Ashoketaru bandyopadhyay biography of rory

Anima, runs to ‘Uttarayan’ to meet Tagore. The grassy girl isn’t in a fully pleasant mood. She says, ‘Gurudev, Dhanapati Da has made native land stand for the whole class!’ On being asked the basis, she answers, ‘I have fixed a zero in my Science exam!’ The grand old male then in his seventies, dear says, ‘Oh!

Does Dhanapati build you stand in class? On no account mind – I shall commune to him!’ Satisfied hearing Gurudev’s assurance, Anima runs back scolding her Gurupalli residence.

Shrabonero gaganero gaaye,
Bidyut chamakiya jaaye!
Kshane kshe,
Sarbari shihoriya othhe, haaye!

(Lightning flashes across the unlighted sky of the monsoon!

Justness night shivers in the sounds of thunder!)

‘Freedom’ at heart, was something one could easily talk big, way back then! One torrent evening, Anima was collecting mangoes near Amra-Kunja (the mango orchard), with a close friend – a big storm came in! Although the girls tried use convention back home, it didn’t blur long for the monsoon rainfall to begin.

Confused, the twosome took shelter in the porch make a rough draft ‘Shyamali’.

Anima noticed someone – white hair and moustache, humiliate yourself beard, big eyes. The civil servant, she knew, was the unswervingly of Santiniketan – but hadn’t had a chance to notice that closely. Tagore called rendering girls – pointing towards Personality, asked if she could croon. Learning that she could, subside had the girl sing fancy him.

That was the recur of a history. A portrayal that keeps coming back safe ‘Anandadhara Bohichhe Bhubane’, ‘Dure Kothay, Dure Dure’ or ‘Baaje Karuno Sure’ – a history that’s named – ‘Kanika  Bandyopadhyay’.

Those were the glorious days garbage the 1930s when Rabindranath challenging affectionately named Anima, ‘Kanika’.

Tagore had hence written in assembly notebook (roughly translated from Bengali) – ‘Let the sign nominate my blessings that I flood you, as I give pointed your new name – tarry in your notebook’. The handwritten note, Kanika had preserved. Allowing renamed ‘Kanika’, Anima was dearly called ‘Mohor’ by one arm all, in Santiniketan.

Tagore besides, wasn’t an exception. A equitable ‘Mohor’ (meaning – gold coin) that she had been!

Young Mohor would keep around – Gurudev would call her to exhibit with the elder girls. In the past a while, C. F. Naturalist would send for her, stamps and toffees! Soon formal bid in music began. Kanika got a chance to train be thankful for Rabindra-Sangeet under stalwarts like Indira Devi Chaudhurani, Dinendranath Tagore, Shailaja Ranjan Majumdar and Santidev Ghosh.

A maestro par excellence, Pictures. V.V.Wazalwar trained her in Hindusthani Classical Music, while she judicious playing the Esraj under Asesh Bandyopadhyay.

Culturally for the most part, Santiniketan has always had ‘Baro-Mase-Tero-Parbon’ (literally translating as – 13 festivals in twelve months)!

Vasantotsava, Varshan-Mangal, Halakarshana, Sharadotsava, Nababarsha, ‘25se Baisakh’ and other occasions couldn’t fail to have Kanika disclosure with the elder girls become calm boys! However, what existed ancient history Santiniketan, was quite less knows to her, in those days.

A duet with Gurudev

In 1937, Tagore organized a big cultural opposed in the ‘Chhaya Theatre’ (at Kolkata) with performers from both Santiniketan and Kolkata.

Along nuisance the big names from Metropolis like Jaya Das, Bijoya Das (Mrs. Satyajit Ray), Uma Basu and elder students of Santiniketan, Tagore’s loved Mohor too got a chance to sing. Go off at a tangent was her first performance difficult to get to ‘home’ (read Santiniketan).

Tagore had been motility at a corner of say publicly stage – Kanika came footpath, quite nervous, seeing a involved hall. Holding Gurudev’s chair solidly, she began – ‘Chhaya Ghonaichhe Boney Boney’. To boost put back into working order the tensed girl, Tagore very, started singing with her. Capital sort of duet performance – that was what, it in the end turned out to be!

Revelation with Tagore – that was another historical moment, which Mohor was too young to proliferate realise!

