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Bangladesh participates at the prestigious Venice International Art Biennale
In keeping with the previous years, Bangladesh is participating in the prestigious Venice International Art Biennale.
Bangladesh Shilpakala Academy under the guidance of the Ministry of Cultural Affairs and the Ministry of Foreign Affairs is taking part in this event. The overarching theme of this year’s biennale is ‘Foreigners Everywhere’, according to press release received here.
The Bangladesh pavilion under the caption ‘Yearning for Harmony: In the Crisis of the Civilization’ has been formally inaugurated in the touristic city of Venice on 18 April 2024 in presence of a huge number of artists, art lovers and critics, journalists, member of expatriate Bangladeshi community, educationist, and high officials.
A 6-member Bangladeshi delegation led by the Director General of Shilpakala Academy Mr. Liaquat Ali Lucky attended the inauguration ceremony. Consul General of Bangladesh in Milan Mr. M J H Jabed, Honorary Consul of Bangladesh in Venice Avv. Fabrizio Ippolito D'Avino, Curator of Bangladesh pavilion Ms. Viviana Vannucci also attended the ceremony. In his address to the foreign audience, the Director General of Shilpakala Academy said that Bangladesh is a proud participant at the Venice Biennale which is the world's premiere art event. The artworks displayed at the Bangladesh pavilion are done by both celebrated and promising artists of the country. He informed that Bangladesh also hosts Asian Art Biennale which has drawn attention of art connoisseurs from across the world. He invited the Italian artists and art critics to attend the future art events to be organized in Bangladesh.
Consul General of Bangladesh in Milan noted that during Prime Minister Sheikh Hasina’s last visit to Italy a cultural Cooperation Agreement was signed between Bangladesh and Italy under which two friendly countries are expected to broaden cooperation in the cultural domain. He also noted that Bangladesh has a rich history in art which needs to be showcased before the global community.
Mr. Jabed also stated that Cultural Diplomacy is one of the priority areas in the Public Diplomacy endeavour of the present government. From the Bangladesh delegation Ms. Nafriza Shayma, Joint Secretary, Ministry of Cultural Affairs and Ekushey Padak awardee artist Professor Shahjahan Ahmed Bikash spoke on the occasion.
This is the 5th consecutive time that Bangladesh has been participating at the Venice Biennale.The 6-month long event will continue till end November-2024.
‘Stitched Collage’: Suranjana Bhattacharja’s solo art exhibition begins at AFD
The solo art exhibition by Suranjana Bhattacharja titled ‘Stitched Collage’ has begun at La Galerie, Alliance Française de Dhaka (AFD), inaugurated on Friday evening.
Renowned art critic Moinuddin Khaled, eminent artist Syed Iqbal, DU Faculty of Fine Art Professor Shishir Bhattacharjee, popular author, physicist, academic, activist Prof Dr Muhammed Zafar Iqbal and eminent artist Monirul Islam attended the opening ceremony of the exhibition as the special guests.
Collage as a technique or form of art would be about two thousand years old. After the invention of paper, it started in China and continued through the Middle Ages, in Japan as well as in Europe, before and after the Renaissance, in the nineteenth and twentieth centuries, along with the Surrealist and Dada movements followed by Modern art.
Great artists like Pablo Picasso, Georges Braque, Henri Matisse and Wassily Kandinsky among many others did each collage in their own way. Among these maestros, particularly Kandinsky’s work has always been one of the principal sources of surprise, love and inspiration for Suranjana.
Born in Narayanganj but brought up in Chittagong and then in Narsingdi, Bangladesh, Suranjana had always a penchant for sewing and got training in a technical school run by the Bangladesh Government in Narshingdi in the late eighties. About a decade ago, the artist was stricken by Dystrophy, a rare, chronic disease which caused her left hand to be partly disabled.
To fight against the disease, Suranjana started ‘stitched collage,’ a new form of art inspired by Kandinsky among others. There was a copy of a collage hanging in one of the walls of her Montreal apartment, the famous blue nude by Matisse who also did this when he was almost visually impaired, a mere coincidence, as the artist says. She was immensely motivated by that coincidence and this exhibition is a brainchild of that inspiration.
The exhibition will be open to all till Saturday, April 27, Monday to Saturday from 3 pm to 9 pm.
