Music is for the soul; it is the oldest language of feeling and passion that transcends barriers like language, religion, region, etc. It unites people from all walks of life. It beguiles the senses, sets your mind free from the innate practicalities of life and creates a little space of escape where you can let the music empower, inspire and relax your mind.
For generations, people have used this medium to not only express themselves, but also to reach out to millions of other people. From the elusive folk music passed down from generations, to the emerging underground hip-hop music—it is dynamic and constantly evolving.
The recent trend of remixing old classic songs has garnered a lot of criticism for being lazy, showcasing lack of imagination, and being an easy alternative to earning quick money rather than by producing original music. However, India is not short of music or ideas. This diverse country has countless genres, instruments, and musicians with their unique music style still holding the power to enthrall the senses.
In a candid conversation, Sayani Rakshit, a member of Sangeetika, the Indian music society of Kamala Nehru College elaborates on classical music. She considers classical music to be permutations and combinations of ragas. These ragas are based on fixed set of seven notes which are combined in various ways to create countless melodies and compositions.
She further says, “Classical music is the deepest form of music that exists. There is no end to it, it has countless ragas. You have the most amount of scope here for creativity. For example, if am singing a composition, abandish, I cannot tamper with the boundaries—but within the boundaries set by the raga, there is a lot of scope for creativity.”
Sayani mentions,“Beauty of classical music is in its routine. Ragas are sung at a particular time of the day. This is done because the notes have certain moods associated with them, which when sung at the right time are more impactful.”
She also adds, “I used to hate classical music when I first started out, but with a lot of practice and understanding, I am now an admirer of classical music. You need to understand the music in its various nuances and subtleties to appreciate it fully. This is why it is not very popular, because a person needs to understand various intricacies involved with this music to truly appreciate it.”
The underground hip-hop scene is rife with music that is politically and socially impactful. It is inspired and imaginative, hitting their audience with clean precision. Mcfreezak, a Delhi-based artist who is part of the Khirkee collective considers commercial hip-hop to be scripted. It feels artificial, highly constructed and fake, which loses the appeal of everything that real hip-hop aspires to be. Since it is not real, it is not able to connect with the real masses. Whereas their rap is grounded with the people and connects with their issues.
Mahima Dayal, famously known as Bawari Basanti, is a Hindustani classical and folk singer with a debut album “Underwater”. In a conversation with her, she shares her thoughts on folk music and considers it to be all about story telling and sharing wisdom. It’s one of the few art forms that cannot be taught, but is gained through osmosis.
She elaborates, “When I listen to manganihars, I can feel the sand falling through my fingers. Similarly, listening to bhangra and gidda music instantly puts an ecstatic smile on my face. This happens because folk music is a rustic reflection of our society and listening to it makes us feel more real. There is no pretence in the sound.”
Murshidabadi Project collaborates with musicians from all across the globe and specialises in simple yet peaceful Sufi music. He says, “Sufism talks about love and knowing the self to meet the divine. Its music is ideally raw and doesn’t require much accompaniment.”
According to him, Sufism is relevant in the present socio-political situation as it talks about love, peace and harmony. However, the mainstream audience is not in touch with it, as they do not have any choice as to the content that they choose to consume. The internet and television is so overpowered by the filmy music, that other genres do not get a platform.
As various classical genres of music struggle to gain ground in the contemporary demand trends of the music industry, a certain shift in the tastes and preferences of the audiences also can be easily observed in the subcontinent. Independent pop-rock band The Local Train or Indie artist Prateek Kuhad’s rise to fame is a testament to the previously mentioned shift in consumption. As new genres are on the rise, the idea of striking a balance between the contemporary and classical demands acknowledgement in the music industry.
Feature Image Credits: Vaibhav Tekchandani for DU Beat
Fests seem to be a significant part of the whole college experience. And these fests are incomplete without a thrilling concert on stage. From sports fields to tour buses, several independent, signed, and Bollywood artists have toured the various colleges of India for their fests.
Here we count down five significant artists who are a popular sight at many a college concert. The following musicians and singers are featured in here in no particular order, just on the basis of genres and the space they have among the college-going youth. Many college fests take place over the course of two or three nights. The usual pattern is a rock band or a DJ making people jump for the early days, while playback singers from the film industry take over the final days.
