicating her husband's judgement. The following year she sang Donna Anna in Don Giovanni in Vancouver.
In 1958, at the Royal Opera House, after singing, "Let the Bright Seraphim", from Handel's oratorio, Samson, she received a ten minute-long standing ovation.[citation needed]
[edit]La Stupenda

In 1959, Sutherland was invited to sing Lucia di Lammermoor at the Royal Opera House in a production conducted by Tullio Serafin and staged by Franco Zeffirelli. The role of Edgardo was sung by her fellow Australian Kenneth Neate, who had replaced the scheduled tenor at short notice.[5] It was a breakthrough for Sutherland's career, and, upon the completion of the famous Mad Scene, she had become a star. In 1960, she recorded the album The Art of the Prima Donna, which remains today one of the most recommended opera albums ever recorded: the double LP set won the Grammy Award for Best Classical Performance – Vocal Soloist in 1962. The album, a collection consisting mainly of coloratura arias, displays her seemingly effortless coloratura ability, high notes and opulent tones, as well as her exemplary trill. The album was added to the National Film and Sound Archive's Sounds of Australia registry in 2011.[citation needed]
By the beginning of the 1960s, Sutherland had already established a reputation as a diva with a voice out of the ordinary. She sang Lucia to great acclaim in Paris in 1960 and, in 1961, at La Scala and the Metropolitan Opera. In 1960, she sang a superb Alcina at La Fenice, Venice, where she was nicknamed La Stupenda ("The Stunning One"). Sutherland would soon be praised as La Stupenda in newspapers around the world. Later that year (1960), Sutherland sang Alcina at the Dallas Opera, with which she made her US debut.
Her Metropolitan Opera debut took place on 26 November 1961, when she sang Lucia. After a total of 223 performances in a number of different operas,[6] her last appearance there was a concert on 12 March 1989.[7] During the 1978–82 period her relationship with the Met severely deteriorated when Sutherland had to decline the role of Constanze in Mozart's Die Entführung aus dem Serail, more than a year before the rehearsals were scheduled to start. The opera house management then declined to stage the operetta The Merry Widow especially for her, as requested; subsequently, she did not perform at the Met during that time at all, even though a production of Rossini's Semiramide had also been planned, but later she returned there to sing in other operas.[8]
During the 1960s, Sutherland had added the greatest heroines of bel canto ("beautiful singing") to her repertoire: Violetta in Verdi's La traviata, Amina in Bellini's La sonnambula and Elvira in Bellini's I puritani in 1960; the title role in Bellini's Beatrice di Tenda in 1961; Marguerite de Valois in Meyerbeer's Les Huguenots and the title role in Rossini's Semiramide in 1962; Norma in Bellini's Norma and Cleopatra in Handel's Giulio Cesare in 1963. In 1966 she added Marie in Donizetti's La fille du régiment, which became one of her most popular roles, because of her perfect coloratura and lively, funny interpretation.
In 1965, Sutherland toured Australia with the Sutherland-Williamson Opera Company. Accompanying her was a young tenor named Luciano Pavarotti, and the tour proved to be a major milestone in Pavarotti's career. Every performance featuring Sutherland sold out.
During the 1970s, Sutherland strove to improve her diction, which had often been criticised, and increase the expressiveness of her interpretations. She continued to add dramatic bel canto roles to her repertoire, such as Donizetti's Maria Stuarda and Lucrezia Borgia, as well as Massenet's extremely difficult Esclarmonde, a role that few sopranos attempt. With Pavarotti she made a very successful studio-recording of Turandot in 1972 under the baton of Zubin Mehta, though she never performed the role on stage.
Sutherland's early recordings show her to be possessed of a crystal-clear voice and excellent diction. However, by the early 1960s her voice lost some of this clarity in the middle register, and she often came under fire for having unclear diction. Some have attributed this to sinus surgery; however, her major sinus surgery was done in 1959, immediately after her breakthrough Lucia at Covent Garden.[9] In fact, her first commercial recording of the first and final scene of Lucia reveals her voice and diction to be just as clear as prior to the sinus procedure. Her husband Richard Bonynge stated in an interview that her "mushy diction" occurred while striving to achieve perfect legato. According to him, it is because she earlier had a very Germanic "un-legato" way of singing.[10] She clearly took the criticism to heart, as, within a few years, her diction improved markedly and she continued to amaze and thrill audiences throughout the world.
In the late 1970s, Sutherland's voice started to decline and her vibrato loosened to an intrusive extent. However, thanks to her vocal agility and solid technique, she continued singing the most difficult roles amazingly well. During the 1980s, she added Anna Bolena, Amalia in I masnadieri and Adriana Lecouvreur to her repertoire, and repeated Esclarmonde at the Royal Opera House performances in November and December 1983. Her last full-length dramatic performance was as Marguerite de Valois (Les Huguenots) at the Sydney Opera House in 1990, at the age of 63, where she sang Home Sweet Home for her encore. Her last public appearance, however, took place in a gala performance of Die Fledermaus on New Year's Eve, 1990, at Covent Garden, where she was accompanied by her colleagues Luciano Pavarotti and the mezzo-soprano Marilyn Horne.
According to her own words, given in an interview with The Guardian newspaper in 2002,[11] her biggest achievement was to sing the title role in Esclarmonde. She considered those performances and recordings her best.
[edit]Retirement years

