Music Industry and Rock Music in Bangladesh : Preference of Young Generation

Total Page:16

File Type:pdf, Size:1020Kb

Music Industry and Rock Music in Bangladesh : Preference of Young Generation Research methodology Proceeding of Research Proposal Music Industry and Rock Music in Bangladesh : Preference of young generation Introduction: BEGINNING: It was in the mid 60's that Bangla rock music listeners discovered the art of creating music, reflecting the tasteful tunes and sensuous lyrics in their song compositions that came alive with extreme emotions of pathos and joy. For Bangladesh, it was a handful of self-taught musicians that got together to create original sounds and jump-started the rock scene like never before. Their efforts resulted in the birth of the 'Bangla Rock Scene'. Among the pioneering groups in the late '60s were iconic bands like Windy Side of Care (Ex-Iolites), The Lightnings, Rambling Stones, Ugly Phases and Insex Dui etc. There was another band from port city Chittagong was making splash into the band music named ZINGA. It was initially formed in 1963 by a group of young college students of Chittagong College. Zinga started its journey as the First Orchestra Band in Bangladesh. Zinga started experimenting by blending Eastern Music in Western Style and giving Bangla Music a new flavor of fresh Breath. Zinga started playing Popular Tagore songs, Nazrul Songs & Hit movie tunes in Western Orchestra style. This group of young Bangladeshi students were among the first in the country to start playing western instruments - Accordions, Drums, Guitar, Piano and modernizing Bangla Tunes. People embraced this novelty in wide open arms and Zinga Band had no problem in winning the crowd's heart. Of course Zinga faced a lot of criticism from the conservative crowd as well. But Shafaat believed that Novelty never goes without criticism and that criticism should be viewed positively as it shows that the change has created an impact. Read more on Zinga There were several major bands that impacted the Bangladeshi band music scenes were Souls, Miles, Feedback, Feelings (now known as Nagar Baul) and then Waves. Emerging around the late 70's, they would also perform gigs at hotels and clubs. Although Waves and Miles were more underground, Souls was perking up to be a mainstreamer and soon got themselves a record deal. Their first album in 1982 was an immediate success, soon making them much admired all over the country. Not only were they popular for over a decade, but also served to launch popular artists like AZAM KHAN: Soon after our War of Liberation in 1971, Azam Khan, soon to become a legend in the rock scene, with Uchharon. Azam Khan turned the band music upside down and started a new era. He was the first true Rock Star of Bangladesh and a legend of our time and for all time in Bangladeshi music. Azam Khan was the hero of the 70's making his music speak the universal language of bringing one's inner feelings to life with tunes. Azam Khan the imaginative composer, the inspired musician and lanky bearded lyricist ignited something that caught the attention like a hurricane by the new nation of Bangladesh. Azam Khan's songs had a pathos that was never before heard with such uninhibited emotion. Saleka Maleka, Rail Line, Jey meye chokhe dekhena, Panch KolemaObhimani, Ashi Ashi, Highcourt er Majare, Ami Jare Chaire, Alal o Dulal, Papri keno bujhena, Jibone Kichu Pabona Re and many more of his outstanding compositions became instant hits. Even today, these songs are the ones that still keep the audiences on their toes. Azam Khan is known as a guru amongst the rock ͚n rollers of the country for his contribution to band music in Bangladesh. Although he started his career in the 60s, he left music in 1971 to take up arms and fight guerilla war at Dhaka. Many of us have little idea about his heroic deeds during our Liberation War in 1971. He is one of the few cultural activists who had taken part in the front line war against the Pakistani Army. A section Commander of the guerilla troop, Azam Khan led the guerilla fighters in Jatrabari-Gulshan belt. Azam Khan details his operations in the above mentioned daily Star Interview.. FIROZE SHAI, FAKIR ALAMGIR AND FIRDOUS WAHID: Azam Khan's contemporaries included great icons such as late Firoze Shai, Ferdaus Wahid and Fakir Alamgir. Firoze Shai, like the traditional mystic Sufi singers, spoke of the relation between Allah and Allah's creations. Ek seconder nai bhorosha was one of those spiritual and emotional songs. Ironically he died just after performing this song onstage. Ferdaus Wahid was the most dazzling of the quartet. With his funky printed shirts, bell bottom trousers and large sunglasses, he brought in a disco element to his songs. The long and curly-haired Fakir Alamgir used to sway his head