Electronic Dance Music (EDM)
Gurgaon-born DJ Zaeden is a popular pick of the new age electronic music producers. Zaeden has struck a chord with the youth, having performed at many colleges of University of Delhi (DU) and other technological institutes. Zaeden’s set usually features his originals like ‘Never Let You Go’, along with dance covers of Coldplay and Maroon 5 songs.
But if you want to hear remixes of mainstream film music, then DJ Chetas and NYK to a lesser extent could be your choice. Chetas’ rise is remarkable as his work might seem pretty mediocre in the face of new-age DJs like Ritviz and Mojo Jojo. Still, Chetas knows how to market himself. His career took off with making themed mashups of Bollywood songs that were featured on the 9X TV network; soon his mashups and remixes found their way in the fest circuit increasing his brand name.
Still, the most original music producer in this scene is Nucleya. With hardly any remixes, he cuts straight to the chase whipping out his classic trance tracks like ‘Bass Rani’ and ‘Laung Gavacha’. Sometimes, if colleges have enough funds, they can even call up foreign DJs to add to the star value. For instance, Quintino in his Indian tour leg even managed to perform his sets at IIT Kanpur and BITS Goa last year. In Delhi’s Sri Ram College of Commerce (SRCC) it was rumoured that this year, the mask-wearing DJ Marshmello or Alan Walker (another DJ who likes covering his face) would headline their fest. But these were just rumours, as in the end, it was DJ Chetas who performed.
When it comes to light acoustic vibes, Prateek Kuhad is the top pick. Featuring a three-piece band, he smoothly sings and plays his guitar while the audiences just swoon. A critically acclaimed songwriter, his track list has both English and Hindi tunes, usually with slow instruments and themes of love and life. With most of his followers being millennials, it’s only apt for the ‘Cold Mess’ singer to be a sensation at college fests.
But when it comes to rock, there’s an even bigger force to be reckoned with—a band called The Local Train. The rock band is a recent phenomenon that started out with their first record ‘Aalas ka Ped’, an instant hit amongst a modest fanbase. Two albums old, they are touring all over the country performing in nearly every Hard Rock Café, and nearly every college fest. Churning out songs in a mix of Hindi and Urdu, their tracks like ‘Khudi’ and ‘Aaoge Tum Kabhi’ deal with various themes like following your dreams and waiting for a lover; stuff which appeals to the dreamy college kid. It’s safe to say that The Local Train is not so ‘local’ anymore!
This is where the fest gets fully mainstream. Bollywood artists usually have many singles from film’s soundtracks, which make for popular music content for the fest audiences. Duos like Vishal-Shekhar and Saleem-Sulaiman are big hits in this regard.
Then there are popular Punjabi artists too in fest line-ups, like Diljit Dosanjh and Guru Randhawa. They sing originals as well as songs featured in films. While the background musicians manage the performance, and the singers’ bravado gets the crowds jumping, some do not consider them as true performers. A case in point is Diljit’s concert at Rendezvous (the annual fest of IIT Delhi), where many fans noted how the singer was lip-syncing for most of his songs.
Then there are a few other artists who manage to perform a varied set of both film and independent content. Farhan Akhtar assisted by his band Farhan Live! starts off his fest shows with songs from his popular films, Rock On and Zindagi Na Milegi Dobara; adding in ballads from albums of his own. Assamese Bollywood singer Papon (who recently performed at Hindu College on top of a Red Bull tour bus) also manages to play a few non-film tunes. Amit Trivedi has also sung his MTV Coke Studio songs for many a college fest. On a side note, Amit Trivedi’s concerts are truly a team effort. He not only introduces all his background singers and musicians to the audience but sometimes gives them the stage to perform their exclusive pieces.
Massive crowds, endless music and celebrations, food, and fun; fest season in the varsity was a delightful time, with its own moments of ups and downs.
“For the longest time, having lived around the North Campus since childhood, I had heard a lot about college fests. We could hear the music at our home, the roads jammed because of crowds, hundreds of students seeking shelter in the cafes of Hudson Lane. I had anticipated a great time for my own first-hand experience and truly, the hype lived up to it all!” An excited first-year student from Shri Ram College of Commerce (SRCC) exclaimed, reminiscing the good time he had at Crossroads – the annual cultural festival of SRCC.