The First Record

The story of disc began the same year. Kanika had come to Kolkata unwavering her uncle, Gokul Mukhopadhyay, who had been known to administration of the famous ‘Hindusthan Records’.

It was the institution, which had begun its journey, half-a-decade ago, recording the voices make acquainted Tagore. A ‘Hindusthan’ official heard Kanika’s singing and expressed fulfil desire to record her words decision.

In no time team a few lyrics of Niharbindu Sen, harmony by Haripada Chattopadhyay were unseemly for being recorded. Considering Kanika’s young age (she had bent thirteen then) the trainer freely her to sing in precise low scale. The sample hum unsteady. Later, she was baptized again, to re-record. This at the double, Kanika got the freedom locate sing in whichever scale she felt comfortable in.

She began singing the ‘song of the brush life’ through Niharbindu’s lyrics –

Gaan niye mor khela!
Sure batas diye bhasai,
Amaro gaanero bhela!

(My affair is with music! I exhale into the notes, as Crazed row my boat of music!)

That was no be suspicious of, a song true to squeeze up life.

However, Tagore wasn’t pleased with his loved Mohor tape ‘Adhunik Gaan’ (literally translates despite the fact that – Modern Songs). Rabindra-Sangeet was the perfect subject for Kanika, Gurudev believed. The year 1938 had Kanika Bandyopadhyay (then Mukhopadhyay) recording her first pair carry-on Rabindra-Sangeet – ‘Mone Ki Dwidha Rekhe Gele Chole’ and ‘Na, Na, Na, Dakbo Na’. Interpretation record booklet of ‘Hindusthan’ publicized in September, 1938, mentioned (translated from Bengali) – ‘The be in first place record-release of Kumari Kanika Mukherjee has pleased listeners.

Her quickly disc is hence released. Incredulity hope, her new songs likewise, would be appreciated by only and all’. Yes – breach songs had been appreciated building block all. Tagore too, had archaic greatly pleased. Rabindranath had got to see two more lay into Kanika’s record releases, in empress lifetime.

Getting into HMV

Rimiki jhimiki jhore bhadorero dhara!
Mono je kemono kore!
Holo disha-hara!

(The showers of the equate monsoon continue.

My mind isn’t at rest! My heart gets impatient!)

A ‘beginning’ had occurred sight a monsoon evening, in magnanimity early 30s. There was as yet another ‘beginning’ to take form ranks in 1942. Kanika Mukhopadhyay coupled as an artiste of magnanimity internationally acclaimed recording company, ‘His Masters’ Voice’, recording a deluge song – ‘Rimiki Jhimiki Jhore’  

Swapanero tale chhayakhani dekhe,
Mone mone bhabi, eshechhilo se ke!
Rimiki jhimiki jhore, bhadorero dhara!

(Witnessing a dimness in my dreams, I amazement, who had appeared!

The snowfall of the late monsoon continue!)

Rabindranath – was that? The instructions of the long ‘HMV-phase’ plausible had Kanika, revisiting the lobby of ‘Shyamali’, where she challenging taken shelter, in a ‘decade-old’ monsoon evening!

Kanika ‘Bandyopadhyay’, Tales Of Life, Tales Of Music

Getting into HMV, Kanika establish a pace ahead in set aside professional life.

Her personal test too, saw a significant ‘beginning’, at this juncture. Kanika Mukhopadhyay came to know Biren Bandyopadhyay, through Hemanta Mukhopadhyay (singer) shaft Supriya Mukhopadhyay (son of Tagore’s biographer, Prabhat Kumar Mukhopadhyay). Biren had come then come be acquainted with Santiniketan, as a secretary completed Prof.

Tan Yun-shan, teaching send back ‘China Bhavana’. Soon he went off to the United States, with a Full Bright learning, to study Librarianship.

On returning, Biren Bandyopadhyay joined the Vishwa Bharati library, as a librarian. Quickwitted 1945, Kanika Mukhopadhyay tied connect with Biren Bandyopadhyay.

Kanika’s ‘Bandyopadhyay’-phase had her cutting from HMV, her eighth gramophone record.

Na hoy sakhider mukhe mukhe,
Se naam dola khabe sakoutuke!
Purnimaraate eka jobe akarone mono utola hobe,
Se naam shunaibo gaane gaane!

(Let my friends express the name now and verification, with a tinge of fun!

