entertainment
Coke Studio Bangla all set to return with Season 3, featuring 11 songs
Coca-Cola, the multinational beverage brand that has enamoured music lovers across the globe with its "Coke Studio" platform, announced on Monday that Coke Studio Bangla, the digital-first music platform under the franchise, is all set to return with its third season on April 13.
Building upon the success of previous seasons, season 3 will feature more than 180 musicians and artists from across Bangladesh and the world coming together to create new memorable songs and soulful musical fusions.
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Season 3 will contain a total of 11 new songs that will feature a wide range of artists from diverse backgrounds, presenting multiple genres of Bangla music.
Much like the first two seasons, Shayan Chowdhury Arnob is the music curator for season 3. He will be joined by other music producers such as Pritom Hasan, Emon Chowdhury, Shuvendu Das Shuvo, and others.
Coke Studio Bangla to launch Season 3 next year
Speaking about season 3, Shayan Chowdhury Arnob, Music Curator of Coke Studio Bangla, said, “We are thrilled to embark on yet another journey of musical brilliance and cultural celebration. This season promises to be a testament to our commitment to innovation and creativity, as we push the boundaries of music and storytelling even further. From traditional melodies to contemporary beats, Coke Studio Bangla Season 3 promises to be a celebration of artistic diversity and creative expression.”
The success of the first two seasons with global audiences piqued the interest of numerous foreign artists, who reached out to be a part of season 3. According to the platform, fans can expect some interesting collaborations as the season progresses.
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The new season will see several familiar faces return with new songs including Arnob, Pritom, Emon Chowdhury, and Meghdol. In addition to that, new artists will be making their Coke Studio Bangla debut, including the iconic Habib Wahid.
Ju-un Nahar, Managing Director of Coca-Cola Bangladesh, said, “The support we have received from our fans over the last two seasons has truly been amazing. It is their passion and enthusiasm that continue to inspire us to push beyond conventions and create something truly extraordinary. We have a number of surprises stored for our audiences, and we believe that everyone will love the work we put in for the new season.”
According to the analytics, Coke Studio Bangla has successfully popularised Bangla music globally, with fans primarily in the age group of 18–34, hailing from various countries. A little over 80% of the fans are from Bangladesh, with India and the USA in second and third spots, respectively.
Krishnendu Chattopadhyay of Dope Productions and Adnan Al Rajeev of Runout Films have both directed the visual output of the newest season. Coke Studio Bangla is available on Spotify, the official music streaming partner, as well as on YouTube.
Coke Studio Bangla was launched as a digital-first platform to engage youth and digitally savvy audiences. In the first two seasons, Coke Studio Bangla had over 446 million views and over 3.3 million subscribers on YouTube.
Audiences to enjoy 20 dramas starring Zaher Alvi this Eid
Audiences are going to enjoy nearly two dozen dramas in the upcoming Eid-ul-Fitr starring popular face on the small screen Zaher Alvi.
Currently, he is spending a busy time on shooting.
He will be seen in twenty dramas including Super Hero, Kapal, Amar Moto Eto Sukhi, Takar Gorom, Gaiya, Sadharon Paribahan, Shanir Dasha, Waiting for Love, Khadak, Birthday Girl, Bhabhir Hotel, Cellphone Brist, Maier Upor Vitamin Nai, Boss er Bon.
‘Adyontor’ to release their first song ‘Opekkhar Chithi’ tomorrow
Regarding the projects, Alvi said, “Acting is my passion, my love. In the past few years, many of my dramas were aired during Eid. But now, I’m doing less work as I focus on the story. The stories of the dramas I’m working on on the occasion of the upcoming Eid are amazing. I believe the audience will enjoy all the dramas.”
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He also said, “I received warmth appreciation in the works that have done before. I love constructive criticism. Those who talk about both the good and bad sides of my work are the real audiences.”
“I want to learn from my mistakes through constructive criticism”, he added.
‘Adyontor’ to release their first song ‘Opekkhar Chithi’ tomorrow
Emerging band ‘Adyontor’ is going to release their debut song ‘Opekkhar Chithi’ tomorrow (Tuesday) on the occasion of Eid-Al-Fitr via G-Series YouTube Channel.
Sponsored by “Leeds Skill Development Centre”, a formal deal was signed between the country’s top music label G-Series and Adyontor earlier.
The band members, G-Series CEO Khademul Jahan, its Managing Director Nazmul Haque Bhuiyan Khaled, renowned band photographer Imtiaz Alam Beg were present during the signing ceremony, said a press release recently.