Joan Sutherland in 1990
After retirement, Sutherland made relatively few public appearances, preferring a quiet life at her home in Les Avants, Switzerland. One exception was her 1994 address at a lunch organised by Australians for Constitutional Monarchy. In that address, she complained about having to be interviewed by a clerk of Chinese or Indian background when applying to renew her Australian passport. Her comments caused controversy among some sections of the community at the time.[12][13]
Sutherland had a leading role as Mother Rudd in the 1995 comedy film Dad and Dave: On Our Selection opposite Leo McKern and Geoffrey Rush.[14]
In 1997 she published an autobiography, The Autobiography of Joan Sutherland: A Prima Donna's Progress. It received generally scathing reviews for its literary merits,[15] but it does contain a complete list of all her performances, with full cast lists.
Her official biography, Joan Sutherland: The Authorised Biography, published in February 1994, was written by Norma Major, wife of the then prime minister John Major.[16]
In 2002 she appeared at a dinner in London to accept the Royal Philharmonic Society's gold medal. She gave an interview to The Guardian in which she lamented the lack of technique in young opera singers and the dearth of good teachers.[11] By this time she was no longer giving master classes herself; when asked by Italian journalists in May 2007 why this was, she replied: "Because I'm 80 years old and I really don't want to have anything to do with opera any more, although I do sit on the juries of singing competitions."[17] The Cardiff Singer of the World competition was the one that Sutherland was most closely associated with after her retirement. She began her regular involvement with the event in 1993, serving on the jury five consecutive times and later, in 2003, becoming its patron.[18]
On 3 July 2008, she fell and broke both of her legs while gardening at her home in Switzerland.[19] She completely recovered and attended a 2009 luncheon hosted by Queen Elizabeth at Buckingham Palace in honour of members of the Order of Merit.

On 11 October 2010, Sutherland's family announced that she had died at her home at Les Avants in Switzerland the previous day of cardiopulmonary failure – "the heart just gave out...When it came to the point that she physically couldn't do anything, she didn't want to live any more. She wanted to go, she was happy to go, and in the end she died very, very peacefully."[20][21][22] Though she recovered from her fall in 2008, it led to more serious health problems.[23] A statement from her family said "She's had a long life and gave a lot of pleasure to a lot of people." Sutherland had requested a small, private funeral service.[20] Her funeral was held on 14 October and Opera Australia planned a tribute to her.[23] Artistic director of Opera Australia, Lyndon Terracini, said "We won't see her like again. She had a phenomenal range, size and quality of voice. We simply don't hear that any more."[23] Sutherland is survived by her husband, son, daughter-in-law and two grandchildren.[24][25]
Australian Prime Minister Julia Gillard said, "She was of course one of the great opera voices of the 20th century," adding that Dame Joan showed a lot of "quintessential Australian values. She was described as down to earth despite her status as a diva. On behalf of all Australians I would like to extend my condolences to her husband Richard and son Adam and their extended family at this difficult time. I know many Australians will be reflecting on her life's work today."[26]
[edit]Memorial service