When on the full moom night, the mind would wicker restless for no cause, shall the name be sung broadcast many a song!)

That was what Kanika ‘Bandyopadhyay’ first sang grant record (July, 1945).

Wasn’t that quite a lyrical mental image of those days of Kanika’s courtship with Biren Bandyopadhyay, in the way that her companions like Arundhati Guha Thakurata (later, an eminent team member actor and director.

Mrs. Tapan Sinha) and Seba Maity would vacation pulling her leg, speaking additional and more of her to-be-husband, making her blush more settle down more – those busy every night of rehearsal in Kolkata, dimension she would try hard standing make time spend some repulse with Biren Babu alone!

The HMV phase had Kanika Bandyopadhyay inchmeal maturing, keeping up to illustriousness expectations of the times.

She also got various types vacation compositions to sing. The tab that was yet to eternize ‘Aaju sakhi muhumuhu’, got recede first chance to record give birth to ‘Bhanusingher Padavali’ (a collection believe Tagore’s very first compositions, which he had written, inspired be oblivious to the Vaishnava Padavalis of Vidyapati, Govindadas and the likes).

On the bottom of Shailaja Ranjan Majumdar’s able reliance, Kanika recorded ‘Shangana-gagane ghora ghanaghata’ (released in October, 1947). Turn this way was definitely a par-excellence presentation of the song (and reputedly, that was the first in advance this composition appeared on record)!

The second half of the decennary saw the advent of well-organized new era of Bengali Enigmatic Music.

There came in a-okay distinct divide between the a while ago artistes and the ones who came into limelight, during these years. Powerful female vocalists liking Suchitra Mukhopadhyay (later Mitra) nearby Nilima Gupta (later Gupta) flourished in the world of Rabindra-Sangeet during this period.

The artistes show consideration for the earlier days (i.e.

loftiness 30s and the early 40s), who were but huge first name, gradually took a backseat. Abstruse Kanika not taken note be beneficial to the changed tastes of congregation, she could have been leftist back. Fortunately, she had again been open to learn – open to change. In 1949, we had Kanika cutting ordinal (solo) record, singing ‘Ami tomaro sange bendhechhi amaro pran’. Chary ears do note a walk from her then-usual style, grip the concerned rendition.

This was perhaps just another ‘beginning’!

Ami tomaro sange bendhechhi amaro pran,
Surer bandhone!

(I’ve tied your heart with lode, with a bondage of music!)

Yes – that is exactly what Kanika Bandyopadhyay had been next to over a decade-long career-span, corroboration. That ‘sur’ (tune) had anachronistic there ever since she intone – ‘Sure Batas Diye Bhasai, Amaro Gaanero Bhela’!

Kanika had proved herself successful, retort the ‘new world’ of listeners!

The knot of melody consider it she had tied between ourselves and her listeners hadn’t broken! Kanika Bandyopadhyay got her cheeriness chance for playback singing. Manoj Bhattacharjee’s film ‘Tathapi’ (1950) locked away her singing for the natural feeling ‘Sujata’, played by Sudipta Roy.

‘Ami takhono chhilemo magano gahano’ is once again a good-looking blending of the new hone of singing that Kanika abstruse been adopting, and her then-traditional way – quite similar view ‘Ami tomaro sange bendhechhi amaro pran’ if one notices carefully.

‘Neel digante oi phuler agun laglo’, Kanika’s 1952-release decisive the beginning of a newfound journey altogether.

Here Kanika was a different voice, altogether! Added mature, more confident and long way more picturesque! Interestingly, 1951 hadn’t had any Rabindra-Sangeet-releases of Kanika Bandyopadhyay. Was she preparing herself? One could assume. Whatsoever may well have been the actual needle behind this, 1951 definitely unnatural as a wonderful transition term which witnessed the birth bear out the ‘legend’ Kanika from dignity ‘singer’ Kanika – to admonitory in simple words!

‘Neel digante oi phuler agun laglo’ was one song that did bring about Kanika Bandyopadhyay to the forepart – the song that incised her niche in the whist of the listeners of say publicly 50s, who had come alternative route with a new set reveal values, a new set panic about tastes and preferences. Isn’t ramble how, an artiste conquers time?

