Part of a series on
Eastern Christianity
Eastern Christianity portal
History
Eastern Orthodox Church History Byzantine Empire Ecumenical council Christianization of Bulgaria Christianization of Kievan Rus' East-West Schism Specific regions: Coptic Egypt · Ukraine
Traditions
Eastern Orthodox Church Oriental Orthodoxy Armenian Church Ethiopian Tewahedo Church Coptic Church Church of the East Eastern Catholic Churches Syriac Christianity
Liturgy and worship
Sign of the cross Divine Liturgy Iconography Asceticism Omophorion
Theology
Hesychasm · Icon Apophaticism Filioque clause Miaphysitism Monophysitism Diophysitism Nestorianism Theosis · Theoria Phronema · Philokalia Praxis · Theotokos Hypostasis · Ousia Essence vs. Energies Metousiosis
v t e

The Ghassanids (Arabic: الغساسنة‎) (al-Ghasāsinah, also Banū Ghassān "Sons of Ghassān") were a group of Hellenized and later Romanized South Arabian Christian tribes that emigrated in the early 3rd century from Yemen to Southern Syria, Jordan, Lebanon and the Holy Land where they eventually merged with Greek-speaking Early Christian communities. The term Ghassān refers to the kingdom of the Ghassanids, an ancient Arab Christian kingdom in the Levant.

Migration from Yemen 3rd Century AD[link]

The Ghassanid emigration has been passed down in the rich oral tradition of Jordan, Syria and Lebanon. It is said that the Ghassanids came from the city of Ma'rib in Yemen. There was a dam in this city, however one year there was so much rain that the dam was carried away by the ensuing flood. Thus the people there had to leave. The inhabitants emigrated seeking to live in less arid lands and became scattered far and wide. The proverb “They were scattered like the people of Saba” refers to that exodus in history. The emigrants were from the southern Arab tribe of Azd of the Kahlan branch of Qahtani tribes.

Settling[link]

The king Jafna bin ‘Amr emigrated with his family and retinue north and settled in Hauran, where the Ghassanid state was founded. From him the Ghassanid line are also sometimes known as the Jafnids. It is assumed that the Ghassanids adopted the religion of Christianity after they reached their new home.

The Ghassanid Kingdom in the Roman era[link]

The Romans found a powerful ally in the new coming Arabs. The Ghassanids were the buffer zone against the Lakhmids penetrating Roman territory. More accurately the kings can be described as phylarchs, native rulers of subject frontier states. The capital was at Jabiyah in the Golan Heights. Geographically, it occupied much of Syria, Lebanon, Jordan, Israel and the Palestinian Territories, and its authority extended via tribal alliances with other Azdi tribes all the way to the northern Hijaz as far south as Yathrib (Medina). ^[1]

The Ghassanid kingdom in the Byzantine era[link]

Near East in 565 AD, showing the Ghassanids and their neighbors.

The Byzantine Empire was focused more on the East and a long war with the Persians was always their main concern. The Ghassanids maintained their rule as the guardian of trade routes, policed Lakhmid tribes and was a source of troops for the Byzantine army. The Ghassanid king al-Harith ibn Jabalah (reigned 529–569) supported the Byzantines against Sassanid Persia and was given the title patricius in 529 by the emperor Justinian I. Al-Harith was a Miaphysite Christian; he helped to revive the Syrian Miaphysite (Jacobite) Church and supported Miaphysite development despite Orthodox Byzantium regarding it as heretical. Later Byzantine mistrust and persecution of such religious unorthodoxy brought down his successors, al-Mundhir (reigned 569-582) and Nu'man.

The Ghassanids, who had successfully opposed the Persian allied Lakhmids of al-Hirah (Southern Iraq and Northern Arabia), prospered economically and engaged in much religious and public building; they also patronised the arts and at one time entertained the poets Nabighah adh-Dhubyani and Hassan ibn Thabit at their courts.

The Ghassanids and Islam[link]

The Ghassanids remained a Byzantine vassal state until its rulers were overthrown by the Muslims in the 7th century, following the Battle of Yarmuk in 636 AD.

Jabalah ibn-al-Aiham ordeal with Islam[link]

There are different opinions why Jabalah and his followers didn't convert to Islam. All the opinions go along the general idea that the Ghassanids were not interested yet in giving up their status as the lords and nobility of Syria.^{[citation needed]} Below is quoted the story of Jabalah's return to the land of the Byzantines as told by 9th-century historian al-Baladhuri.