Imtiaz Beg has posed for a photoshoot for the song. Through this, he did a band photoshoot after a long break. The song was mixed or mastered and recorded by Kazi Anan with his own S. A. L. studio.
Popular attire brand ‘Heavy Metal T-Shirt’ provided T-shirts for the song Opekkhar Chithi, it reads.
The song Opekkhar Chithi features Adyontor Lineup – Tamal Roy (Vocal), Sakif Alam (Lead Guitar), Afif Zarif Turno (Rhythm Guitar), Zahid Arham (Bass Guitar), Aruf Bin Hussain (Drums). This song was scripted and tuned by Sakif Alam and Tamal Roy respectively.
It may be mentioned that a group of youths aging from 18 to 19 formed the band in May 2023. It also secured the second position in the "Battle of The Band Contest" organised by the Notre Dame College Culture Club in the same year.
Since then, their demand for various concerts has increased. It also created a Facebook fanbase in a short time.
Sky-high Laughs with a Hint of Turbulence: 'Crew' starting Tabu, Kareena, Kriti Takes Off!
Get ready for a comedic jaunt through the skies with "Crew," the latest sensation to hit cinemas on March 29, 2024. This comedy-drama chronicles the adventures of three glamorous flight attendants navigating the collapse of the airline they work for and plotting a daring scheme for revenge. Will their plan soar to comedic heights or crash into the realm of absurdity? Fasten your seatbelts for an entertaining journey in "Crew."
Read more: Bollywood movie ‘Crew' premieres at Star Cineplex
Director, Production Team, and Cast
Helmed by Rajesh A Krishnan, "Crew" showcases the talents of Tabu, Kareena Kapoor Khan, and Kriti Sanon as spirited air hostesses. With support from Diljit Dosanjh and Kapil Sharma, the film is a production marvel under Balaji Motion Pictures and Anil Kapoor Films & Communication Network, with producers Ekta Kapoor, Rhea Kapoor, Anil Kapoor, and Digvijay Purohit steering the project to success.
Bollywood movie ‘Crew' premieres at Star Cineplex
The latest Bollywood movie "Crew" was released at Star Cineplex on Monday for the Bangladeshi audience, marking the first Hindi film that Star Cineplex has imported through the SAFTA agreement.
Since its release in India on March 29, the film has been garnering good responses in the country’s cinema halls. Discussions have been going on for quite some time about the movie 'Crew' featuring three heroines from three generations of Bollywood, and audiences have been eagerly waiting for the film’s Bangladesh release.
Regarding the release, Star Cineplex's senior marketing officer, Mesbahuddin Ahmed, said, “The movie 'Crew' is being released in Bangladesh through a SAFTA agreement. For the first time, we are importing and releasing Hindi movies.”
“We noticed that our audiences expressed their interest in watching 'Crew' alongside its Indian release, and many anticipating moviegoers have already contacted us to know its schedule. As per rules, Hindi movies cannot be showcased during the upcoming Eid festival, so the shows of the films will be off during Eid,” he said.
The movie narrates the difficult lives of air hostesses or flight attendants in the airline business. However, the movie 'Crew' is being the talk of the town for its ensemble cast featuring three heroines from three generations of Bollywood: Tabu, Kareena Kapoor, and Kriti Sanon.
Produced by Rhea Kapoor, Anil Kapoor, and Ekta Kapoor, ‘Crew’ is directed by Rajesh Krishnan and highlights the current plight of the airline industry. Tabu and Kareena have worked together for the first time in this comedy-genre movie.
Beyoncé's ‘Act ll: Cowboy Carter’ defies categorisation, redefines American style
“Nothin’ really ends / For things to stay the same they have to change again,” Beyoncé sings on “Act ll: Cowboy Carter,” the opening lines of the opening track, “Ameriican Requiem.”
“Them big ideas, yeah, are buried here / Amen.”
In some ways, it is a mission statement for the epic 78-minute, 27-track release — or at the very least, functions like a film’s title card to introduce yet another blockbuster album.
In the days leading up to “Cowboy Carter,” the superstar said this “ain’t a Country album” but “a ‘Beyoncé’ album” — positioning herself in opposition to country music’s rigid power structures and emphasizing her ability to work with the style with her latest genre-defying opus.