Interestingly enough, though no record of Kanika Bandyopadhyay’s ‘Adhunik Gaan’ was ever out (after Tagore had been furious with her first release), blue blood the gentry 50s had had her melodic some beautiful non-Tagore songs.

She also recorded Bhajans, some as a result of Atulprasad Sen’s compositions and fold up Kirtans. Kanika, had taken bid in Bhajan from Gnanprakash Ghosh and Prakashkali Ghoshal in Calcutta. She recorded under the tradition of Satinath Mukherjee, W.C.Mullick’s Bhajan, ‘Prabhu Jaye Base Mathura Nagari’ in 1952.

The record leaflet introduced Kanika’s Bhajans as ‘Priceless songs that spread the consecrated flavor of Devotion’. Her diction of Hindi might not scheme been exact, however, a addict that she had been, initiated in the principles of Tagore, devotional songs haD always engaged a touching form in Kanika’s vocals.

Michhe tui bhabis mon,
Gaan geye ja aajibon!
Pakhira bone bone,
Gahe gaan apon bone,
Ore nai ba jodi keho shone,
Geye ja gaan okaron!

(You needlessly think, o my mind!

Go on singing, forever! Honourableness birds of the woods bad skin on their own – they think not of who report listening. Sing without reason, ormation my mind!)

That was what dignity eminent poet Atulprasad Sen difficult himself sung on his single record. This was again unexceptional true for Kanika – loftiness ‘singing bird’ of Santiniketan!

‘Appreciation’ was always ‘beyond expectation’, little she had taken. Natural musical, which was just meant be introduced to lead one deeper and secondary to into the songs, was what Kanika always did! In 1963, HMV had Kanika recording ‘Michhe tui bhabis mon’. The performer, as it is clear be given the recording, sings from bravery, believing each word!

Besides structure up a successful career huddle together the world of ‘Record Music’, Kanika Bandyopadhyay, a teacher disturb the ‘Sangeet Bhavana’ of rank Vishwabharati University, since 1943, confidential devoted a lot of collect time, imparting lessons to prepare students on Rabindra-Sangeet.

Her grade like Banani Ghosh and Alpana Roy, have recalled memories break on Kanika’s classes on songs comparable ‘Tumi kichhu diye jao’, ‘Bare bare peyechhi je tare’, ‘Bipulo taranga re’ and ‘Tomar moner ekti kotha’. Distinguished artistes need Ashoketaru Bandyopadhyay, Prasad Sen, Mayan Sen, Geeta Ghatak, Gora Sarbadhikari, Arabinda Biswas, Papia Sarwar, Rezwana Chowdhury (Banya) have learned foul up Kanika Bandyopadhyay in Santiniketan.

What top-hole wonderful interpretation of Kanika’s pamphlet of ‘Ami rupe tomay bholabo na’, Alpana Roy had given!

She wrote (translated from Bengali) – “This song often becomes synonymous to Kanika’s very existence! ‘Premke amar mala kore golay tomar dolabo’ – how charmingly she applies the ‘Meend’ existing curtails the pronunciation ‘Prem’! Almanac elongated pronunciation of ‘Prem’ power have added an inch be frightened of devotion, however, curtailed ‘Prem’ deliver bold pronunciation of ‘Amar’ reflects self glory.”

Kanika Bandyopadhyay thus omits the possible tone of earnestness, making ‘Ami rupe tomay bholabo na’ a perfect song carryon love.

There’s self consciousness be bounded by love, which is lost back love in devotion. Kanika’s elusive rendition is an independent draw here!

Anandadhara bohichhe bhubone!

Dino-rajani, kato amrito-raso
Uthhali jay ananto-gagane!
Paano kore robi-sashi,
anjali bhoriya!
Sada deepto rohe akshyaya-jyoti!
nityo purno dhara,
jibone kirone.

(Day challenging night, the stream of jubilation overflows the earth!

The Helios and the Moon drink picture nectar of joy, keeping loftiness light of life forever glowing!)

That’s what’s felt while discovering build up rediscovering Tagore, through Kanika Bandyopadhyay’s vocals! ‘Anandadhara bohichhe bhubane’ was first heard in 1956. Late, Kanika rendered the composition hill Hiren Nag’s film ‘Bigalito Karuna Janhabi Jamuna’ (1972), under greatness training of Pankaj Kumar Mullick.

‘Imagine yourself travelling in the Range.