left-right while rocking to songs. One of the slower numbers still remains a memorable composion "Oh sokhina gesos kina". They blended our traditional folk music with various Western forms and gave Bangla pop-rock a new face. LUCKY AND HAPPY AKHAND: The Akhand Brothers (Lucky and Happy) created the hype in the music industry with their straight- down-the-line magnetic songs around early and late 70's. Lucky's "Ei Nil Monihar" is probably one of the best song ever composed. It stunned the nation with its powerful melody and inspired thousands of composers and music lovers alike. On the other side, Happy Akhand's Abar elo je shondha is a milestone and probably is one of the dearest songs ever produced. His premature death was a big blow to all the musicians who were influenced by Happy's passion for music and had now lost a pioneering figure of Bangla pop music. CHITTAGONG INVASION: THE SOULS SOULS was formed right after the independence of Bangladesh and was very popular in Chittagong. However, back in 1982 they have made their first album and sold its rights only for Tk-1000. Almost immediately entire nation was hypnotized by the music this Chittagoniyan band. Bangladesh was relentlessly mesmerized by supreme melodic magic engineered by Nakib Khan and Tapan Chowdhury on the vocal as Ayub Bacchu on the lead guitar. It was magical as they had reached the pinnacle of band music of Bangladesh. The entire nation was awed by "Mon shudhu Mon", "College Er Corridor", "Forrest Hill", "Mukhorito Jibon", "Nodi Eshe Poth", "Protidin Protiti Muhorto" etc. ANSWER TO SOULS: FEEDBACK Feedback was the the answer to SOULS from Dhaka. They were the worthy rival of SOULS at that time led by a dis-tuned crazy talented vocal named Maksud. "Moushumi" was like wildfire if "Mon shudhu Mon" was a spring breeze. They both simply rocked the 80s. Even the song lyrics went through a revolution. For the first time in Bangla rock, lyrics started to have their own appeal. It started off with Azam Khan with socio-political songs like Orey saleka orey maleka. Feedback absolutely ruled the ͛80s era with their album Ullash. The lyricists spoke of love, discontent and frustration in their own way. Around the 1990's Feedback had upbeat lyrics like Bashonti rong shari porey lolona ra hetey jai͙ Melai jaire. Later it took great courage for Maqsoodul Huq to write about political fiasco in Bangabda 1400 and later in the Nishidhho album. One could feel the thirst for truth, even in rock songs. THE PERFECTION: MILES: The band's first Bangla album titled 'Protisruti' was released in 1991. Young music lovers all over the country were singing the catchy number 'Chand tara' as soon as the album was out. The rest of the songs in the album also scored big with the listeners. The band's fourth album 'Prottasha' (second Bangla) came out in 1993 and became a phenomenal success in the history of band music. The album sold approximately three lakh copies within a few months of its release. 'Prottasha' is still one of the best selling band albums in the country. The band first appeared on television in 1991 with its popular Bangla numbers. Miles have taken the music, style, and the quality to a highest level. Miles would rule entire 90's with the songs like "Firie Daw", "Chand Tara", "Dhiki Dhiki", "Gunjun Shune", and many more. MILES is also a pioneer when it comes to activities related to promoting Bangladeshi band music. In 1992, MILES enthralled audience in Bangalore, India by presenting a three-hour English rock concert. They were the first ever Bangladeshi band to bring out a CD in 1994 titled 'Best of MILES'. MELODIC ARISTOCRACY: RENAISSANCE Nakib and Pilu Khan and their friends formed the Renaissance right after splitting from SOULS. Renaissance has introduced a new kind of melodic tunes that was never existed before. They have the message and melody. They have presented Bangladesh with the classics such as "Tritio Bissho", "Aj je Shishu", "Ridoy Kadamati", "Chotto Belar Shathi", "Bhalo Lage Jotsna Raate" and many more. Renaissance is the band that is a true role model who showed us how to make good tunes, taught us good work ethics, character and integrity. REBEL: JAMES James of NagarBaul around the 90's brought about a transformation with his entrancing Taray taray rotiye debo and Je poth e pothik nei͙ ak glass jochona ar ak glass ondhokar. UNDERGROUND BANDS: Then around early 2000 Aurthohin and Artcell's deep dark lyric would release a lot of energy. Odekha Shorgo and Mrittur shohore was yet another revolutionary change for the different style of lyric. HABIB: Habib makes my list in the history of music in Bangladesh due to his experimental projects. He has changed the way we experience music. His first hit "Krishna" has pushed us all to focus on every single and micro details of sounds that make music.