A capital-C country album it is not — and of course it isn’t. Beyoncé is an eclecticist, known for her elastic vocal performances: in a moment, choosing to belt close to godliness and, in another, moving with marked ease into a fractured run, inheriting histories through the vowels she stresses, the handclaps she introduces and the genres she utilizes. (That’s evident in the instruments as well, which range from washboard, pedal steel, banjo, mandolin, Vibraslap, bass ukulele and mandolin, to name a few.)
If the album, five years in the making, was inspired by the racist backlash she faced after performing at the 2016 CMAs with The Chicks, as many fans have theorized, she’s eclipsed it and then some. Tell Beyoncé she isn’t welcomed in your space; she’ll carve out a bigger one.
“Ameriican Requiem” bleeds into a reimagination of a Beatles ’ classic, “Blackbiird.” It was originally written by Paul McCartney about desegregation in American schools with particular emphasis on the Little Rock Nine, the first group of Black students to desegregate an Arkansas high school in 1957. In Beyoncé’s rendition, harmonies are stacked. She’s joined by Tanner Adell, Brittney Spencer, Reyna Roberts and Tiera Kennedy — some of the most exciting voices in contemporary country — who are also Black women.
They aren’t the only next generation highlighted on “Cowboy Carter”: Willie Jones’ rich Louisiana tone turns “Just for Fun,” into trail-riding gospel country. Shaboozey’s country-rap marks a pivot in the album’s trajectory on “Spaghettii,” setting the listener up for the singular listening experience of the Patsy Cline-channeling “Sweet Honey Buckiin’,” with its Jersey club beats.
Country veterans, too, appear: Willie Nelson is a rough-around-the-edges radio DJ on the fictional station KNTRY — the resulting effect is an alternative America where terrestrial country radio does not overwhelmingly prefer playing white performers; snippets of Sister Rosetta Tharpe’s “Down by the River Side,” Chuck Berry’s “Maybellene” and Roy Hamilton’s 1957 “Don’t Let Go” bled into Nelson’s smoky voice.
The ’50s cuts are an inspired choice; Beyoncé has chosen to reference the decade in which format-based radio emerged and, as a result, country music’s racial lines were all but codified. The effects are still felt. One frequently referenced study, conducted by University of Ottawa professor Jada Watson, examined over 11,000 songs played on country radio from 2002 to 2020 and found that artists of color made up only 3% of all airplay, two-thirds of which were men. In even her interludes, Beyoncé has taken her listeners to school.
“Jolene” is a reimagined take on the 1973 Dolly Parton original; it’s preceded by “Dolly P,” a spoken-word interlude from Parton. “Remember that hussy with the good hair you sang about?” she says, referencing “Becky with the good hair” from “Sorry” off 2016’s “Lemonade.” “Reminded me of someone I knew back when, except she has flaming locks of auburn hair. Bless her heart! Just a hair of a different color, but it hurts just the same.”
Beyoncé’s version, of course, is very Beyoncé — there’s no shrinking and begging for this woman to step off; it’s a warning.
Perhaps Beyoncé’s clearest predecessor on this album is Linda Martell, the first Black woman to play the Grand Ole Opry. Martell’s 1970 landmark record “Color Me Country” should be considered country canon; she offered Black women rare visibility in a genre stereotypically associated with whiteness.
She also appears twice on “Cowboy Carter,” first providing clarity on the complicated origins of country in “Spaghettii.”
“Genres are a funny little concept, aren’t they?” she says, laughing. “In theory, they have a simple definition that’s easy to understand. But in practice, well, some may feel confined.”
Shared histories and families are abundant on Beyoncé’s “Cowboy Carter”: “Protector” begins with Beyoncé’s daughter Rumi Carter asking for “the lullaby, please,” leading into a tear-jerker of an acoustic ballad centering motherhood.
If listeners position “Act ll: Cowboy Carter” next to “Act l: Renaissance,” they might view the record as a continued dialogue in the Beyoncé mythos: “Lemonade” established Beyoncé’s dedication to Black empowerment. “Renaissance” reclaimed House music for its Black progenitors in a sprawling release that placed techno, Chicago and Detroit house, New Orleans bounce, Afrobeats, queer dance culture and beyond on the same dance floor — and highlighted the frequent invisibility of Black performance in music history books. “Cowboy Carter” does something similar with country music — and, in true Beyoncé fashion, extends well beyond it, as vessel, captain and crew on this journey.