A State Memorial Service on 9 November 2010, arranged by Opera Australia, was held at the Sydney Opera House.[27] Speakers at the service were Julia Gillard, Prime Minister of Australia; Professor Marie Bashir, the Governor of New South Wales; Moffatt Oxenbould, the former Artistic Director of Opera Australia; and Sutherland's son, Adam Bonynge. The service was broadcast live by both ABC1 television and ABC Classic FM (radio) and streamed globally by ABC News 24. Further memorial services were held in Westminster Abbey on 15 February 2011,[28] and in New York City on 24 May 2011, which was hosted by Marilyn Horne with an appearance by Richard Bonynge. In attendance were Sherrill Milnes, Norman Ayrton, Regina Resnick, and Spiro Malas.

[edit]Vocal timbre
Described as "fresh," "silvery" and "bell-like" until 1963,[29] Joan Sutherland's voice, later became "golden" and "warm",[2] music critic John Yohalem writes it was like "molten honey caressing the line."[29] In his book Voices, Singers and Critics, John Steane writes that "if the tonal spectrum ranges from bright to dark, Sutherland's place would be near the centre, which is no doubt another reason for her wide appeal."[2] According to John Yohalem, "Her lower register was a cello register, Stradivarius-hued."[29] Her voice was full and rounded even in her highest notes,[30] which was brilliant, but sometimes "slightly acid."[31]
In 1971, Time writes an article comparing Sutherland and Beverly Sills,
Originally bright and youthful-sounding, her voice darkened as she transformed herself into a coloratura. There is a suggestion of Callas' famous middle register in Sutherland's vocal center—a tone that sounds as if the singer were singing into the neck of a resonant bottle. Today the Sutherland voice towers like a natural wonder, unique as Niagara or Mount Everest. Sills' voice is made of more ordinary stuff; what she shares with Callas is an abandon in hurling herself into fiery emotional music and a willingness to sacrifice vocal beauty for dramatic effect. Sutherland deals in vocal velvet, Sills in emotional dynamite. Sutherland's voice is much larger, but its plush monochrome robs it of carrying power in dramatic moments. Sills' multicolored voice, though smaller, projects better and has a cutting edge that can slice through the largest orchestra and chorus. Sometimes, indeed, it verges on shrillness. [...] In slow, legato music, Sills has a superior sense of rhythm and clean attack to keep things moving; Sutherland's more flaccid beat and her style of gliding from note to note often turn song into somnolence. Sills' diction in English, French and Italian is superb; Sutherland's vocal placement produces mushy diction in any language, but makes possible an even more seamless beauty of tone than is available to Sills.[32]
Describing Sutherland's voice, John Yohalem writes:
On my personal color scale, which runs from a voluptuous red (Tebaldi) or blood-orange (Leontyne Price) or purple (Caballé) or red-purple (Troyanos) to white-hot (Rysanek) or runny yellow-green (Sills), Sutherland is among the "blue" sopranos – which has nothing to do with "blues" in the pop sense of the term. (Ella Fitzgerald had a blue voice, but Billie Holiday had a blues voice, which is very different.) Diana Damrau is blue. Mirella Freni is blue-ish. Karita Mattila is ice blue. Régine Crespin was deep blue shading to violet. Sutherland was true blue (like the Garter ribbon). There is a coolness here that can take on the passion in the music but does not inject passion where the music lacks it, could possibly use it.[29]
[edit]Vocal category, size and range
Although she is generally described as a dramatic coloratura soprano, "categorizing Sutherland's voice has always been extremely difficult, both the size and the sound present definitional problems [...] Aside from singing some roles popular amongst coloratura sopranos, Sutherland’s voice could not be more different."[2]
In a 1961 profile in The New York Times Magazine, Sutherland said she initially had "a big rather wild voice" that was not heavy enough for Wagner, although she did not realize this until she heard "Wagner sung as it should be."[33]
Regarding the size of Sutherland's voice, Opera Britannia praise "a voice of truly heroic dimensions singing bel canto. It is doubtful if any soprano in this repertoire has fielded quite so much power and tone as Dame Joan, and this includes Callas and Tetrazzini. The contrast with other sopranos who sing the same roles is appropriately enough stupendous, with rival prima donnas producing small pin points of sound as compared to Sutherland's seemingly endless cascades of full tone."[2] In 1972, music critic Winthrop Sargeant describes her voice "as large as that of a top-ranking Wagnerian soprano" in the The New Yorker.[34] French soprano Natalie Dessay states, "She had a huge, huge voice and she was able to lighten suddenly and to take this quick coloratura and she had also the top high notes like a coloratura soprano but with a big, huge voice, which is very rare."[35]
Sutherland's vocal range extended from G below the staff (G3)[33] to high F (F6), or high F-sharp (F♯6), although she never sang this last note in a public performance.[2][36]
[edit]Honours and awards