Recommended publications
  • Trash Travels: the Truth—And the Consequences
    From Our Hands to the Sea, Around the Globe, and Through Time Contents Overview introduction from the president and ceo . 02 a message from philippe cousteau . 03 executive summary . 04 results from the 2009 international coastal cleanup . 06 participating countries map . .07 trash travels: the truth—and the consequences . 16 the pacific garbage patch: myths and realities . 24 international coastal cleanup sponsoring partners . .26 international coastal cleanup volunteer coordinators and sponsors . 30 The Marine Debris Index terminology . 39 methodology and research notes . 40 marine debris breakdown by countries and locations . 41 participation by countries and locations . 49 marine debris breakdown by us states . 50 participation by us states . 53. acknowledgments and photo credits . 55. sources . 56 Ocean Conservancy The International Coastal Cleanup Ocean Conservancy promotes healthy and diverse In partnership with volunteer organizations and ecosystems and opposes practices that threaten individuals across the globe, Ocean Conservancy’s ocean life and human life. Through research, International Coastal Cleanup engages people education, and science-based advocacy, Ocean to remove trash and debris from the world’s Conservancy informs, inspires, and empowers beaches and waterways, to identify the sources people to speak and act on behalf of the ocean. of debris, and to change the behaviors that cause In all its work, Ocean Conservancy strives to be marine debris in the first place. the world’s foremost advocate for the ocean. © OCEAN CONSERVANCY . ALL RIGHTS RESERVED . ISBN: 978-0-615-34820-9 LOOKING TOWARD THE 25TH ANNIVERSARY INTERNATIONAL COASTAL CLEANUP ON SEPTEMBER 25, 2010, Ocean Conservancy 01 is releasing this annual marine debris report spotlighting how trash travels to and throughout the ocean, and the impacts of that debris on the health of people, wildlife, economies, and ocean ecosystems.
    [Show full text]
  • Participant List
    Participant List 10/20/2019 8:45:44 AM Category First Name Last Name Position Organization Nationality CSO Jillian Abballe UN Advocacy Officer and Anglican Communion United States Head of Office Ramil Abbasov Chariman of the Managing Spektr Socio-Economic Azerbaijan Board Researches and Development Public Union Babak Abbaszadeh President and Chief Toronto Centre for Global Canada Executive Officer Leadership in Financial Supervision Amr Abdallah Director, Gulf Programs Educaiton for Employment - United States EFE HAGAR ABDELRAHM African affairs & SDGs Unit Maat for Peace, Development Egypt AN Manager and Human Rights Abukar Abdi CEO Juba Foundation Kenya Nabil Abdo MENA Senior Policy Oxfam International Lebanon Advisor Mala Abdulaziz Executive director Swift Relief Foundation Nigeria Maryati Abdullah Director/National Publish What You Pay Indonesia Coordinator Indonesia Yussuf Abdullahi Regional Team Lead Pact Kenya Abdulahi Abdulraheem Executive Director Initiative for Sound Education Nigeria Relationship & Health Muttaqa Abdulra'uf Research Fellow International Trade Union Nigeria Confederation (ITUC) Kehinde Abdulsalam Interfaith Minister Strength in Diversity Nigeria Development Centre, Nigeria Kassim Abdulsalam Zonal Coordinator/Field Strength in Diversity Nigeria Executive Development Centre, Nigeria and Farmers Advocacy and Support Initiative in Nig Shahlo Abdunabizoda Director Jahon Tajikistan Shontaye Abegaz Executive Director International Insitute for Human United States Security Subhashini Abeysinghe Research Director Verite
    [Show full text]
  • The Non-Professional Theatre in Louisiana, 1900-1925
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1965 The on-PN rofessional Theatre in Louisiana, 1900-1925. George Craft rB ian Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Brian, George Craft, "The on-PN rofessional Theatre in Louisiana, 1900-1925." (1965). LSU Historical Dissertations and Theses. 1006. https://digitalcommons.lsu.edu/gradschool_disstheses/1006 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been 65-6403 microfilmed exactly as received BRIAN, George Craft, 1919- THE NON-PROFESSIONAL THEATRE IN LOUISIANA, 1900-1925. Louisiana State University,, Ph. D ., 1965 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan THE HON-PROFESSIONAL THEATRE IN LOUISIANA 1900 - 1925 A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of Speech by George Craft Brian B.A., Louisiana State University, 1947 M.A., Louisiana State University, 1951 January, 1965 LOUISIANA 1 NORTH LOUISIANA ZA SOUTHWEST LOUISIANA ; sn St t/tpcm Z B SOUTH CENTRAL LOUISIANA BAYOU COUNTRY 3 SOUTHEAST LOUISIANA FLORIDA 'PARISHES ACKNOWLEDGMENTS The author wishes to acknowledge the able direction of Dr. Clinton W. Bradford in the preparation of this work. He appre- elates the assistance of Dr.