Jabalah ibn-al-Aiham sided with the Ansar (Azdi Muslims from Medina) saying, "You are our brethren and the sons of our fathers" and professed Islam. After the arrival of 'Umar ibn-al-Khattab in Syria, year 17 (636AD), Jabalah had a dispute with one of the Muzainah (Non Arab Caste) and knocked out his eye. 'Umar ordered that he be punished, upon which Jabalah said, "Is his eye like mine? Never, by Allah, shall I abide in a town where I am under authority." He then apostatized and went to the land of the Greeks (the Byzantines). This Jabalah was the king of Ghassan and the successor of al-Harith ibn-abi-Shimr.^[2]

Ghassanid Kings[link]

Al-Harith the Ghassanid king of the Arab in Arab folktales and Sagas

1. Jafnah I ibn `Amr (220-265)
2. `Amr I ibn Jafnah (265-270)
3. Tha'labah ibn Amr (270-287)
4. al-Harith I ibn Th`alabah (287-307)
5. Jabalah I ibn al-Harith I (307-317)
6. al-Harith II ibn Jabalah "ibn Maria" (317-327)
7. al-Mundhir I Senior ibn al-Harith II (327-330) with...
8. al-Aiham ibn al-Harith II (327-330) and...
9. al-Mundhir II Junior ibn al-Harith II (327-340) and...
10. al-Nu`man I ibn al-Harith II (327-342) and...
11. `Amr II ibn al-Harith II (330-356) and...
12. Jabalah II ibn al-Harith II (327-361)
13. Jafnah II ibn al-Mundhir I (361-391) with...
14. al-Nu`man II ibn al-Mundhir I (361-362)
15. al-Nu`man III ibn 'Amr ibn al-Mundhir I (391-418)
16. Jabalah III ibn al-Nu`man (418-434)
17. al-Nu`man IV ibn al-Aiham (434-455) with...
18. al-Harith III ibn al-Aiham (434-456) and...
19. al-Nu`man V ibn al-Harith (434-453)
20. al-Mundhir II ibn al-Nu`man (453-472) with...
21. `Amr III ibn al-Nu`man (453-486) and...
22. Hijr ibn al-Nu`man (453-465)
23. al-Harith IV ibn Hijr (486-512)
24. Jabalah IV ibn al-Harith (512-529)
25. al- Amr IV ibn Machi (Mah’shee) (529)
26. al-Harith V ibn Jabalah (529-569)
27. al-Mundhir III ibn al-Harith (569-581) with...
28. Abu Kirab al-Nu`man ibn al-Harith (570-582)
29. al-Nu'man VI ibn al-Mundhir (581-583)
30. al-Harith VI ibn al-Harith (583)
31. al-Nu'man VII ibn al-Harith Abu Kirab (583- ?)
32. al-Aiham ibn Jabalah (? -614)
33. al-Mundhir IV ibn Jabalah (614- ?)
34. Sharahil ibn Jabalah (61 -618)
35. Amr IV ibn Jabalah (628)
36. Jabalah V ibn al-Harith (628-632)
37. Jabalah VI ibn al-Aiham (632-638)

Ghassanid families[link]

Abdallah, Aranki, Ayoub, Ammari, Batarseh, Barakat, Bayouth, Chakar, Farhat, Farhoud, Gharios, Ghanem ,Ghanma, Ghannoum, Ghulmiyyah, Haber, Haddad, Hamra, Hattar, Howayek, Hadadin, Ishaq, Jabara (Jebara or Gebara, Gibara), Kandil, Karadsheh, [Khazen], Kawar, Khoury, Lahd, Maalouf, Madanat, Madi, Makhlouf, Matar, Moghabghab, Mokdad, Naber, Nayfeh, Nimri, Obeid, Oweis, Rached, Rahhal, Razook, Saab, Saah, Saliba, Samandar, Sfeir, Shdid, Sheiks Chemor, Smeirat, Swies, Sweidan, Theeba, Tyan, Zahran.