The fest season is, undoubtedly, one of the most exciting times on campus. Seeing as how it has almost come to an end by now, some of us have been left asking for more. Amidst the glamour and celebrations, there is a sense of connect that builds up between people. From charged dances to singing songs together at concerts, we all come closer. And it is these moments that some of the fondest memories of college life materialise.
Having observed most of the major fests in campus; from Reverie to Mecca, spread over almost two months, there was one thing that remained constant. Despite all the problems due to huge crowds and corresponding unruly behaviors exhibited by some people, there was a lot of joy that hit at the end of it all. “And that is what matters,” said Atima Bakshi from Hindu College, “To feel this sense of togetherness and joy with the right people.”
Truly, with the right company, enjoyment multiplies manifolds. Even as fests have become spaces for interactions and connections and celebrations, there is a lot that is awry about their organisation that needs addressing. For instance, dealing with some uncontrolled fanatics who barge into crowds; inebriated and wild. Fests have not been entirely joyous for a lot of people. There have been reports of people indulging in inappropriate behavior during fests. It is almost right to claim that fests have been given to celebrate cringe-worthy displays of power, usually by drunk men perpetrating toxic ideals of masculinity.
Every college union attempts to invite the most famous artists to their fests. This year saw performers like DJ Chetas, Guru Randhawa, Jassie Gill, Vishal-Shekhar, and Jubin Nautiyal with various other bands like The Local Train and Indian Ocean. This pursuit for the most famous artist becomes an invitation to a more rowdy crowd. Although the central idea is to invite the participation of maximum people, it is undermined by how poorly the crowds are managed.
For everyone who witnessed these fests for the first time, certainly the experience has been an amazing learning opportunity. Undoubtedly, it was an absolute joy listening to The Local Train’s tracks, or dancing to Vishal-Shekhar’s peppy Bollywood numbers at Crossroads and Mecca, respectively. But it was also a study in tolerance.
The idea of the fests wherein all colleges and their respective societies and departments conduct so many interesting activities, allowing an exploration into a plethora of talents of students, is also commendable. In the highly commercialised food stalls and high-end designed posters and merchandise, it is good that a space for art and aesthetics is retained.
Street plays, dance performances, fashion shows, singing competitions, or fine arts’ events and exhibits captured the spectators in stunning displays of aesthetics. Hansraj College’s Swaranjali to Hindu College’s Alankaar, or Gargi College’s Enliven to Miranda House’s Tanz – every respective society in their respective events presented perfections. The hard-work and efforts put in by students throughout the year were made absolutely apparent, with the performances only improving successively from Reverie to Tempest to Mecca.
As it was a first experience for many of us, it was also some people’s third and final time celebrating companionship and love and joy at a concert in their college. “This season has always been a blast. It is so difficult to believe that it has finally come to an end. But I feel that despite my third year, this was a first experience and it was superb. So I guess we could call this a first too!” said Bakhtawar Iqbal from Hindu College as he exited from the scintillating Vishal-Shekhar concert at his college, one last time.
There is some simple yet elevated joy in this season; something that I felt so strongly, something that I cannot wait to feel again. What about you?
Feature Image Credits: Saubhagya Saxena for DU Beat
In a country where the music industry focuses on making party songs with arbitrary lyrics, The Local Train is a refreshing change. The band started out in 2008, and has only gotten more and more successful since its inception, with a huge fan following that love the artists for their out of the ordinary music. We got a chance to chat with them before their gig at Farzi Café, CP about their upcoming album. Here are some excerpts:
Your song Khudi is a juxtaposition between reality and dreams, what is the message behind the song?
Paras: I think the purpose of the song is very clear in the video. Like if you daydream, and ultimately you fight for it, and then you get it. That’s what the video is about, and the song is on similar lines.
Raman: The song is about everybody who is fighting to get something, or fighting for following what they want to do. It is basically about finding your true calling, basically and Khudi as a concept means ‘self-actualisation’and that’s what it is. You figure out what you want to do and actually go ahead with it. We’re just really glad that people relate to the song.
Tell us about your upcoming album that is releasing in September. Have you guys decided on a name yet?
Paras: No, no. We haven’t locked down on one single name yet. I think we’ve written five songs and then we have 3-4 more songs to go. We’ll have a clearer idea where we’re headed in totality with this album, and then we’ll bounce off a few names again. We have a lot of ideas written down and a lot of thought are going to come in now, so we are not following one set theme.
