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THE ICON INTERVIEW : THE WHIMSIES OF FARHAN SAEED
When an interview of a singer takes place right before the release of their new song or album, you can always hope for a live mini-concert.
Farhan Saeed sits opposite me and casually props a snazzy-looking guitar behind him. And I know that I will be listening to some unplugged singing after — or during — the interview.
Conversations with Farhan are always insightful, peppered with honest anecdotes and a few revelations here and there. There is also always a lot to talk about, as his career constantly boomerangs between music, film and TV. Hearing him sing live is the icing on the cake.
As we talk, I occasionally request him to sing certain songs. I am treated to quite literally the ‘Best of’ from his musical oeuvre: the hit Suno Chanda, the soundtrack of the drama of the same name, which he also acted in and which indubitably began the Ramzan drama fad; the sentimental Thorri Daer, sung with Sunidhi Chauhan for a Bollywood film, and the romantic Pee Jaoon. Farhan also sings Khat, the first track from his album of the same name.
‘A musician’s home is the album’
This new song is quintessential Farhan Saeed: melodious and sentimental, simply a love song to play during a long drive. Farhan agrees: “Khat is what people know me for, like a Pee Jaoon. I was sure I wanted the video for the song to have the ‘feel’ of a band, since I started my career in a band. I didn’t want a typical music video, where the storyboard revolves around a romance between a boy and a girl.”
He’s been a singer for two decades but is only now coming out with his first solo album. He’s been acting in globally popular television dramas and films for more than a decade but admits he can’t tell which of his projects will be hits. And he says he enjoys being creative, but then why does he always want to get home as soon as possible?
Following Khat is Manzar, a sweet ballad with its video including unseen footage from Farhan’s wedding with actor Urwa Hocane; it was released around the same time as the couple’s ninth wedding anniversary.
“Surprisingly, it hadn’t even occurred to me that I could use footage from my wedding in a music video,” he tells me. “I was in Dubai, meeting my album’s distributors at Warner Music, and I was playing for them. I mentioned that the album had different types of songs, including one ideal for weddings.
“I played Manzar for them right after I said this and, although I was referring to another number, they started imagining Manzar’s video in a shaadi setting. One of the women at the meeting even asked me if I had footage of my own wedding that could be used in the song’s video. This got me thinking.”
I enjoy switching roles. Tonight, I have a concert in Karachi, and tomorrow I am performing in Lahore, but for the last four days, I have been on a drama set. It’s great because life never gets monotonous. But it isn’t easy.
He adds: “I showed my wedding video footage to the video director, Fahad Noor, and asked him if we could do something with it. He said that it would make a great music video. Interestingly, Urwa and I had never seen our own wedding video till then. Our wedding was covered so extensively on social media that, by the time it wrapped up, we were done seeing so much content! When we saw the video of Manzar, Urwa started crying. On another note, I had always considered Manzar to be the most romantic song in the album, and I told Urwa that I had dedicated it to her.”
Will he be releasing the rest of his album’s singles one by one as well? “I had considered doing this, but then I realised that it would be too difficult,” he answers. “I am also working in a drama and performing in concerts regularly. It won’t be possible for me to release one song at a time, promote it and give interviews about it. I plan to release the next single along with the rest of the album.”
Farhan’s career spans more than two decades. Surprisingly, Khat will be his first solo album. “Yes, it is my first album as a solo artist,” he confirms. “I have a couple of albums to my name from the time when I was part of a band [Jal], but then, around the time we disbanded in 2011, YouTube was banned. This hampered the growth of Pakistan’s music industry to a large extent. I still continued to release singles — I don’t remember anyone else doing so at the time, and then, even when the ban on YouTube was removed, musicians would just release singles.”
He elaborates, “Honestly, it was easy to just come up with a good song, make one video and then do concerts. Albums take a lot of time and effort but, having said that, a musician’s home is the album. You give a piece of yourself to the world when you go back to the studio and put together an album in a span of three to four months.”
And does he think that now, albums — rather than just singles — are making a comeback?
“I think they have already done so. I know of at least five other Pakistani musicians who have released albums or are releasing them over the next few months. It satisfies a musician’s inner yearning when they put together a collection of songs that reflect their vision. It is also a collection of different kinds of music which appeal to different audiences. So, you just release all these different variations, never knowing which song will work best.”
He continues: “In the albums that I released with the band, the song that we always thought would do the best was never as big a hit as another one.”
So, you never know? He widens his eyes and smiles. “You never know with songs. You never know with dramas.” You also never know with a film, I interject. “With a film, you never know at all!” he laughs.