Legacy[link]

The Ghassanids reached their peak under al-Harith V and al-Mundhir III. Both were militarily successful allies of the Byzantines, especially against their fellow Arabs, the Lakhmid tribesmen, and secured Byzantium's southern flank and its political and commercial interests in Arabia proper. On the other hand, the Ghassanids remained fervently dedicated to Monophysitism, which brought about their break with Byzantium and Mundhir's own downfall and exile, which was followed after 586 by the dissolution of the Ghassanid federation.^[3] The Ghassanids' patronage of the Monophysite Syrian Church was crucial for its survival and revival, and even its spread, through missionary activities, south into Arabia. According to the historian Warwick Ball, the Ghassanids' promotion of a simpler and more rigidly monotheistic form of Christianity in a specifically Arab context can be said to have anticipated Islam.^[4] Ghassanid rule also brought a period of considerable prosperity for the Arabs on the eastern fringes of Syria, as evidenced by a spread of urbanization and the sponsorship of several churches, monasteries and other buildings. The surviving descriptions of the Ghassanid courts impart an image of luxury and an active cultural life, with patronage of the arts, music and especially Arab-language poetry. In the words of Ball, "the Ghassanid courts were the most important centres for Arabic poetry before the rise of the Caliphal courts under Islam", and their court culture, including their penchant for desert palaces like Qasr ibn Wardan, provided the model for the Umayyad caliphs and their court.^[5]

Notes and references[link]

Bibliography[link]

Primary Sources[link]

• Almaqhafi, Awwad: Qabayl Wa Biton Al-Arab
• Almsaodi, Abdulaziz; Tarikh Qabayl Al-Arab
• Bosra of the Ghassanids in the Catholic Encyclopedia Newadvent.org

Secondary Literature[link]

• Fergus Millar: "Rome's 'Arab' Allies in Late Antiquity". In: Henning Börm - Josef Wiesehöfer (eds.), Commutatio et Contentio. Studies in the Late Roman, Sasanian, and Early Islamic Near East. Wellem Verlag, Düsseldorf 2010, pp. 159-186.
• Ball, Warwick (2000). Rome in the East: The Transformation of an Empire. London, United Kingdom: Routledge. ISBN 0-203-02322-6. http://books.google.com/books?id=geLXqJKt-0oC. 
• Fowden, Elizabeth Key (1999). The Barbarian Plain: Saint Sergius Between Rome and Iran. Berkeley and Los Angeles, California: University of California Press. ISBN 0-520-21685-7. http://books.google.com/books?id=UC5v4mgERxwC. 
• Greatrex, Geoffrey; Lieu, Samuel N. C. (2002). The Roman Eastern Frontier and the Persian Wars (Part II, 363–630 AD). London, United Kingdom: Routledge. ISBN 0-415-14687-9. http://books.google.com/books?id=NnLDQgAACAAJ. 
• Kazhdan, Alexander Petrovich, ed. (1991). The Oxford Dictionary of Byzantium. New York, New York and Oxford, United Kingdom: Oxford University Press. ISBN 978-0-19-504652-6. 
• Shahîd, Irfan (1991). "Ghassān". The Encyclopedia of Islam, New Edition, Volume II: C–G. Leiden, The Netherlands and New York, New York: Brill. pp. 462–463. ISBN 90-04-07026-5. 
• Shahîd, Irfan (1995). Byzantium and the Arabs in the Sixth Century, Volume 1. Washington, District of Columbia: Dumbarton Oaks. ISBN 978-0-88402-214-5. http://books.google.gr/books?id=BEvEV9OVzacC. 
• Yasmine Zahran: Ghassan Resurrected. Stacey International Publishers, London 2007.

External links[link]

• Barry Hoberman, 1983, The King of Ghassan, Saudi Aramco World

Song In (in hangul 송인, in hanja 宋仁) was a civil official in the mid-Goryeo era who became the intermediary founder of the Jincheon Song clan. His highest post was munha pyeongjangsa (문하 평장사). This was the highest government position in the period. Song In was responsible for administration, judicial affairs and economy in the district.^[1]

As he performed meritorious deeds during the King, he was conferred with Chanhwagongsin and Jincheonbaek. Baek was a position of politicians who were responsible for administration, judicial affairs and economy in the district. As the government created him Jincheonbaek, his family started regarding Jincheon as their origin. Hence, the family origin became Jincheon Song.

When he was in the position of Sangsanbaek, he tried to be just and fair in all the administrative affairs and strived to enhance the welfare of his people. He also focused on education for the youth and courtesy for people, which made his district famous for most excellent behaviors in the nation. After that, the people have long paid tribute to his feats.