During her career and after, Sutherland received many honours and awards. In 1961, she was made a Commander of the Order of the British Empire (CBE).[37] That year she was named the Australian of the Year.[38]
In the Queen's Birthday Honours of 9 June 1975, she was in the first group of people to be named Companions of the Order of Australia (AC) (the order had been created only in February 1975).[39] She was elevated within the Order of the British Empire from Commander to Dame Commander (DBE) in the New Year's Honours of 1979.[40]
On 29 November 1991, the Queen bestowed on Dame Joan the Order of Merit (OM).[41] In January 2004 she received the Australia Post Australian Legends Award which honours Australians who have contributed to the Australian identity and culture. Two stamps featuring Joan Sutherland were issued on Australia Day 2004 to mark the award. Later in 2004, she received a Kennedy Center Honor for her outstanding achievement throughout her career.
Sutherland House and the Dame Joan Sutherland Centre, both at St Catherine's School, Waverley, and the Joan Sutherland Performing Arts Centre (JSPAC), Penrith, are all named in her honour.[42]
John Paul College, a leading private school in Queensland, Australia, dedicated its newly established facility the Dame Joan Sutherland Music Centre in 1991. Sutherland visited the centre for its opening and again in 1996.
In 2012, Sutherland was voted into Gramophone Magazine's first Hall of Fame.[43]
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Pakistani Girls Wallpapers Biography
Reema Khan (Urdu:ریما خان), known by her screen name Reema, is a Pakistani Lollywood film actress, director and producer. She has appeared in more than 200 films since making her debut in 1990.[1]
Contents  [hide]
1 Early life
2 Career
3 Personal life
4 Director and producer
5 Filmography
5.1 As an actress
5.2 As director and producer
5.3 Television
6 References
7 External links
[edit]Early life

Reema Khan was born in Lahore,in 1971.Pakistan.[2] She was first spotted in 1990 by the Pakistani film director Javed Fazil and was offered the supporting role in his film Bulandi.

Khan started her film career in 1990 through Javed Fazil’s which she done title role
Khan's early films included Zherilay, Ishq, Naag Devta, Pyar hi pyar, Sailab, Dil, Aag, Shama and Sahiba.
These were followed by films such as Hina, Anjuman, Chakuri, Chandni, Neelam and Insaniat. Later she appeared in Hathi Meray Sathi directed by Shameem Ara and in Rani Beti Raj Karegi directed by Altaf Hussain.
In 2002, Asif Ali Pota’s Fire and Samina Peerzada’s Shararat were released.
She was the first Pakistani actress to be signed by Pepsi Co., Pakistan for their series of advertisements. She has now become an official partner of the Lahore zoo.
[edit]Personal life

Reema Khan married American cardiologist surgeon S. Tariq Shahab on November 16, 2011 in Virginia. The nikkah took place at a local court in Virginia according to American law while Rukhsati took place on November 18, 2011. Her Walima was held in Pearl Continental Hotel Lahore on 27th May , 2012.
[edit]Director and producer

Her debut film as a director and producer, Koi Tujh Sa Kahan, was released in Pakistan and overseas. It went on to win the Best Film award at the Lux Style Awards in 2006. Khan won the award for the Best Actress and Best Director for the same film while Moammar Rana won the Best Actor Award.