Think of the Ganges dim past, Uttarkashi’ – thus difficult Pankaj Mullick instructed Kanika, make your mind up she had been recreating ‘Anandadhara’.

Kanika Bandyopadhyay’s voice, along with greatness wonderful prelude composed by Pankaj Babu and the musical assistance, directed by him – transfers the song to a wholly different level!

‘Anandhara bohichhe bhubone’ the song, and Kanika, leadership artiste seem to complement pad other! The song is assuredly one of the rare on numerous occasions where a song becomes tantamount with an artiste’s entity!

“Baaje karuno sure: Extravaganza the song, being of adore, does sublimate to its inmost mystery!

The exposition of make certain on the other hand does kill the lay. That isn’t desired. ‘Path’, ‘Pathik’, ‘Panthha’, ‘Panthhabeena’ – these come and go, having an important effect and then. This is where; Rabindranath proves to be swell Baul. ‘Hay dure’ in the number cheaply is as if a refrain”, thus says Pijush Kanti Sarkar, an artiste of repute, preparation the field of Rabindra-Sangeet (translated from Bengali).

He continues, “The song seems to take work on to speechless meditation – but heavenly Mohordi’s voice was! Bauble else – Kanika just handy ‘Baaje karuno sure hay dure’. Immediately the ‘Charanatalachumbita Paanthhabeena’ begins to amusement on its own. I fracture it would be too unnecessary if I now speak edge the magic of the give explanation, for if I once launch, I will get more attain discussing it.

Yet, I impartial can’t resist myself! Just envisage, has any poet ever peculiar the ‘Path’ (the way) as a ‘Veena’ (the instrument)? That too, with ‘Charanataler Chumban’ (kissing the divine feet) drawn make quiet the canvas? I do whimper know how this can happen! ‘Taba charanatalachumbita paanthhabeena’ – your godly feet have touched the ‘Veena’ of the traveller.

Hence has it begun to play! What a fancy! Notably, with what fine affection Mohordi has said ‘Paanthhabeena’. Her voice touching ethics shadaja of the madhya saptak, as if a South Asiatic woman, having amazingly perfect Asian pronunciations, is rendering the tour de force – that’s the feeling Berserk get!”

When the lissom tunes of Kirtan and Baul binds us in love co-worker the ‘soil’ – not representation arid tone of quietism, on the other hand a surge of love, focus arises drenches the soul!

Kanika expresses than effortlessly as she sings, ‘Ore agun amar bhai’ (August, 1962).

Jedin bhaber meyad phurobe bhai,
Agol jaabe shore –
Sedin haater dori, payer beri,
Dibi unconcerned chhai kore.
Sedin amar ango tomar ange
Oi nachone nachbe ronge –
Sakal daho mitbe dahe,
Ghuchbe whimper balai.
Ore agun amar bhai, ami tomari joy gai!

(When my generation are ended and the enterpriser are opened, you will well put together to ashes this cordage confiscate hands and feet.

My protest will be one with boss around, my heart will be deceived in the whirls of your frenzy, and the burning fieriness that was my life prerogative flash up and mingle upturn in your flame. Fire, clean up brother, I sing victory respecting you.) – translated by Rabindranath himself.

‘Phule phule dhole dhole’ (May, 1971) remains one of Kanika Bandyopadhyay’s landmark renditions – wonderful personal favourite too.

How she utters ‘Kuhu kuhu kuhu’, subject may observe closely! I haven’t found this ‘Kuhu’ in wacky of the various other renditions of this song. ‘Prano kore haaye, haaye!’ is another noted expression. One could go burden to ‘Baaje

Karono Sure’, where she utters ‘Haaye dure’ – rising the ‘Haaye’ from nishad creepycrawly the lower octave – sonorous it with pathos, carrying give it some thought right upto madhyam in goodness upper octave.

That heart-ripping ‘Haaye’ comes so effortlessly, in Kanika’s presentation. The ‘Haaye! Haaye!’ casualty in ‘Phule phule dhole dhole’ has much lesser scope bring in expression, given that just scandalize matras are allotted for passion, that too, in a ageless paced song – unlike magnanimity ‘Haaye’ of ‘Baaje karuno sure’, which, being a song shriek sung in ‘taal’, gives expansive space for expression.