During the insurrection of Yi Jagyeom in the 4th year of King Injong of Goryeo's reign in 1126, he was killed by a rebellious band led by Cheok Jun-gyeong while escorting the king. After the rebels were put down, Song In was posthumously named 'meritous subject' and titled Lord Sangsanbaek (상산백).

Song In was born in Durujinmaeul (village), Duchon-ri, Deoksan-myeon in 1125 during the reign of King Injong of the Goryeo Dynasty. He was promoted to Pyeonjangsa, which was the highest government position in the period.

Tomb of Song In[link]

Chungcheongbuk-do Monument No. 91 Location: Duchon-ri, Deoksan-myeon, Jincheon-gun

This is the tomb of Song In (?-1126). It has a rectangular-shaped protective wall surrounding the tomb, typical of the Goryeo style. There are two tombstones erected in the late Joseon Dynasty period.

In the grave area, there are many tombs that belong to the clan. In front of his tomb stands the jaesil (chamber for memorial rites) with the tablet reading 'Sangsanjae'.

His grave is in Duchon-ri, Deoksan-myeon, which had been called Duruji, Sanjeong-myeon. The beautiful peak behind his grave is called Mountain Bibong which was named after Bongsae (bird) that is said to live in heaven and to fly down to sit on the summit. However, after the statue was inscribed of In Gong, the founder of Jincheon Song, the peak was compared to a slowly dropped ume flower. Thus, Mountain Bibong was called Maesanbibong, in which 'Mae' was named after an ume flower instead of a bird.

As he was a meritorious subject and served as a Pyeongjangsa (higher government official), the government ordered his grave mound to be surrounded by stones and a monument. The grave is one of the oldest ones in Jincheon and is recorded in Seokchong (stone tomb) in Hwanyeoseungram.

Thousands of descendents of Jincheon Song are living across the nation. Song Guk-cheom and Song Eon-gi who were devoted to fight against the Mongolian invasion into Goryeo are also the offspring of Jincheonbaek.

See also[link]

• Song (Korean name)
• Bon-gwan

References[link]

External links[link]

• Photo of the tomb
• Song In
• Monument 91, Tomb of Song In
• Jincheon Song bon-gwan information (Korean)
• Jincheon Song bon-gwan website (Korean)
• http://www.jincheon.go.kr/english/sub04/sub0404_01.jsp

This Korean biographical article is a stub. You can help Wikipedia by expanding it. v t e

This Korean history-related article is a stub. You can help Wikipedia by expanding it. v t e

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2012)

This article may require copy editing for grammar, style, cohesion, tone, or spelling. You can assist by editing it. (January 2012)

Myriam Fares ميريام فارس
Myriam Faris on stage
Background information
Also known as	The Queen of the stage (ملكة المسرح)
Born	(1983-05-03) May 3, 1983 (age 29)
Origin	Lebanon
Genres	Arabic Music
Occupations	Singer, dancer, actress, record producer, fashion designer
Years active	2003–present
Labels	Myriam Music
Website	www.myriamfares.com

Myriam Fares (Arabic: ميريام فارس‎ mīryam fāris; born May 3, 1983) is a Lebanese singer and entertainer. She is best known for her album "Bet'oul Eh”.

Early life and beginnings[link]

Myriam was born in Kafar Shlal, a small village in Southern Lebanon, near Kafarhata village, 5 miles east of Saida. Since her childhood, Myriam has been devoted and dedicated to arts which encouraged her to develop her talents and interests. She started learning classic ballet at the age of five which impelled her to develop her musical talents. She had a profound feeling of becoming a professional dancer which was accomplished at the age of nine when she was accepted in a TV program "Al Mawaheb Al Saghira" on Tele Liban and was awarded the first prize in oriental dancing.

As a brilliant student in arts, Myriam was encouraged by her impressed teachers to participate in the schools' events which were a motive to improve her dancing, singing and acting skills.

Inspired by her angelic strong voice, Myriam wanted to explore her talents further in singing. She joined the Lebanese National Conservatory and succeeded in learning the principles of oriental singing for four years.

At the age of sixteen, she participated in the Lebanese Festival for Songs and won the first prize as the best popular Lebanese singer.

Her seventeen was highlighted by her participation in the TV program on LBCI "Studio-El-Fann" 2000-2001 under the category of the Lebanese song. Myriam won the prize of best singer in the South of Lebanon which was followed by Dr. Walid Ghoulmiye's prize as best singer in South Lebanon, Beirut and Mount Lebanon.