Sadia Khalid Reeti invited back as Fipresci jury at Cannes
Renowned Bangladeshi film critic, screenwriter and journalist Sadia Khalid Reeti has been invited to the Fipresci (International Federation of Film Critics) jury at the upcoming 77th Cannes Film Festival, one of the most prestigious film festivals in the world in which she was a jury member before in 2019 when she became the second Bangladeshi to receive this honour.
A Screenwriting graduate from the University of California, Los Angeles (UCLA), Reeti has served as a jury member at different international film festivals in Italy, India, England, Nepal, France, Russia, Sri Lanka and Bangladesh. She also served as a Fipresci jury at the Bengaluru International Film Festival, International Film Festival of Kerala and Dhaka International Film Festival (DIFF), and is currently serving as the Co-Convenor of the West Meets East Screenplay Lab at DIFF, one of the leading script development labs in the country.
With 'Tati', Coke Studio Bangla launches season 3 paying homage to Jamdani
Reeti became Bangladesh's first international voter for the Golden Globe Awards in 2022. A Berlinale Talents alumna, she attended prestigious mentorship programs with Film Independent and Locarno Open Doors.
Alongside her responsibilities as the Cultural Editor of Dhaka Tribune, one of the leading English dailies in the country, Reeti teaches film studies at different universities and institutions. She is a recipient of the Charles Wallace Fellowship from the British Council, as a part of which she trained in surreal filmmaking at the British Film Institute in 2023.
Regarding her return to Cannes, Reeti said: “Cannes is the biggest and most prestigious film festival in the world. It’s an incredible honour to be invited back. Having our film critics on the jury board more often will enable us to convey our cultural point of view and help world cinema move away from its Eurocentric lens.”
“The invitation always arrives so late that it’s difficult to arrange the visa and other necessities with a green passport,” she said about her travel preparations. “The festival has grown so much over the years that it’s now a logistical nightmare trying to find suitable lodging. Hopefully, when more of us participate in such festivals, the authorities will keep provisions to reduce the stress.”
From Bangladesh, Ahmed Muztaba Zamal was the first Fipresci jury at Cannes in 2002, 2005, and 2009. Reeti came next in 2019, followed by Bidhan Rebeiro in 2022. They joined as members of the IFCAB (International Film Critics Association of Bangladesh).
‘Adyontor’ to release their first song ‘Opekkhar Chithi’ tomorrow
The 77th annual Cannes Film Festival is due to take place from 14 to 25 May 2024. American filmmaker and actress Greta Gerwig will serve as jury president for the main competition, and the main competition at Cannes will include veteran filmmakers like Coppola, Audiard, Cronenberg, Arnold, Lanthimos, Sorrentino, Abbasi and so on this year.
With 'Tati', Coke Studio Bangla launches season 3 paying homage to Jamdani
Showcasing a festive tribute to the nation's woven treasure Jamdani, which UNESCO has designated as an intangible cultural heritage, as well as the legacy of handloom (Taat) and the exquisite craftsmanship behind the textile artistry, popular music platform Coke Studio Bangla’s third season returned on April 13 with the song "Tati."
Performed by Bangladeshi singer and weaver Md Gonjer Ali, Nigerian rapper Louis Anthony who is better known by his stage name Oli Boy and featuring renowned Bangladeshi actress Jaya Ahsan, the song has been trending during the festive occasion of Eid and Pahela Baishakh, garnering over a million views on YouTube within two days.
The maiden track of the third season is an amalgamation of three songs - “Gayer Bodhu” written by Md Gonjer Ali, “Hana di Reshomer Bone” written by Shatarupa Thakurta Roy, and “Time to Giger” written by Oli Boy.
Chandra Shekhar Shaha, a researcher and one of the pathfinders in modern crafting and textile design in Bangladesh, collected Jamdani Weaving verses used in the song, while Faizan R Ahmad (Buno) worked on the track as its Chief Sound Engineer, mixed and mastered by Saadul Islam.
The song not only showcased a harmonious tapestry of the country’s traditional handloom through its melodic presentation; but the Steadicam-operated music video itself, produced by Runout Films under the direction of Adnan Al Rajeev, also portrayed a majestic set with a tantalizing display of Jamdani everywhere, and through the classy attires of the performers as well.