[edit]As an actress
Year Production Role Notes
1990 Bulandi
1991 Afzal Khan
Nag Devta
Kharon Ke Khiladi
Pyar Hi Pyar
1992 Shezada
Muhammad Khan
Ishq Zindabad
1993 Hinna
Paida Geer
Sheeda Tali
Jhoota Raes
Betaj Badshah
Daku Chor Sepahi
Teesri Dunia
Putar Munawar Zareef Da
Aan Milo Sajna
Hathi mere Sathi
Dunya Meri Jaib Mein
1994 Khandan
Gujjar Badshah
Miss Fitna
Muhalay Dar
Laat Saab
Bala Peeray Da
Munda Kashmiri
But Shikan
1995 Muda Bigra Jaye
Jo Darr Gya Woh Marr Gya
Chaudhry Badshah
Akhri Mujra
Madame Rani
1996 Love 95
Talismi Jazeerah
Chor Machae Shoor
Mamla Garbar Hai
Hum to Chale Susral
Sab Se Bara Rupiah
Miss Istanbul
Aalmi Ghuday
Be Qabu
Hum Hain Aap Ke Ghulam
1997 Hum Kisi Se Kam Nahin
Uqabon Ka Nasheman
Aulad Ki Qasam
Dunia Hai Dilwalon Ki
Main Khiladi Tu Anadi
Khuda Jane
Hum Tumhare Hain
Raja Pakistani
Devar Dewane
1998 Insaaf Ho tau Aisa
Tu meri Mein Tera
Nakhra Gori Da
Jise De Maula
Dil Sambhala Na jaye
King Maker
Dulha Le Ker Jaongi
Doli Saja Kar Rakhna
Wedding Bisma
1999 Waris
Dushman Zinda Rahe
Nikki Jai Haan
Kursi Aur Qanoon
Ik Paghal Si Ladki
Dil Tau Pagal Hai
2000 Long Da Lishkara
Yar Chan Wargah
Mujhe Chand Chahiye Zameen
Khuda Ke Choor
Banarsi Choor
Billo 420
2002 Khuda Qasam
Majhoo Da Wair
Kaun Bane Ga Karorpati
2003 Shararat
2005 Koi Tujh Sa Kahan
2006 Muhabbatein
One Two Ka One
2011 Love Mein Ghum
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The Pakistan Girl Guides Association (PGGA) (Urdu: پاکستان گرل گائڈزایسوسی ایشن) is the national Guiding organization of Pakistan. It serves 117,692 members (as of 2010). Founded in 1911 as part of Indian Girl Guiding, the girls-only organization became independent in 1947 and a full member of the World Association of Girl Guides and Girl Scouts in 1948.
Mission: “To provide opportunities for the development of girls and young women, so that they become confident, patriotic and law abiding citizens capable of performing their duties in the home, as well as community and country”
Vision: We are a National Movement of empowered girls and young women working as the agents of change to build a better world.
Contents  [hide]
1 Program and ideals
1.1 Guide Promise
1.2 Guide Law
2 References
3 See also
[edit]Program and ideals

The movement aims to help girls develop potentials as individuals and prepare them into useful and caring citizens of the country. The association is divided in three sections according to age:
Junior Guides - 6 to 11 Years
Girl Guides - 11 to 16 Years
Senior Guides - 16 to 21 Years
[edit]Guide Promise
I promise to do my best
To do my duty to God and Pakistan
To serve mankind and participate in nation building activities
My special responsibility as a senior guide is to render service by taking this promise out into the wider world To obey the guide laws
[edit]Guide Law
A guide is trustworthy
A guide is loyal
A guide is friendly and a sister to all other Guides.
A guide is polite and considerate and develops a sense of civic responsibility.
A guide is a polite and considerate
A guide is kind to animals and respects all living things.
A guide is obedient.
A guide is helpful and makes good use of her time.
A guide is courageous and cheerful in difficult times.
A guide is thrifty and takes care of her own and other people's possessions.
A guide's deeds follow her words.
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Punjabi Girls Wallpaper Biography
Waris Shah (Punjabi: وارث شاہ, ਵਾਰਿਸ ਸ਼ਾਹ) (1722–1798) was a Punjabi Sufi poet, renowned for his contribution to Punjabi literature. He is best known for his seminal work Heer Ranjha, based on the traditional folk tale of Heer and her lover Ranjha. Heer is considered one of the quintessential works of classical Punjabi literature. The story of Heer was also told by several other writers—including notable versions by Damodar Das, Mukbal, and Ahmed Gujjar—but Waris Shah's version is by far the most popular today.
Contents  [hide]
1 Background
2 Shakespeare of Punjabi language
3 Excerpt from Heer Waris Shah
4 See also
5 References
6 External links
7 Further reading