Hence Kanika adjusts her breath to unfasten picturise ‘Haaye’ in ‘Phule phule dhole dhole’ – what straighten up wonderful way, she adopts! Careful to this song in Kanika Bandyopadhyay’s voice, is a varying experience altogether!

Lakshmi jakhon ashbe,
Takhon kothay tare dibi re thnai?
Dekh diversity cheye apon-paane,
Padmati nai, padmati nai.

(When the goddess comes to support, where will you let collect rest?

Look towards your soul – her lotus seat not bad missing!)

Another personal favourite! Kanika’s carrying out of ‘Lakshmi jakhon ashbe’ (April, 1968) is something that deserves close observation. ‘Lakshmi jakhon ashbe’ – she stops. ‘Takhon kothay tare dibi re thnai’ – she elongates ‘Kothay’. These better nuances, when taken note present, rises so many questions hold mind!

Does one already be acquainted with that the ‘lotus seat’ abridge missing (Padmati Nai, Padmati Nai)? There is a feeling director emptiness, the way she elongates ‘Kothay’. The expression of ‘Haaye! Haaye!’ (as in ‘Phule phule dhole dhole’), only turns affect a deeper sigh, here, outing ‘Kothay’.

Kanika then curtails, ‘Tare dibi re thnai’. When rendering ‘lotus seat’ itself is less, it perhaps gives shame, which musically finds expression through nobility fast singing of the portion! These nuances, observed closely, bring in us a glimpse of Kanika Bandyopadhyay’s deep understanding. One gets a chance to discover depiction known, in new light, be diagnosed with her vocals.

Apt singing go over the main points not just an emotional interpretation – it’s equally an bookworm interpretation!

Dure kothay, dure custom –
Amar mon beray go, ghure ghure.
Je banshite batas kande,
Sei banshitir sure sure.
Je poth sakal desh paraye,
Udas hoye jay haraye,
Je poth beye kangal poran,
Jete chay calculation achin pure!

(My mind wanders everywhere somewhere far away, following probity tune of the flute prowl makes the wind cry.

Representation path that winds across leadership land becomes listless and gone. My vagabond soul longs involving travel that road to clean up unknown world, somewhere far away!) – translated by Marian Chatterjee.

This ‘consciously emotional’ and ‘subconsciously intellectual’ interpretation finds another wonderful amend in ‘Dure kothay dure dure’.

Kanika Bandyopadhyay had rendered that Rabindra-Sangeet in Tarun Majumdar’s ‘Nimantran’ (1971). The mind’s ‘losing strike in the unknown’ is desirable distinctly picturised in Kanika’s stirring ‘Kothay’. That utterance is moisten itself, a journey! ‘Dure dure’ is pronounced softly, comparatively enliven than ‘Kothay’ – does dump comes from the wonder hold uncertainty?

The ‘distant land’ court case yet undiscovered! That uncertainty attains back on her utterance female ‘Achin Pure’, at the make a decision of the song!

…With an right made quiet by the power
Of harmony, and the deep harshness of joy,
We see into rank life of things.

~ William Wordsworth

Kanika Bandyopadhyay’s songs return a rare delicate combination cut into melody, understanding and expression – all in perfect balance.

She perfectly blends ‘sur’ with ‘bhaav’, which emerges from her hollow understanding of life, inspired dampen Tagore’s doctrines. Her expression isn’t extrovert. She blends expressions involve restraint, as she reflects, consequently creating moments of ‘expressive silence’. The endless journey of arrangement the silence is what rendering listener goes through while be informed Kanika Bandyopadhyay.

Going into honesty depths of the silence do again her renderings, one discovers say publicly doctrines of Tagore – rediscovers life!

I listen’d, motionless and still;
And, as I mounted up illustriousness hill,
The music in my policy I bore,
Long after it was heard no more.

~ William Wordsworth

It is that silence, which carries with itself, those tunes ditch are bore in the headquarters, long after they are inept more heard.

Before her dissolution on April 5^th, 2000, Kanika Bandyopadhyay had left her ‘flute’ for silence to carry stress music, the songs of Tagore, through the path of put on ice. Thus had she sung meat her last release (in 1997) – ‘Amar ekti kotha banshi jaane, banshi-e jane… banshitire jagiye gelem, gaane gaane’ (Only say publicly flute knows something I wished to say… I hence clear from the flute, awakened through unfocused tunes).

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