Raman: We don’t have a general concept for anything, we just keep writing songs, like we keep playing them. I think we’ve rejected more songs then the songs that are already made it to the album which is something we’ve never done before. I think the general idea would be that we’re just writing songs because we are also going through a lot of stuff as a band, and not a lot of infra there in the country to supoort band music. There is Khudi, then there’s one that we just finished called Mere Yaar, then there is song about non-believers, there is a song about traditions that don’t make sense anymore in the modern world, there’s one about two-faced people, called Dil Nawaaz.
Your music videos frequently feature aspiring artists and unexplored talent like Ryan Matyr in JiyenKyun, Faizan Th in Yeh Zindagi Hai and Arjun Mathur in Khudi. Is there a reason behind this or is it unintentional?
Raman: Gareeb hi gareeb ko samajh sakta hai.
Paras: Just to clarify, Arjun Mathur is not an underground talent. He is out there and he has done more things than we have. Other than that, we have always felt that is it more important to hang out with like-minded people and it would be more fun to work with them.
Raman: And we’re very glad that whatever we’ve done, with Ryan, with Faizan, and now with Arjun, all the things have worked in their own space very nicely. Which makes us believe that we should keep doing it, like go and look for people who are doing good stuff and then ask them like ‘Hey man, you want to collaborate?’ because it is a collaboration, if you really look at it, between the band and the director and the producer and the talent that is in the video.
Ramit: We have always believed in working with people that we connect with and that we like, and they need to like us back. We need to have the same thought process, we need to be looking at the same things.
Paras: I mean, that being said, we’re not closed to working with stars. If tomorrow Deepika Padukone calls, I am not going to say no.
You guys released your first album in 2015, but you’ve been a part of this industry for a long time now. Do you feel like there is a lack of investment when it comes to indie music?
Ramit: Yes, definitely. It is a cottage industry still. It is in the metros but it is still a cottage industry!
Paras: That’s a very good analogy!
Raman: There is a lot of talent in this country, a lot of kick-ass bands in the country. But the problem is that people are more interested in Bollywood music because it gets them more money. If you’re an independent band, you really have to figure out on your own, because we work as a mini label only. We write our own music, we produce our own music, there’s no one putting money behind us. Because all the money that we go and make in our shows, we put that money on music and videos. And we run it like a label, like we release our singles, we plan our tours out, we plan our gigs out. And I think, that is the only option an independent band has.
Paras: A lot of people think that, ‘Oh! Your life must be so chill, you don’t have a day job’ but it is not a just a day job, it is a day and night job. It is a full-time job, because after you’ve made the music, what do you do? You have to take it out somehow, you have to tour the country, you have to go door to door.
Your song Aaoge Tum Kabhi was featured in the movie, Angry Indian Goddesses. Do you feel that as a band it is important to be featured in mainstream media?
Paras: I think it is important to find an audience, it doesn’t matter how you get to them, through a movie or through whatever. It is important to find your audience and the people who are going to like you for what you do. And we have always made exactly what we wanted to make.
Sahil: The song, exactly how it was released, that’s how it has gone on the movie as well.
Raman: And that’s why we respect the team of AIG, because they fought for our cause and a lot of things.
Do you feel mainstream music curbs creative freedom for aspiring musicians?
Raman: It couldn’t curb our freedom. If you’re true to yourself and you know that this is going to work and you’re honest, then it is going to work. Nobody is going to curb it.
Ramit: If somebody wants to use that as an excuse, then they are more than welcome.
Paras: I don’t think we should generalize it like that. It all depends on who you’re working with in the industry. Like, as long as we have our creative freedom, we don’t mind working with Bollywood. As long as they don’t was us to do a Holi song in March. They will curb your creativity if you let them, basically.
Delhi University is a house to budding talent and music societies and they contribute to DU’s vibrant culture. So what would be your message to these aspiring artists?
Paras: Brace yourselves, guys.
Raman: As a band, the four of us, we run our lives as a school of learning. If you’re always learning and if you’re true to yourself, you are going to get somewhere. Just try to gather as much as you can, the world has changed, the time has changed, the dynamics of the industry has changed and music also has changed. So you really have to be aware about what is good for you and what is not, like a small thing can be fruitful for a very short period of time. Like, for the four of us, our calling is to make our own music.