“Bodyguard” borders on soft rock; “Ya Ya” interpolates Nancy Sinatra’s “These Boots Were Made for Walkin’” and The Beach Boys’ “Good Vibrations”; “Riiverdance” and “II Hands II Heaven” bring back the electronica of “Renaissance.” “ll Most Wanted” features the raspy-rich Miley Cyrus, and interpolates Fleetwood Mac’s “Landslide.” “Levii’s Jeans” modernizes the timeless combination of R&B and country ballads, amplified by a surprising collaborator in a crooning Post Malone — lest we forget he also hails from Texas.
“Oh Louisiana” is helium-injected blues and funk; the classic guitars on “Daughter” lead into Beyoncé singing the famous Italian aria “Caro Mio Ben” in the original language. If you’ve been waiting for her opera moment, here it is.
When she’s back to English in the refrain, she declares, “If you cross me, I’m just like my father / I am colder than Titanic water,” reminiscent of outlaw country’s murder ballads and a successor to Bey’s first ever country song, “Daddy Lessons” from “Lemonade.”
Effortlessly — and momentously — “Cowboy Carter” weaves canonized classics into the same breath as Beyoncé's country music evolutions and Black music history preservations. If the Beatles and the Beach Boys are unimpeachable, so is Martell, so is Beyoncé, and Adell, and so on.
The magic here, of course, is Beyoncé’s mastery of art and message. And at the center of everything is her larger-than-life performance — serious and jubilant, like when she plays her nails as percussion, an ode to Parton doing the same on “9 to 5.” (That’s on “Riiverdance,” a club song that also references country’s Celtic folk origins.)
On “Cowboy Carter,” historical course-correcting and evolution go down with honey. Lessons are learned on the dance floor, on the radio, at the imagined honky-tonk, in headphones.
It’s a massive album that will require close examination for full enjoyment — but Beyoncé fans have long learned to be great students.
The Sea of Sound Concert: A transnational musical feast by the South China Sea
A mult-inational musical show 'Sea of Sound' on Friday was recorded in Sanya district of Hainan Province of China offering the audience a music feast transcending time and space as well as geographical boundaries.
International journalists from 25 countries also attended their third show titled 'Hear Every Voice' after visiting the CMG voice of the South China.
Having been successfully held for two seasons, the Sea of Sound concert is an innovative public diplomacy cultural product launched by the CRI Voice of the South China Sea.
Through various forms of musical performances such as chorus and ensemble by musicians from different countries, the concert showcases stories of cultural integration and mutual learning among different civilizations, interpreting the theme of letting different people hear each other.
The first two seasons of the Sea of Sound have been recommended by several Chinese embassies abroad and have received high praise from overseas guests such as ambassadors from Southeast Asian countries.
Various related topics have trended on Chinese social media, including discussions about Moroccan singer Dina and the creation process of the iconic Chinese theme song Journey to the West.
This year, the Sea of Sound · Voice of the South China Sea concert adopted an innovative design, with the performance set against the backdrop of the sea and grasslands. Musicians from China, Singapore, Malaysia, Indonesia, and other countries gathered by the seaside in Sanya to meet with friends on musical grounds, listen to each other, and present a performance that seamlessly blends nature, culture, and elements from multiple countries.
As before, the concert presents a simple yet international performance. Without extravagant stages, it solely relies on music as the bond, connecting music enthusiasts from around the world who may be strangers yet have harmonious cooperation. They play and sing together across distances, harmonizing to the same tune.
The concert highlights live broadcasting and interactivity, creating an atmosphere of music gatherings among musicians from different countries in the form of music salons. Interwoven with music stories and topics during the live broadcast, the interaction between musicians presents the theme of hearing each other.
Another highlight of the concert is the sense of presence. The outdoor circular seating arrangement of the stage, combined with live performances by the band, places the audience at the forefront of experiencing the music.
The ambiance resembling a small-scale salon, coupled with irregular seating arrangements, fully leverages the unique outdoor setting, creating an immersive experience where individuals are enveloped in the surroundings while enjoying the music.
After the recording, the concert will be broadcast on various media platforms, including CMG’s CCTV-4, CCTV News, China Arts, and Voice of the South China Sea.
Star Cineplex brings ‘Godzilla x Kong: The New Empire’ for cine lovers
To enthral the moviegoers and the fans of the critically acclaimed and commercially successful ‘MonsterVerse’ franchise, Star Cineplex is bringing the new Hollywood film ‘Godzilla x Kong: The New Empire,’ on the same day of its global release.
The film is going to be released internationally on March 29, and will also be released in Star Cineplex branches across Bangladesh on the same day.