This is something uniquely special about Farhan; he can talk as perceptively about music as he can about changing tides in TV and film. He performs regularly in concerts, has a slew of hit TV dramas to his credit, and made his cinematic debut in 2022’s Tich Button, which will be followed this year by the ARY Films’ Eid release Luv Di Saun.
‘So many of my dramas have been global hits’
Our conversation steers towards dramas and I ask him if, when he is shooting for a drama, whether he can tell when scenes begin to feel repetitive or long-winded? Can’t he tell that the audience is likely to get restless if the narrative gets too long, which was the case with his recent drama, Shirin Farhad?
He pauses before answering. “Later, in hindsight,you can say a lot of things, and on any drama set, the cast and crew do, whether they think that the story is losing its grip. We can tell — at least I can — although it might be more difficult for the director to be objective when they are so deeply involved in the process.”
Referring to Shirin Farhad, he says, “It’s difficult making a period play. After 10 to 12 days, the production houses run out of money. So many details have to be looked into: the cars being used, the wardrobe. It’s not easy. In my case, especially, the drama that I think will do well doesn’t. I really respect the understanding that production content heads have of the audience.
“In the case of Mere Humsafar, Nadeem Baig and Sanam Mehdi at Six Sigma were sure that the drama would do really well. I, on the other hand, would keep asking the director, Qasim Ali Mureed, what was happening, given that Hania’s character was crying all the time. We laugh about it now.”
He goes on to talk about another drama that was close to his heart. “At that time, I was simultaneously shooting another drama, Badshah Begum, and I was so excited about it that I would cut down on Mere Humsafar’s dates for it. Everyone involved in Badshah Begum believed it would set new benchmarks in the TV industry. We would all be in Larkana for 20-day spells, working very hard while enjoying the process. It just didn’t translate, while Mere Humsafar became a global hit. Similarly, in the same way, I never thought that Suno Chanda would become such a sensation.”
Farhan is currently shooting a new drama for ARY Digital, directed by Qasim Ali Mureed, co-starring Sana Javed. This leads us to the inevitable question: singing, acting in TV dramas and acting in films — what does he enjoy more?
“I enjoy being creative, so everything!” he retorts with a laugh. “I enjoy switching roles. Tonight, I have a concert in Karachi, and tomorrow I am performing in Lahore, but for the last four days, I have been on a drama set. It’s great because life never gets monotonous.”
He adds, “But it isn’t easy. Tonight, I will be performing for an hour. I will arrive at the concert venue 10 minutes before my performance is scheduled to begin. And I never opt for lip-syncing. I love singing live. But yesterday, while on a drama set, I had to wait for my scenes to be shot. It can get difficult, although I still enjoy it and have the temperament for it, which is why I do it.”
There is a particular reason why waiting during a shoot for a drama is particularly tedious for him. “I am very different now compared to how I was when I first started out or even in 2024, before my daughter was born. I was very restless then, hosting after-parties at my home, always wanting to be in the thick of things. I have become much more balanced, and I just want to go home and spend time with my daughter.
“So now, when I am at work, and things aren’t getting done, I get anxious, because I have left something very important behind to be there. That’s why whatever I am working on has to be worthy of my time and effort.”
He adds: “I work in dramas because I like to do so, but music is far more lucrative.”
But doesn’t he think working in dramas has made him more popular with the general public? He agrees. “It does increase the number of people coming to your concerts and widens the age bracket of your fans.”
Farhan has always stood by every one of his projects, promoting them sincerely. Despite this, does he think that he is underrated?
“No, I don’t think so,” he says, “I don’t know how many dramas I have done, but I was just starting out when I worked in Udaari [2016]. It did really well, although I wasn’t at my best in it — I think Ahsan Khan, Bushra Ansari and Urwa Hocane were really good. Then came Suno Chanda, and I won four awards for it at an awards ceremony. The other four awards that night were given to Naumaan Ijaz. After this, Mere Humsafar happened. So many of my dramas have been global hits.”
‘On social media, I just write from the heart’
These dramas also have a considerable fan base in India. Farhan, in fact, has often spoken fondly about his Indian fans. This did not deter him from posting patriotic messages when war broke out between India and Pakistan last year.
“My social media following suffered a lot because I had so many fans in India. But if my country is at war and people think that I will not say ‘Pakistan zindabad’, then they are wrong. This doesn’t mean that I hate India or any other country. I am just standing by my own country.
“Some of the best people that I have met are from India, and I have so many friends there. But I can’t stay silent while their media curses my country and uses constant fake propaganda. My social media following in India may have decreased and, of course, I feel bad about it, but I won’t prioritise my fan-following over my country.”