Paras: And creatively, please don’t try to sound like somebody else. Try and be as original as possible. Sound exactly like yourself, because no one else can sound like you and that’s very important. Our true calling is that we really like creating music. And that is the only thing that has worked in our favour. So please, focus on creating original content and no matter how good or bad that is, you can never out a price on it. It is yours.
At the end of their multi-city tour, DU Beat got in touch with Paras Thakur (lead guitarist) and Sahil Sarin (drummer) of the rock band, The Local Train. They are known to have successfully mesmerised the students of Delhi University with performances in colleges like Lady Shri Ram College for Women and Jesus and Mary College this fest season. From being ranked as India’s #1 band in 2015 by Sennheiser to getting their song Aaoge Tum Kabhi featured in the Bollywood movie The Angry Indian Goddesses, they are touted as the new face of Hindi Rock music in India. We had a chat with them about music, Bollywood, fans experiences and their future plans:
Q. The band did a multi-city tour after the release of its first album. What was the tour life like?
Sahil: It is a lot of fun. Every musician loves to go on stage and play his/her own music and we got to do this abundantly.
Paras: Exactly! It is very hard for musicians to get a show these days, especially since there are like a zillion bands competing for the same ground. So, when your band gets a show, let alone a tour, you feel really lucky.
Sahil: But, it is also equally hectic. There was a time when we had three shows, one in Sonepat and two in Calcutta, in less than 24 hours. So, sleep becomes very hard to catch up on. The only way one can then afford to sleep is on the airplanes. I won’t lie; there have been times when the air-hostess had to wake us up.
Paras (laughs): Yes, they’d be like, “Get out, man!”
Q. There are a lot of artists and bands which even go on 6-month long tours. Is that something you guys are interested in?
Paras: Yes, why not? Bon Jovi did 200 shows in 365 days and to be able to do just that is the ultimate dream!
Sahil(laughs): In fact, we’re even planning to get a bus as soon as possible and just leave for tour again.
“We’re even planning to get a bus as soon as possible and just leave for tour again.”
Q. What are your views about Bollywood and the Indie-music scene?
Paras: Talking about Bollywood music scene as a whole, it definitely gives you an audience which is bigger than anything. But, at the end of the day, a good song is a good song, and bad one is bad irrespective of whether it is a Bollywood song or an indie song.
Sahil: But, indie is definitely a way of life. We don’t have a producer come and tell us that you must put a Munni or Sheila in the song to make it sell. We play music because we feel for it. It is not a manufactured product for us.
Q. What do you guys think about lending your music for Bollywood movies and licensing your songs?
Paras: If our songs do make it to Bollywood, we would not like to be one of those people who are hired as musicians only to be forced to make changes in their songs because of some woman’s special dance performance on it. We, as independent artists, get to make whatever we want to make, and make it so good that whoever wants our music would want it just the way it sounds.
Sahil: Exactly! In fact, even the song for Angry Indian Goddesses went exactly as it was released on the album. They were not like, ‘put a disco groove to it or change the beat of the song.’ That’s so much for an indie band. Licensing is honestly the way to go. A few changes here and there in the structure is acceptable but if somebody wants to change the vocalist or is asking you to change the song to a point where it loses its true essence, then licensing becomes tricky. It’s about the way you do it, which becomes important.
“We would not like to be one of those people who are hired as musicians only to be forced to make changes in their songs because of some woman’s special dance performance on it.”
Q. Your songs are thought-provoking and have such great lyrics. In an era where songs with absurd lyrics are trending and the music scene is shifting away from Hindi, what makes you stick to the language and lyrical quality? Do you want to re-vamp the Hindi music scene?
Sahil: It comes naturally to us. Singing in Hindi is not something we have to try. We all grew up speaking in Hindi. In fact, this question always becomes weird for us to answer.
Paras: In most interviews, people end up asking this question and for a second we go, like “are we in India?” So why not Hindi? (laughs). But honestly, at the end of the day it’s all about making good music. The lyrics, the language and the lingo are just the means to communicate with the audience. It doesn’t matter which language we use as long as we connect with the audience.
Sahil: We’ve been called the new face of Hindi Rock. We don’t plan to add English or Punjabi as a gimmick.
Q. Recently your songs were played on an International radio show called the Indian Raaga. So, do you have fans internationally as well, or do you think language becomes a barrier?