Music career[link]

[edit] 2003: Myriam

At age 21,she launched her first album with Music Master Records which was sold out in a few days. She filmed the song "Ana wil Shoq" with director Ghassan Koteit, which proved to be a major success and it spread throughout the Arab world and was played on all Arab televisions. This was a turning point in Myriam's career. Afterwards Myriam proceeded to UAE to sign her first album at Virgin Mega Store in Dubai on the ninth of March where she was received by a crowd of Arab and international reporters to express their admiration of her art and music.

Myriam's next hit was the shooting of "La Tes'alni" video clip with director Selim Turk from her album "Myriam". It was a big hit as well especially that her audience were waiting for the new clip after her success in he first clip "Ana Wil Shoq". "La Tis'alni" impressed he eager audience from the first time where Myriam proved to enjoy the main characteristics of a professional artist, by having a wonderfully balanced voice, a talent in body expressions and capable in performing her role naturally in a perfect way coming from the heart.

In 2004, Myriam became more and more famous and was elected as "best young female singer" in the Arab World. She also won the prize of best video clip during he visit to Egypt. Her beautiful voice, nice appearance, flexible motion and magnificent dancing made from Myriam a big star in Lebanon and the Arab World which allowed her to be distinguished by her audience and especially the big success in: The Bacardi Night in Beirut, New Year's Eve in Biel, Al Fateh Festivals in Libya and Hala Febayer in Kuwait.

During her concerts, Myriam performed songs from modern and popular oriental to classic and she visited during her tours many Middle Eastern and Moroccan countries. "Myriam" the album, shocked artists and audience, but Myiam's dream will never stop…

[edit] 2005: Nadini

In July 2005, the Lebanese star presented her new album "Nadini Myriam" with a video clip for the song entitled "Nadini".

"Nadini Myriam" album is the result of months of preparation and collaboration with Lebanese and Arab composers and writers. "Nadini" was the first time to be shot as a video clip from the album with director "Amir Kreidiye".

"Haklik Rahtak" is a song from "Nadini Myriam"'s album, written by Myriam's sister, Roula Fares, composed by Muhammad Raheem and arranged by Mark Abdel Nour and was shot in a magical décor in Paris where director Wissam Smayra found the best locations to execute the clip. This song helped boost Myraim's career and was ranked number one in Lebanon, Egypt and Tunis.

In their second collaboration, after the clip "Haklik Rahtak", Myriam Fares and director Wissam Smayra presented their second video clip entitled "Waheshny Eah" written and composed by Mohammad Rifai and arranged by Jean Marie Riachi. A professional French team specialized in high-tech techniques in the world of suspense and special effects were the basis of this video clip.

"Wahichni Eah", a song that occupied the listeners' hearts, made Myriam a famous star and was ranked number one in Egypt, Gulf, Tunis Morocco and Yemen!

In November 2006,"Al Ahram Al Masriya" one of the leading newspapers in Egypt, elected Myriam the best young singer in the Arab world. The survey was done in all the Egyptian universities and Myriam was honored at the British university in Egypt.

At the same time, MTV Europe invited Myriam, the first Arab artist who appeared on this TV, bearing in mind that only international stars appear on that T.V. station. She was also elected as the best Arab singer who combines a taste of both the west and the east in her style in music.

Myriam ended the year 2007 with a new hit Khaliji song “Moukanoh Wein” that was shot as a music video under the direction of Yehya Saade. The song was a success all over the Middle-East and she was considered as one of the best non-khaliji artists who sang the khaliji accent.

[edit] 2008: Bet'oul Eh

Myriam's third album "Bet'oul Eh”, was released in April 2008, and has been doing great in the charts within all the Arab World . The album has a mixture of music genres that are creatively put together to satisfy all listeners, especially her fans. The album consists of 9 songs one is "Mouch Ananiya" which is definitely guaranteed to please listeners who prefer romantic ballads. The music video successfully shows Myriam’s surprising acting skills, and the video was executed under the direction of Leila Kanaan.