The messages that he posted on Instagram during the Pakistan-India conflict were very heartfelt. In fact, Farhan’s opinions on social media often seem to be spontaneous, written on the spur of the moment. He laughs.
“I just decide to write something within minutes. I don’t even check the spelling — I am sure that there are grammatical errors! I don’t need to spend time thinking about what I want to write, because my heart is in the right place. I never write because I am hating on someone. I am just expressing what I feel.
“What I don’t like is how so many people use social media to spread negativity and gain a bit of fame,” he adds. “It’s disgusting when, during a podcast, people ridicule someone’s appearance or disregard their extensive body of work. They are very obviously doing this just to get attention and, ideally, they should be ignored.”
This comment reminds me of a social media controversy from not too long ago, when his former Jal bandmate, Goher Mumtaz, said during an interview that Farhan sang out of tune. Did he feel hurt by Goher’s comment?
“More than hurt, I was surprised and shocked!” Farhan admits. “By speaking about me in this way, he probably hurt the feelings of Jal’s many fans who had grown up listening to the band’s songs. Jal wasn’t a one-hit wonder. For a decade, we released hits and were very popular. Goher was probably in a bad place when he made that statement, but he shouldn’t have done it. In my case, it worked in my favour, with people springing to my defence.”
Coming back to Luv Di Saun, he says with a smile, “I hope people like it.” But you never know, do you? “You never know,” he agrees with a shrug and a grin.
What one does know is that when you see Farhan Saeed’s name in the credits — be it on a music album, a TV drama or a film — he’ll be making a sincere effort to entertain you. And that’s always good to know.
Published in Dawn, ICON, January 25th, 2026
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SMOKERS’ CORNER: MIRACLES AND MATERIALITY
A recent video showing a Quran that survived the devastating fire at Karachi’s Gul Plaza has reignited a centuries-old conversation. Throughout history, accounts of Bibles, Qurans or Buddhist sutras emerging unscathed from catastrophic floods and fires have been celebrated as Divine interventions. While these events offer profound spiritual solace, a closer look reveals a fascinating intersection of material physics and psychological bias.
From a physical standpoint, Dougal Drysdale, Professor Emeritus at the University of Edinburgh, suggests that a hardbound book’s survival is often due to the ‘Closed Book Effect.’ When shut, a book functions as a dense, oxygen-starved block of cellulose. Because fire requires a steady flow of oxygen to consume fuel, the tightly packed pages resist ignition by preventing airflow from reaching the interior.
In the event of a flood, the surface tension of water against tightly pressed pages creates a natural barrier. This prevents deep seepage for a significant period, often leaving the heart of the book perfectly dry.
American psychologist Thomas Gilovich explains that when a sacred text survives a disaster, it often becomes more than just a book. It is elevated to a sacred relic. This transformation, according to Gilovich, can significantly redefine a community’s cultural path. In the aftermath of the 2011 Joplin tornado in Missouri, US, survivors and news outlets frequently highlighted the ‘miraculous’ discovery of intact Bibles among the rubble of flattened homes.
The survival of holy texts in the aftermath of natural catastrophes is often termed ‘Divine protection’, revealing the cultural and spiritual narratives people love to attach to such instances
While hardbound dictionaries and cookbooks likely survived in the same ruins due to their similar physical construction, these secular items were ignored by the media as mere debris. The surviving Bibles were immediately elevated from functional reading material to sacred relics, often being framed and displayed as symbols of Divine protection.
By focusing on these specific books, the media triggered a cognitive bias that led people to view the event through a supernatural lens rather than recognising the simple physical durability of bound paper.
British scholar Susan Whitfield, in her 2004 work The Silk Road: Trade, Travel, War and Faith, details the discovery of the Mogao Caves in China. In that instance, the sealing of the Buddhist text the Diamond Sutra (868 CE) within a dry, walled-up chamber created a “natural vault” that protected the world’s oldest-dated printed book from the degrading effects of humidity and oxygen for nearly a millennium. The perception of such objects often shifts from the literary to the ‘miraculous’.
During World War I, pocket Bibles carried by soldiers occasionally stopped shrapnel due to the high density of their compressed paper. This led many soldiers to treat the Bibles as protective talismans.
The Codex Amiatinus, frequently referred to as the ‘Grandfather’ of Latin Bibles, has survived for over 1,300 years due to its immense physical durability. According to Drysdale, this enormous volume, created around 700 CE in Northumbria, England, weighs over 34 kilogrammes and was crafted from the skins of more than 500 calves.