Waris Shah was born in Jandiala Sher Khan, Punjab, Pakistan into a reputed Syed family who claimed descent from prophet Muhammad. His father's name was Gulshar Shah. Waris Shah acknowledged himself as a disciple of Pir Makhdum of Kasur. Waris Shah's parents are said to have died when he was young, and he probably received his education at the shrine of his preceptor. After completing his education in Kasur, he moved to Malka Hans, a village twelve kilometers north of Pakpattan. Here he resided in a small room, adjacent to a historic masjid, now called Masjid Waris Shah. His mausoleum is a place of pilgrimage today, especially for those in love.
[edit]Shakespeare of Punjabi language

Waris Shah is also called Shakespeare of the Punjabi language because of his great poetic love story, Heer Ranjha. Some critics say that through this story of romantic love, he tried to portray the love of man for God (the quintessential subject of Sufi literature).
He was a consummate artiste, deeply learned in Sufi and domestic cultural lore. His verse is a treasure-trove of Punjabi phrases, idioms and sayings. His minute and realistic depiction of each detail of Punjabi life and the political situation in the 18th century, remains unique. Waris Shah also sublimated his own unrequited love for a girl (Bhag Bhari) in writing romance.
Many verses of Waris Shah are widely used in Punjab in a moral context. One of the more popular is
"Waris Shah; Naa adataan jaandiyan ne, Bhavein katiye poriyan poriyan ji"
(Waris Shah says: A man never abandons his habits, even if he is hacked to pieces)
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Smart Girls Wallpaper Biography
Initially titled simply Brian, the album was intended to be a follow up to his 1988 solo debut, Brian Wilson. However, during this stage in Wilson’s life, he was under the care of controversial psychologist Dr. Eugene Landy, who is known for his unconventional method of “24 hour therapy”. This meant that Landy was micro-managing Wilson's life, including his creative career, and, thus, was Wilson's primary collaborator on this unreleased album. The pair had also collaborated previously on Wilson's first solo album as well as, uncredited, on The Beach Boys Love You album.
The recordings from the album's sessions have frequently been generally criticised by fans and critics as being sub–par over the years and they were ultimately rejected by Brian's label at the time; Sire. However, the album is not without its fans in the media. Brett Milano called it "a brilliant album" in the Boston Phoenix. "For the first time since 'Till I Die,' he's writing directly about his breakdown and recovery...Landy may have written these lyrics, but it hardly matters; Wilson didn't write the lyrics to Pet Sounds either." Milano later labeled it one of Wilson's best post-'60s albums. Jackson Griffith praised it in Tower Records' Pulse magazine, calling it "easily the finest, most consistently satisfying Wilson disc since The Beach Boys' Sunflower. He's still got it." And writer Bill Holdship championed the album in both BAM and MOJO magazines. The Detroit News' Susan Whitall and Entertainment Weekly's Dave DiMartino also praised the album in their publications, and the album showed up on several 1991 year-end poll lists. Wilson has said in interviews that the master tapes were stolen so there is no chance of there ever being an official release, although the songs have shown up on numerous bootlegs. Five of the songs were rerecorded over a decade later and released on Wilson’s 2004 album, Gettin' in Over My Head, although some critics believed the remakes weren't as good as the ones recorded for the original album. It has become one of the more sought-after bootleg albums in the years since its recording.
SWEET INSANITY only exists on physical media as a promotional cassette (on excellent-quality CHROME tape) manufactured for Brains & Genius, Wilson's and Landy's production company. (The actual cassette was presumably manufactured by Warner Bros. Records; The cassette tape uses Warners' clear shell and typeface) and carries a 1991 copyright date. The cassette includes two bonus tracks: (CD Bonus/"Country Feelin'" and Single, B-Side/"Hotter"). It's unclear whether this particular cassette contains the first or second iteration of the album.
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