Sahil: We truly believe music transcends all boundaries. Our music is playing everywhere and we have fans from different corners of the world. Bandey’s video is playing in Brazil, Mexican channels are playing our videos and getting positive reviews, people from Seattle message us saying that they have been listening to our music, and several others are following our songs on YouTube.
Paras: Basically, language is just a means to communicate. But, I think music also pretty much does the same job.
“Bandey’s video is playing in Brazil, Mexican channels are playing our videos and getting positive reviews, people from Seattle message us saying that they have been listening to our music.”
Q. Just like your lyrics, the videos of your songs are equally beautiful with strong symbolism. What drives you to make such powerful and meaningful songs?
Paras: We just require things to have meaning. These days, art forms of music- visually or orally, are just over-flooded with aesthetics. Aesthetics are very important, but aesthetics with just pretty girls, huge cars or big explosions become meaningless. Till a certain point, it’s fine but when everything leads towards the same thing, it doesn’t make any sense. We like to attach a special meaning to it. Since our songs are so lyrically heavy, we tend to give them a form of visual aid and make sure that it’s meaningful.
Sahil: In fact, that’s exactly the kind of thing we want to add to our music, visually as well. This is where Anchit Thukral from ‘The Morpheus Productions’ comes in. He’s been with us from our very first video. He helps us execute what we see in our head and how we would like to put it in a certain song. He’s been our guy from the start!
Q. Which artists do you all listen to, internationally and otherwise?
Sahil: We all listen to different kinds of artists and have different tastes which make it all the more interesting for all of us to come together with our own particular influences and then, make some music. But, some of the artists we really like are Raghu Dixit, Indian Ocean and a band called Parvaaz from Bangalore. We also listen to Coldplay, U2 and the likes.
Q. How did you react to the people offering you exposure rather than money?
Sahil: We have turned down more gigs than we have performed, frankly, and this has always been a conscious decision of the band. A lot of people are willing to undersell themselves, but we’re not one of them.
Paras: I would suggest bands to work more on their art so that people are willing to appreciate and share their music on their own.
Q. After your performances in Delhi University, which college did you find the most receptive to your music?
Sahil: Every place has a different vibe. We really can’t choose any one.
Paras: At least, don’t make us choose on record. (laughs)
Q. There are a lot of bands that are formed during college days and the same is witnessed in Delhi University. So, do you think college becomes an important platform for upcoming talent?
Paras: College is THE most important part.
Sahil: Music Education in India is not taken seriously. Even for me, I think, back in school, music class was more of a fun class than an educational one. I started playing at the age of five but in the first 10 years of my life, I learned very little. The only time I actually learned was when I participated in college level competitions. So, I think this phase sets a foundation for all musicians. It makes them realise whether they want to/must pursue this for a living or not. So, yes, it does certainly become one of the most important phases of your life.
Q. Can you tell us about your most intense or funny moments on stage?
Paras: Starting from the funniest moments, there have just been too many – from Raman’s forgetfulness or singing the wrong lyrics, to my repeated attempts to look cool and then end up playing the wrong notes. I’ve fallen down more than once on the stage while trying to jump out of excitement and even sprained my ankle once.
Sahil: The most unfortunate moment would that be of Ramit falling off the stage. It was a pretty intense time for all of us as he instantly had a seizure and for a few seconds, we were just looking at him trying to figure out what to do. Apart from that, a lot of things have happened from equipments falling off the stage to several technical glitches. Things go wrong all the time because there are so many variables to take care of.
Q. Has the band experienced any creepy fan moments?
Sahil: Of course. We’ve all had them. One time, right after playing this gig, I got a phone call from a landline number. When answered, a woman said “I will rape you”. That has, by far, been the creepiest moment in our records. Like, what do you say to that?
Paras (laughs): That it’s illegal!
Q. Is there any movie for which you would have liked to give music?
Sahil: One movie that really hit me and it would’ve been nice to be a part of was ‘Black Friday’.
Paras: I think Gangs of Wasseypur and other such movies of Anurag Kashyap as well.
Q. What all sitcoms do you guys follow?
Sahil: Every Monday, it’s Game of Thrones. Apart from that, we follow plenty. We all have our phases with addiction to new shows, like Ramit is currently fond of ‘That 70s show’ and we love watching Utopia. And now we have Netflix to watch many more!
Paras: They have this auto-play feature, which is the worst; you play one video which goes on for 12 hours. It’s very slowly destroying our lives!