    [Show full text]
  • List of Officers Who Attended Courses at NCRB
    List of officers who attened courses at NCRB Sr.No State/Organisation Name Rank YEAR 2000 SQL & RDBMS (INGRES) From 03/04/2000 to 20/04/2000 1 Andhra Pradesh Shri P. GOPALAKRISHNAMURTHY SI 2 Andhra Pradesh Shri P. MURALI KRISHNA INSPECTOR 3 Assam Shri AMULYA KUMAR DEKA SI 4 Delhi Shri SANDEEP KUMAR ASI 5 Gujarat Shri KALPESH DHIRAJLAL BHATT PWSI 6 Gujarat Shri SHRIDHAR NATVARRAO THAKARE PWSI 7 Jammu & Kashmir Shri TAHIR AHMED SI 8 Jammu & Kashmir Shri VIJAY KUMAR SI 9 Maharashtra Shri ABHIMAN SARKAR HEAD CONSTABLE 10 Maharashtra Shri MODAK YASHWANT MOHANIRAJ INSPECTOR 11 Mizoram Shri C. LALCHHUANKIMA ASI 12 Mizoram Shri F. RAMNGHAKLIANA ASI 13 Mizoram Shri MS. LALNUNTHARI HMAR ASI 14 Mizoram Shri R. ROTLUANGA ASI 15 Punjab Shri GURDEV SINGH INSPECTOR 16 Punjab Shri SUKHCHAIN SINGH SI 17 Tamil Nadu Shri JERALD ALEXANDER SI 18 Tamil Nadu Shri S. CHARLES SI 19 Tamil Nadu Shri SMT. C. KALAVATHEY INSPECTOR 20 Uttar Pradesh Shri INDU BHUSHAN NAUTIYAL SI 21 Uttar Pradesh Shri OM PRAKASH ARYA INSPECTOR 22 West Bengal Shri PARTHA PRATIM GUHA ASI 23 West Bengal Shri PURNA CHANDRA DUTTA ASI PC OPERATION & OFFICE AUTOMATION From 01/05/2000 to 12/05/2000 1 Andhra Pradesh Shri LALSAHEB BANDANAPUDI DY.SP 2 Andhra Pradesh Shri V. RUDRA KUMAR DY.SP 3 Border Security Force Shri ASHOK ARJUN PATIL DY.COMDT. 4 Border Security Force Shri DANIEL ADHIKARI DY.COMDT. 5 Border Security Force Shri DR. VINAYA BHARATI CMO 6 CISF Shri JISHNU PRASANNA MUKHERJEE ASST.COMDT. 7 CISF Shri K.K. SHARMA ASST.COMDT.