The use of high-quality parchment makes the Bible significantly more resistant to fire and decay, as organic animal skins lack the highly flammable, oxygen-trapping fibres found in wood-pulp paper. This Bible remained virtually untouched for a millennium, preserved by the stable environment of an Italian abbey that served as a ‘natural vault.’
In West Africa, the Desert Manuscripts of Timbuktu offer a compelling example of texts surviving environmental factors, a story often framed as miraculous. When Islamist militants set fire to the Ahmed Baba Institute in 2013, there was widespread global concern over the potential loss of thousands of ancient Islamic manuscripts. However, according to the researcher Mauro Nobili, the extreme aridity of the Sahara desert was critical in aiding their preservation for centuries.
The persistently low humidity prevented mould growth and kept the delicate ink stable, allowing for their long-term survival, which many viewed as a modern miracle. However, the more vulnerable manuscripts were secretly shifted to safer locations before the militants set fire to the Ahmed Baba Institute.
During the Viking raid on Lindisfarne — a tidal island off the northeast coast of England — in 793 CE, a legend emerged concerning a sacred book, Lindisfarne Gospels, which was said to have been dropped into the sea by fleeing priests. Three days later, it washed up perfectly dry. While this specific account is often considered apocryphal, the physical survival of such ancient texts is frequently due to their durable leather and metal bindings, which act as a protective shell for the internal vellum.
Gilovich would point to stories such as this ‘dry’ recovery of a Bible as prime examples of how the media and oral tradition prioritise miraculous narratives over the mundane reality of material science, thereby reinforcing spiritual beliefs.
According to the prominent professor of psychological sciences J. Park, communities frequently transform these survival stories into powerful symbols of “Divine protection” as a means of processing the profound trauma of disasters. This phenomenon ultimately highlights a dynamic intersection, where material science meets deep human sentiment.
While the inherent fire-resistant properties of vellum offer logical, scientific explanations for the physical survival of many books, the human psychological element remains paramount. The inherent human need to find order, meaning and hope within chaos is what elevates these surviving sacred objects from mere material items to vital spiritual anchors for a community’s recovery and continuity.
The endurance of these texts represents a profound intersection between material science and human psychology. It is not merely the density of vellum, the chemical stability of ancient inks or the aridity of a desert that ensures survival. Rather, it is the way these physical realities interact with our inherent drive to find order in the wake of destruction.
Gilovich’s research posits that when a community witnesses the survival of a sacred text, they are not simply observing a quirk of physics. They are engaging in what Park describes as “meaning-making”, using the survived sacred object to process trauma and reclaim a sense of ‘Divine protection.’ Whether through the preservation of the Diamond Sutra in caves, or a Bible or a Quran found amidst the ruins of a modern disaster, these serve as a bridge between the tangible and the transcendent. Their survival is a testament to the fact that, while fire and time may consume the material, the cultural and spiritual narratives we attach to them remain indestructible.
Yet, it is equally important that we recognise the physical realities of their endurance, acknowledging that the science of material durability does not diminish the ‘miracle’, but rather provides a rational foundation for understanding how the written word survives the very elements meant to destroy it.
Published in Dawn, EOS, February 1st, 2026
Magazines
GARDENING: SWISS ONLY IN NAME
Different varieties of leafy green vegetables (locally known as saag) are commonly grown in the Subcontinent due to the favourable growing conditions here. These green vegetables are prepared in traditional meals that contain the signature South Asian touch. However, Swiss chard remains relatively unknown to many.
Swiss chard is one of the easiest-to-grow leafy green vegetables. Unlike other leafy green vegetables, Swiss chard has beautiful bright green-coloured leaves with white, yellow or maroon midribs and stem. No wonder that a few sub-varieties of the Swiss chard are referred to as rainbow chard!
It is also known as spinach beet and leaf beet, while other names reflect the colour of its stems. For instance, the ones with white midribs are referred to as silver beet and those with red or maroon stems are known as rhubarb chard. Its striking colour combinations make it attractive enough as an ornamental plant.
Scientifically known as Beta vulgaris L. var. cicla, Swiss chard belongs to the Amaranthaceae family, which was formerly known as the Chenopodiaceae family. While it is also considered a beet, its root is inedible. Due to its close resemblance to spinach and beet root, it is not recommended to grow Swiss chard near either of them. Pests and diseases affecting beet root and spinach will likely attack Swiss chard as well.
While many other types of saag dominate South Asian kitchens, Swiss chard — of Mediterranean origin — remains largely unknown here…
Contrary to its name, Swiss chard does not originate from Switzerland. The origin of the ‘Swiss’ prefix remains contentious. One theory is that it is widely grown in Switzerland. In fact, Swiss chard primarily originates from the Mediterranean region. However, it is extensively used in Swiss cuisine.