Two other songs of the Album "Bet'oul Eh” which are: “Betrouh & Iyyam EL Shiti “ were shot as music videos in Paris incarnating a very special cinematographic idea under the direction of Wissam Smayara

[edit] 2011: Min Oyouni

Myriam's fourth and latest album "Min Oyouni”, was released in First of September 2011,and it was her first Khaliji Album. The album consists of 9 songs. Myriam's hit was the shooting of "Min Oyouni" video clip with director Joe Bou Eid, From the first week the album was on top of the Virgin Mega Stores and last for many weeks on the top, Other song from the album is "Khalani" was shot as a music video before the end of 2010 with director Yehya Saade, After two months from releasing date the album land on top of Music charts again, one of the great songs of the album was Tela7 which is her first Moroccan song, Etla7 was on top of all the Moroccan songs for a long time since it was released in Myriam's Fawazir at Ramdan 2010, This album is also special because it features her first try to the Moroccan accent with the song "Tlah", Myriam also shot another song which is "El-Gasayed" with the director Joe Bou Eid, this album was also her first album with Emi Arabia Records as a distributing company for the album, the album was produced by Myriam Music company.Other song from the Album "Ah Yoma" was shot by Tomy Qawaji as a Stage Clip on LBC(Celebrity Duets)Stage but not released yet.

Fawazer[link]

During the holy month of Ramadan 2010, Myriam Fares presented Fawazeer Myriam where she presented three upcoming songs from her next album: Ertah an Iraqi song, Atlah which is a typical Moroccan song and Ya Sariyah a traditional Khaleeji song.She presented three characters in every episode,one of them was an old advertising for Tarek Nour, other was a dance from a country -she danced different 30 dances during the 30 episodes-,the last character was to act a job.

Filmography[link]

Silina 2009[link]

Under the supervision of director Hatem Ali, the masterpiece of the Rahbani brothers "Hala wal malek" (Hala and the King) was made into a film carrying the name of "Silina", starting Myriam Fares along with a large group of stars from Lebanon and Syria such as Elie Choueiri, Dureid Laham, Antoine Kerbaj, Georges Khabbaz, Hussam Tahssin Beik and a wide list of other famous stars. ^[1][2]

Studio albums[link]

Myriam[link]

• Mastering : Tony Haddad
• Design : Kinda Mourani
• Year : 2003

1. Ana Wel Shoq
2. Ghmorni
3. La Tis'alni
4. Shou Badou
5. Inta el Hayat
6. Ahebbak Heil
7. Hal Gharam Mish Gharam
8. Ya Alem Bil Hal

Nadini[link]

• Mastering : Tony Haddad

• Design : Kinda Mourani
• Photography : Carine & charbel
• Year : 2005

1. Nadini
2. Aanadiya
3. Hasisni Beek
4. Haklek Rahtak
5. Leih Habibi
6. Maarafsh Had Bel Esmi Da
7. Haset B Aman
8. Khalini Teer
9. Zaalan Menni
10. Waheshni Eih

Bet'oul Eih[link]

• Mastering : Tony Haddad
• Design : Kinda Murani & Music is my life
• Photography : Hussien Salman
• Year : 2008

1. Mouch Ananiya
2. Eih Yalli Byohsal
3. Bet'oul Eih
4. Betrouh
5. Iyyam El Chitti
6. Ana Albi Lik
7. Ala Khwana
8. Law Konte Radi
9. Moukanoh Wein

Min Oyouni[link]

• Mastering : Tony Haddad
• Design : Nijad Abdelmassih
• Photography : Rudy Darwich
• Year : 2011

1. Min Oyouni
2. Khalani
3. Walaou
4. Ya Sariah
5. Ah Youma
6. Artah
7. Sid Al Koul
8. Atlah
9. Kether Al Khayel
10. Min Oyouni (music instrumental)
11. Khalani (music instrumental)

Videography[link]

References[link]

External links[link]

• Official website
• Official page for Myriam

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (July 2008)

Junaid Jamshed (Urdu: جنید جمشید; born September 3, 1964) is a Pakistani recording artist who gained fame as the frontman of the pop group, Vital Signs in 1987 with the hit song, "Dil Dil Pakistan", and remained in demand throughout the 1990s. In 1994, he released his debut solo album, Junaid of Vital Signs, which also quickly became a national hit, followed by Us Rah Par in 1999 and Dil Ki Baat in 2000

Since then, he has focused on Islam and concentrated on reciting nasheeds. His debut religious album, Jalwa-e-Janan was released in 2005 and was followed by Mehboob-e-Yazdaan in 2006, Badr-ud-Duja in 2008, and Badee-uz-Zaman in 2009. He also runs a boutique with the name "J.", read as "Jay Dot", which has several outlets all over Pakistan.