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The fifth film in the MonsterVerse franchise, the 38th film in the Godzilla franchise and the 13th film in the King Kong franchise, the film is a sequel to ‘Godzilla vs. Kong’ (2021) which was a great commercial and critical success despite being released during the COVID-19 global pandemic.
With Adam Wingard once again in the director’s chair, the film stars Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, and Fala Chen. Among the artists, Rebecca Hall, Henry, and Hottle reprised their roles from the previous film.
One inhabits a forested desert island, while the other is a prehistoric-looking monster rising from the depths of the Pacific Ocean. One lives on a mysterious island called Skull Island - while the other is from beneath the ocean. With their two distinct origins, Kong and Godzilla get together to combat a mystery Hollow Earth menace while simultaneously focusing on the Titans' and Skull Island's unexplored origins.
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The popularity of Legendary Film's MonsterVerse franchise is evident from the fact that the films in the MonsterVerse franchise have brought a completely different appeal to the audience due to their eye-catching graphics and skilful editing, according to the cinephiles.
Iconic ‘Titanic’ door prop that saved Rose fetches over $700K at auction
In a momentous sale that has captivated movie buffs and collectors alike, the infamous piece of wooden debris that kept “Titanic” movie’s Rose afloat — and arguably led to Jack's demise — has sold for a staggering $718,750 at auction, reports the BBC.
This piece of film history has been the center of a long-standing debate since the movie's release in 1997: could it have supported both Rose and Jack, potentially saving them both from the icy grip of the Atlantic?
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The prop, which has ignited discussions among fans for over two decades, was a highlight at an auction featuring items and costumes from Planet Hollywood's extensive collection. The scene in question features Jack, played by Leonardo DiCaprio, insisting the makeshift raft was only big enough for Rose, played by Kate Winslet, leading to his tragic end in the cold ocean waters.
The debate over the scene reached such heights that even "Titanic" director James Cameron addressed it in a 2012 "Mythbusters" episode. Amidst criticism of Rose's perceived selfishness and Jack's decision-making, Cameron asserted that the script necessitated Jack's death, humorously noting that perhaps the prop should have been made smaller to avoid doubt. "The dude's going down," Cameron stated, putting a script-driven end to the speculation.
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Heritage Auctions, which handled the sale, revealed the item, often mistaken for an actual door, was based on a piece of the ill-fated 1912 voyage's debris.
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Rafiqul Alam’s new Liberation War song released in Ayub Bachchu’s composition
Eminent singer and freedom fighter Rafiqul Alam’s new Liberation War song has been released on Independence Day this year, written and composed by the late rock legend Ayub Bachchu for the distinguished artist back in 2005.
Rafiqul Alam, who calls Ayub Bachchu “the Van Halen of Bangladesh,” reflected on the time Ayub Bachchu gave him the song “Shadhinota.”
“The posthumous song of Ayub Bachchu is titled 'Shadhinota' which speaks of glorifying 'Shadhinota' (independence) itself. It talks about what 'Shadhinota' is to the people of Bangladesh, how passionate we as a nation are about our Liberation War, and that it was in exchange for blood that we got our independence,” said Rafiqul.
“Back in 2005, when we were working on another project, we discussed collaborating on a song on several occasions, but it didn’t happen for many reasons. At last, he gave me this song, and it was a very sensible choice to give me a song that speaks about our history,” said the veteran singer describing the background journey of the track.
Rafiqul Alam is a renowned playback singer and vocalist, trained by Pundit Haripada Das. In his journey, he has been groomed by several legendary music directors, among whom he calls Satiya Saha his musical father.
Swadhin Bangla Betar Kendra was a milestone in his path, where he performed many of the classic songs both in group and solo during the Liberation War of 1971. “Moder Gorob Moder Asha” was one of these songs.
The music arrangement of “Shadhinota” is performed by Rafiqul's son, Farshid Alam, a singer-songwriter, composer, and bassist. His debut in music arrangement for his father happened through this song.
“The Western and Eastern ratio in the composition of Ayub Bachchu songs has always been 50/50, but, in this case, I think he chose a 40/60 approach (40 being Western and 60 being Eastern) since my father was the singer,” Farshid said. “For me, it was not an easy job to maintain that harmony in my arrangement. I hope I did justice to the song, and I wish Ayub Bachchu could have listened to my arrangement of his composition.”
The song is available on Rafiqul Alam’s YouTube channel, https://www.youtube.com/watch?v=vEMFmXASNsk.