Another theory is that the botanist who first classified this vegetable was Swiss and used the prefix to create a distinction from other leafy vegetables. The most common theory is that the European seed merchants added Swiss to distinguish it from the closely related French chard. If that were not enough to confuse you all, the word ‘chard’ is of Latin origin, meaning thistle — a common gardening term referring to a flowering plant which has prickly bracts.
Swiss chard seeds are easily confused with those of spinach, due to their stark resemblance. The seeds of Swiss chard are faded brown to dark brown in colour. They have a dry, rough texture and are irregular in shape. The seeds are hard and are surprisingly light for their size. Like spinach, one seed of Swiss chard can result in three to four seedlings. For this reason, it is known as a seed ball, containing potentially three to four seeds.
Being hardy, Swiss chard has minimal requirements. One of the best aspects about sowing Swiss chard seeds is that they can be grown in almost any available space. You can grow it on a strip of land, small pots and even around other plants in the same pot. However, when sowing Swiss chard seeds for a full crop, certain aspects should be taken into account.
In climates similar to Karachi, the seeds can be sown from mid-October onwards or when the temperature falls to 20 degrees Celsius. The potting mix should be pre-moistened and clear of pebbles and stones. Seeds should be placed half an inch below the surface and covered with a layer of compost. The soil should remain moist, not wet.
Depending on the desired yield, any pot size can be used, since the roots are small. Pots should then be placed in a cool shade with indirect sunlight. If the Swiss chard plant is being grown in an open field or in raised beds, it should be shielded from direct sunlight exposure, to minimise evaporation.
Some gardeners prefer to soak the seeds in water for four to six hours to ensure better and quick germination. In favourable conditions, Swiss chard seeds are likely to sprout within one week to 10 days.
Please send your queries and emails to doctree101@hotmail.com. The writer is a physician and a host for the YouTube channel ‘DocTree Gardening’ promoting organic kitchen gardening
Published in Dawn, EOS, February 1st, 2026
Magazines
ADVICE: AUNTIE AGNI
Dear Auntie,
Hope you are well. I am seeking your advice regarding a situation that has been bothering me for a long time. I’m a university student and I met this girl. She seemed very interested in me at that time and so was I in her. We had great chemistry, something I’ve never felt in my life. But I never confessed my feelings to her because of certain things I heard about her. Later, I found out she was dating someone. I internalised my love for her for quite a long time, almost a year, until I couldn’t hold it in, and confessed everything to her, even though I knew she was in a relationship.
The nature of my work requires me to face her and, whenever we work together, that chemistry-like muscle memory hits like a truck and I fall head over heels for her all over again. Even though getting her is nothing but a distant dream, I still can’t get over her and long for her all the time. It’s like a stalemate. I would really appreciate your advice on this.
Longing and Yearning
‘I Am Obsessed With a Woman I Can’t Have’
Dear Longing and Yearning,
This is a classic case of excellent chemistry but bad timing. Auntie has seen this film before and the hero always thinks that this one love is ‘different’. Maybe it is different for you. But the situation is very, very old.
Let’s start with the fact that you don’t want to face… that this is not love. This is emotional attachment, mixed with a heavy dose of imagination. And it is a powerful mix, made more powerful because the person in question is unavailable.
Every time you see her, your brain tells you “Ah yes, the unfinished business.” But notice something important… the girl chose someone else. This was not because you are not good enough, but because her life moved in a different direction. That is her choice, and chasing emotionally after someone who has chosen another path slowly kills your self-respect.
The chemistry you talk about is a result of you training your mind for a year to revolve around her. Of course, your brain runs back there. Our minds do what seems familiar and comfortable. Right now, you are feeding the feeling every time you replay moments and analyse your interactions with her. You are emotionally investing in a door that is firmly shut and you are wondering why you feel stuck outside. Of course, you are stuck!
It is time to start acting professionally with her. And it is time to stop any emotional conversations with her and avoid needless eye-contact. When your mind starts romanticising anything about her, interrupt it with reality, by reminding yourself that she is in a relationship and that you deserve someone who is available.
The person who is meant for you will not require this much suffering just to exist in your life. Mutual love is supposed to feel stable.
You are not losing her. You are grieving a life that you imagined. The grief will pass when you stop feeding it. You are simply holding on to an illusion because it once felt beautiful. Just let it be beautiful. And let it go.
Disclaimer: If you or someone you know is in crisis and/or feeling suicidal, please go to your nearest emergency room and seek medical help immediately.
Auntie will not reply privately to any query. Please send concise queries to: auntieagni@gmail.com
Published in Dawn, EOS, February 1st, 2026
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