Early life and education[link]

Junaid Jamshed is the son of Pakistan Air Force Group Captain (retired) Jamshed Akber Khan and Nafeesa Akber Khan.^[1] Jamshed wanted to join Pakistan Air Force as a fighter pilot. He studied pre-engineering before joining University of Engineering and Technology, Lahore where he completed his university degree, graduating in 1990.^[2] Despite joining the Pakistan Air Force, he moved on to a career in Aeronautical Engineering due to his weak eyesight.^[3]

Music career[link]

Vital Signs[link]

Though the band Vital Signs was launched in early 1986 in Rawalpindi by record producer Rohail Hyatt and bassist Shahzad Hasan (Shahi), it wasn't until later when Jamshed, then a young aeronautical engineering student from Lahore, joined them as their lead singer.^[4] Though their debut hit single, "Dil Dil Pakistan", released on 14 August 1987, skyrocketed them into fame, the song's success was not seen by him as something that would turn him into a professional musician. Jamshed, who wanted to become a professional engineer, initially didn't want to have anything to do with music other than just treating it as a hobby.^[4]

However, Rohail and Shahzad soon managed to convince him otherwise.^[5] After a string of chart-topping songs and albums, the band split in 1994 and Jamshed began a solo career, achieving increasing commercial success.^[6]

Solo career[link]

Jamshed performing in a 2009 concert

Jamshed released his first solo album, Junaid of Vital Signs in 1994. The album's name was later changed to Tumhara Aur Mera Naam. This was followed by Us Rah Par in 1999. Us Rah Par went on to become one of the best selling albums of that year. The album included several tracks which were released as singles which became popular. They included such songs as, "Us Rah Par", "Na Tu Ayegi", "Aankhon Ko Aankhon Ney" and "O Sanama". In 2000, Jamshed released his next album, The Best of Junaid Jamshed, which contained remixes of some of the hit singles of the Vital Signs era. His last solo album, Dil Ki Baat, was released in 2001.

In 2003, BBC World Service conducted an international poll to choose ten most famous songs of all time. Around 7000 songs were selected from all over the world. According to BBC, people from 155 countries/territories voted in the poll. "Dil Dil Pakistan" was ranked third among the top 10 songs.^[7]

In 2004, Jamshed renounced music and devoted his life to Islam.^[8] To supplement his income, he opened a clothing store "J.", selling Khaadis (a form of Kurta-Shalwar).

Influence[link]

In 1987, Jamshed took Pakistani media by storm with his band's hit patriotic number "Dil Dil Pakistan", viewed as one of the most popular songs of all time.{{by whom|date=November 2011}http://www.bbc.co.uk/worldservice/us/features/topten/} This was a turning point in Pakistan's music history which ushered in a new era of pop music. Fourteen years later, he announced his retirement from music^[4] and devoted a significant amount of his time to religious preaching.^[9] Jamshed now sings Urdu and English nasheeds.

Charity work[link]

Jamshed is also actively involved in charity work and has been associated with the NGO Muslim Charity since 2003. Under the leadership of Jamshed, Muslim Charity has made a significant impact since then, and which has in the last few years and expanded its operations to 17 countries.^{[citation needed]}

Discography[link]

With Vital Signs[link]

• 1989: Vital Signs 1
• 1991: Vital Signs 2
• 1993: Aitebar
• 1995: Hum Tum

Solo Pop Albums[link]

• 1994 - Junaid of Vital Signs (تمہارا اور میرا نام), renamed Tumhara Aur Mera Naam
• 1999 - Us Rah Par (اس راہ پر)
• 2000 - The Best of Junaid Jamshed
• 2001 - Dil Ki Baat (دل کی بات)

[edit] Nasheed Albums^[10]

• 2005 - Jalwa-e-Janan (جلوہ جاناں) (English: The Sight of the Beloved)
• 2006 - Mehbob-e-Yazdan (English: The Beloved of God)
• 2007 - Badr ud Duja (English: The Night's Full Moon)
• 2008 - Yad-e-Haram
• 2009 - Rehmat Ul Lil Aalamin
• 2009 - Badi uz Zaman (English: the wonder of the age)
• 2010 - Hadi Ul Anaam (English: The Guide To The World)

See also[link]

• Vital Signs

Dil Badal de

References[link]

External links[link]

Wikimedia Commons has media related to: Junaid Jamshed