    [Show full text]
  • The Making of Political Forests in the Chittagong Hill Tracts, Bangladesh: the State, Development and Indigeneity
    THE MAKING OF POLITICAL FORESTS IN THE CHITTAGONG HILL TRACTS, BANGLADESH: THE STATE, DEVELOPMENT AND INDIGENEITY KHAIRUL CHOWDHURY A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES OF YORK UNIVERSITY IN PARTIAL FULFILMENT OF THE REQUIREMENT FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN SOCIAL ANTHROPOLOGY YORK UNIVERSITY TORONTO, ONTARIO APRIL 2014 © Khairul Chowdhury 2014 Abstract This dissertation offers an anthropological and genealogical account of forests and social forestry, in particular the way they came to be constituted over time in one particular social- ecological context of Chittagong Hill Tracts (CHT), Bangladesh. It draws on ethnographic fieldwork to examine how discourses of forest and forest relations in CHT since British rule have changed and shaped agrarian relations of the hill peoples and their relations to power. As such, this dissertation explores forest history in relation to an ‘ethnically’ different and ‘small group’ of population living within a nation-state so as to understand how nature/environment is constituted as a terrain of governmental power, subject formation, and state building. The analysis is informed by Michel Foucault’s ideas of discourse, power and knowledge; Peter Vandergeest’s and Nancy Peluso’s theory of territorialization and political forests; K. Sivaramakrishnan’s critical work on the production of colonial state, society, and knowledge in a forested region of colonial Bengal, and Tania Li’s and Arun Agrawal’s theoretical and ethnographic work on governmentality, indigenous communities, and resource struggles. The chapters of this dissertation are organized around the political regimes of Britain, Pakistan and Bangladesh, highlighting continuities and discontinuities in the making and remaking of political forests.
    [Show full text]
  • Rock ‘N’ Roll, Social Change and Democratisation in Bangladesh
    Rock ‘n’ Roll, social change and democratisation in Bangladesh blogs.lse.ac.uk/southasia/2015/12/04/rock-n-roll-social-change-and-democratisation-in-bangladesh/ 2015-12-4 Mubashar Hasan argues that in order to resist increasing radicalism in Bangladeshi society, the state needs to promote cultural alternatives which support values of inclusion and moderation such as Bangladeshi Rock ‘n’ Roll music. The birth of Bangladesh as an independent country in 1971 following a nine-month long bloody war against Pakistan was premised upon its struggle for democracy. When Awami League (AL) won a 160 seats out of 162 seats in East Pakistan during 1970’s general election, the West Pakistani government refused to hand over power to AL. This escalated into a war of independence and Bangladesh was born in 1971. Democracy and secularism, alongside socialism and nationalism, constituted the four pillars of the new nation state. Three million lives were sacrificed in the struggle to establish Bangladesh as an independent democratic state. However, Bangladesh’s tragedy is that despite of its repeated constitutional commitments for secularism and democracy, in 2015, almost 44 years after the independence the country is neither democratic nor secular. In an article published in 2014 Dr Ali Riaz, Professor of Politics at Illinois State University, argues that Bangladesh remains stubbornly beset by democratic deficiencies as its performance in electoral competitiveness, democratic quality, press freedom, religious freedom, civil liberties and the rule of law is well below what is accepted in a democratic country. Riaz reached this bleak conclusion after consulting multiple indexes measuring the quality of democracy such as Polity IV, Freedom House, the Economist Intelligence Unit (EIU) democracy index, the World Value Survey (WVS), the press freedom index of Reporters Without Borders and U.S.
    [Show full text]
  • Globalization and Bangladesh: an Analysis from Cultural Perspective
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 25, Issue 1, Series. 4 (January. 2020) 32-41 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Globalization and Bangladesh: An Analysis from Cultural Perspective Md. Abu Shahen1 Bellal Hossain2 Md. Bokul Hossain3 Most. Nushrat Jahan4 1 M.Phil, MSS, BSS University of Rajshahi, Bangladesh 1 MSS in International Relation (Ongoing), Wuhan University, China 1 Lecturer, Department of Sociology, Varendra University, Bangladesh 1 MSc in Agriculture (Ongoing), Hajee Mohammad Danesh Science and Technology University, Bangladesh Abstract: The aspects of Globalization are seen in all spheres of our life from economy to culture. Due to the process of globalization, individuals of different cultural background interact with each other in all spheres of life more intensively. Culture is an important issue that shows incredible changes in the age of globalization. Changes have entered in our daily lives through technology, consumer products, and new provocative thoughts. As a consequence, cultural globalization has increased cross culture relationship, life style, and dress code, mode of behavior, foods, music and cinemas now become global. In the research findings, interestingly, it is found that globalization has brought some positive aspects as well as negative impacts on the different spheres of life in the context of Bangladesh. These issues have been discussed throughout the whole article. Key Words: Bangladesh, Change, Culture, Globalization, Impact. Objectives: The major objective of this paper is to identify the impacts of globalization over the culture of Bangladesh. More specifically this paper has been conducted (a) to explore the types of the major changes that have been taken place among the people caused by the effects of western culture.