Describing the song, Coke Studio Bangla Curator and Producer Shayan Chowdhury Arnob said: “Jamdani is our heritage, identity and pride - however, the rhythmic verses and tunes of our handlooms were unknown to me.”
“After discovering those hidden gems and our weaver brother Gonjer Ali, creator of many of these types of songs, we blended the track with my old song “Tati,” (Hana di Reshomer Bone), written by Shatarupa didi. To set the song on Afrobeat (African tunes), we found Oli Boy, who has been working in our garments industry for the past three years - and speaks and sings in Bengali.”
Popular actress Jaya Ahsan's appearance in this song was a surprising addition, and Arnob commented, "Jaya Ahsan is a friend of mine, and I enjoy her wearing Jamdani saree on all occasions at home and abroad. Not everyone knows that she is also an excellent singer.”
Jaya also shared her association with the track, saying: “All of Bangladesh's traditional sarees, such as the Jamdani and Muslin styles, are my favourites - and because of my passion for sarees and Arnob's earnest request, I became associated with this song and gained valuable experience working with an amazing team. I have represented the Jamdani sarees of Bangladesh on a global scale several times, and I'm confident this song will appeal to music lovers who appreciate sarees and the tradition of our magnificent handlooms.”
Syeda Sadia Afrina, the owner of Thread Bangladesh which provided the Jamdani wardrobe for the performers, stated: “For the first time, someone took a major initiative in the music industry which will help this generation and the next to know more about our weaving heritage and the history behind it - and this is perfectly aligned with our core values in Team Thread. Thanks to the entire Coke management Abeer Rajbeen, Adnan Al Rajeev, Jaya Ahsan and the whole team of “Tati,” and a sincere thanks to Shayan Chowdhury Arnob bhai for making this beautiful composition about our weavers.”
The lineup for the background vocal of the song featured Md Ariful Haque (also with dotara as well), Jannatul Ferdous Akbar, Sheikh Mumtahina Mehzabin, Baby Akter, Karishma Sanu Shovvota, Shanta Islam, Nishat Ara Khaled, and Md Makhon Miah.
DotBirth Limited is associated with season 3 as its creative agency, and the new season will feature 11 new songs with more than 180 musicians and artists from across Bangladesh and the world, including Arnob, Pritom, Emon Chowdhury and Meghdol. In addition to that, new artists will be making their Coke Studio Bangla debut this season, including the iconic Habib Wahid.
‘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.
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.
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.
‘Quran is crystal clear’: Will Smith
Hollywood icon Will Smith recently shared his profound appreciation for the Quran, describing the Muslim holy book as “crystal clear” and lauding its simplicity.
In a conversation reported by Al Arabiya, Smith recounted his experience of reading the Quran last Ramadan. “I loved the simplicity; the Quran is so clear; it is crystal clear. It is hard to walk away with misunderstanding,” Smith remarked.
He was moved by the spirit of the Quran, which he found to be “so beautiful and clear.”
Read more: Reasons Why Ramadan Fasting is More Beneficial Than Dieting
Delving deeper into his spiritual journey, Smith revealed that he has explored the holy texts of Judaism and Christianity as well. He expressed amazement at the deep connections between the Quran, Torah, and Bible.
“I was surprised how it is like one story, from the Torah through the Bible and into the Quran. I never totally understood Abraham as the father and then the split with Isaac and Ishmail and it was beautiful to get the completion of that comprehension,” he shared.
Smith, who is currently visiting Saudi Arabia, also opened up about his affinity for the Middle Eastern country and its culture during a podcast with MBC.
With a touch of humor, Smith, who portrayed the Genie in the live-action movie "Aladdin," quipped: “I think I was a Genie in a past life. I am so at home; I love it here.”
Read more: 10 Best Free Apps for Ramadan on Android and iOS
Singer Khalid no more
Popular band singer Khalid passed away on Monday evening. He was 60.
He breathed his last around 7:15pm at a city hospital while undergoing treatment there, lyricist and composer Prince Mahmud confirmed.
Family sources said the body will be taken to Gopalganj after Namaj-e-Janaza at Green Road Jame Mosque on Monday at 11 pm. Later, he will be buried in the family cemetery there.
Khalid is best known for his songs "Shorolotar Protima", "Himaloy", "Kono Karonei", among dozens of other hits during the 90's and 2000's.
Born in Gopalganj, the singer started his journey in the world of music in 1981.