    [Show full text]
  • Headbanging in Dhaka: an Exploration of the Bangladeshi
    COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright Headbanging in Dhaka: An exploration of the Bangladeshi Alternative Music Scene Shams Bin Quader A thesis submitted in fulfillment of the requirements for the degree of Master of Philosophy Department of Gender and Cultural Studies, School of Philosophical and Historical Inquiry, Faculty of Arts and Social Sciences December, 2013 Table of Contents Acknowledgements ................................................................................................................................. 3 Abstract ................................................................................................................................................... 4 Introduction: Musical Youth Cultures and the Alternative Music scene of Bangladesh .......................
    [Show full text]
  • Song Name Song Code Artist
    Song Name Song Code Artist Ami Akash Hobo 52232 Fahmida Nabi Bishshas 52234 Mila Bondhu Doyamoy 52236 Beauty Bristi Nache Taletale 52237 Mila Dola Dance 52240 Mila Bishonno Mon 52233 Tausif Akash Bhora Tara 52231 Saju Bolona Bondhu 52235 Tausif Chader Buri 52238 Mila Charta Deyal Hothat Kheyal 52239 Fahmida Jaadu 52249 Mila Jala Bojhar Manush Nai 52250 Saju Nayok 52257 Leela Nirobe 52258 Mila Kolonko Na Lagle Gaye 52254 Saju Kotha Dao 52255 Tausif Kay Aankay Onno Schobi 52251 Tahsan Sokhi Bologo Amay 52262 Saju Hobo Dujon Sathi 52247 Fahmida Bappa Ei Mon 52243 Oni Doyal 52241 Ovi Hoyto Ami 52248 Ornob Du Par Chuya Bohoman Nadi 52242 Bappa Eto sohosay 52246 Shakib Jakir Eka Eka 52244 Tausif Ekhon Ami 52245 Sumon Paaper Pujari 52260 Mila Nisha 52259 Mila Khunshuti 52253 Shuvo Malikana Garikhana 52256 Saju Tomar Jonno 52265 Tausif Tare Chara 52264 Tausif Surjosane Chol 52263 Bappa Satranga Dukkha 52261 Sanjib Chowdhury Khola Akash 52252 Mila Ek Polokey 522113 Tausif Bondhur Prem 522106 Debashish Dhrubotara 522109 Face to Face Bristi 2 522107 Tausif Hate Deo Rakhi 522115 Fahmida Nobi Bappa Ei Jibon 522111 Tausif Ek Mutho Gaan 522112 Fahmida Nobi Ek Tukro Megh 522114 Tausif Danpite 522108 Minar Kurbani Kurbani 522304 Hasan Shihabi Premchara Cholena Duniya 522342 Saju Rodela Dupur 522348 Tahsan Mithila Jeona Durey Chole 522280 Bappa Toni Khachar Bhitor Ochin Pakhi 522291 Labonno Kumari 522303 Shohor Bondi Nach mayuri nach re 522341 Labonno Tumi Amar 522381 Shahed Chandkumari 522385 Purno Soilo Soi 522391 Purno Itihas 71 522534 ROCK 404 Chandrabindu
    [Show full text]
  • A New Age in Bangladeshi Sound: an Idiosyncratic History by Arafat Kazi
    1 A New Age in Bangladeshi Sound: An Idiosyncratic History By Arafat Kazi The past five years have seen an incredible change in the Bangladeshi music scene. It’s too vast a movement to describe in a nutshell, but you guys know what I’m talking about. The “bigger” bands like LRB and Nagar Baul, playing their own kind of Bangladeshi Rock, don’t have a monopoly among the consumers anymore. There are a lot of new bands releasing albums, and most of them are good albums by great bands. We actually have to redefine what “success” really is. Back in the day, you were either a famous band or you weren’t—and the famous bands were less than a dozen. Nowadays, however, we don’t know whether Aurthohin is “underground” anymore. We don’t know whether Cryptic Fate, Black and Artcell, with their thousands of fans but fairly unknown outside of Dhaka, are “underground.” It’s a great thing. I love the fact that you could be a bunch of young upstarts, talk to one of the biggies in the underground scene (no pun intended but that list includes Sumon bhai and Shakib bhai) and get a record deal. You have a chance to prove yourself. Whether your band is good or not depends on the ultimate testing ground—the open market and the shows. I mean, we even have a website with hundreds of people (including members of the bands themselves) talking things over in a public forum! How did we get so far in a relatively short time? Well, buddy, like Salman Rushdie said, “In order to know me, you’ll have to swallow a world,” and taking his cue, let me give you guys my version of the history of this “underground scene” as we know it now.
    [Show full text]
  • Fires Damage, Destroy 4 Homes
    2 SECTIONS — 26 PAGES 110th Year No. 41 ST. JOHNS, MICHIGAN THURSDAY, FEBRUARY 3, 1966 PLUS 32-PAGE TAB SECTION 10 cfcNTS ^ Ne1\J w assessmentM. procedureJ ' s i• n_ effec_ Pi* _t . thi-1_ • s yea" r I , New assessment procedures will be Instigated percentage on which taxpayers actually have been Supervisor Derrill Shinabery of Greenbush Town­ this year .by .Clinton County's supervisors and as­ paying tax since 1955. ship said, "That is the valuation which they will be Fires damage, sessors. But the change won't mean any difference paying taxes on and which they have been paying tax­ in the basic figure on which taxpayers have been In the past, assessed valuation—the figures sent es on." ' . ? paying taxes. to taxpayers—has been roughly 25 per cent of cash The change in procedures has nothing to do V yalue. But the amount of tax paid has been figured with the just-completed Yoh Co. reappraisal. The Supervisors will be mailing their assessed on state equalized valuation—roughly 50 per cent. use of those appraisal figures hasn't been decided valuation figures to taxpayers sometime before the by the supervisors yet. The procedure is, rather, first of March probably, and in most cases they'll In other words,- if a parcel of property had an an outgrowth of a state law which will require as­ be double what they were before. assessed valuation of $2,500, the tax would be fig­ sessment at state equalized value. Greenbush Town­ destroy 4 homes ured on about $5,000. ship has been putting the state equalized figure on Ki This is because the supervisors will be assess­ its taxpayer notice for three years, and Riley ing at state equalized valuation, or as close to 50 "From now on there won't be anyother assess­ Township has been doing the same for about two per cent of cash value as possible.
    [Show full text]
  • The Asplundh Tree
    Summer 2018 THE ASPLUNDH TREE MERIT THE AWARDS ASPLUNDH splundh is proud to recognize TREE General Foreperson Chris Summer 2018 Reid of the Ron Hallock A CONTENTS Region in Florida with a corporate Silver Merit Award for quickly and effectively Restoring Power To Puerto Rico ..............3 using his CPR skills to help a worker who More Stormy Times .....................................6 collapsed as the Hurricane Irma storm Co-op Corner ..............................................7 response was just getting started last fall. A Long-Standing Connection On September 10, 2017, as Hurricane To Line Construction ...............................8 Irma was pounding the Florida Keys, tree From The Archives ....................................10 and line crews were gathered at a hotel p At the request of Manager Ron Hallock in Management Update ..................................11 staging area for Lee County Electric Florida, Manager Don Redden (L) in eastern Retirees Honored ......................................13 Cooperative in South Florida, waiting for Pennsylvania and Corporate Safety Director In Memoriam ...............................................14 the storm to pass over. Chris was walking Adam Martin (R) presented the Asplundh Orchids ...............................................15 through the parking lot and saw a group of Silver Merit Award pin to General Foreperson Service Anniversaries ................................18 workers standing around a man who was Chris Reid (center) who temporarily unconscious on the ground. transferred with his crews to southeastern Home Office Honors ................................21 Although someone had already called Pennsylvania in February. Chris was recognized Crews & News ............................................22 911, Chris quickly decided to step in to for not hesitating to perform CPR on a worker Supporting TREE Fund Through check the worker’s vital signs. There from another company who passed out and Event Partnerships ...................................25 was a heartbeat, but no breathing.
    [Show full text]