Musician shares step-by-step guide on composing Anuv Jain’s song in two minutes | Trending


Musician Anshuman Sharma took to his Twitter handle to share a video that serves as a step-by-step guide on composing Anuv Jain’s song in two minutes. The video that is swiftly gaining traction on the micro-blogging site opens with Sharma saying to ‘choose 100 percent organic themes’ such as gul, mishri, aasman or namkeen. The second step involves using profound words like meherbaaniyan, saazish and uljhan. As the video progresses, he shares the third step, which is about getting inspired by singer-songwriter Ed Sheeran. The last second step is to play basic chords on the piano and finally to put all these elements together to compose a song. Towards the end of the clip, he plays the song, and it is too good to miss out on. The hilarious ‘namkeen’ twist caught netizens’ attention and left them laughing hard. It may have the same effect on you.

“How to make an Anuv Jain song in 2 minutes!” wrote Musician Anshuman Sharma while sharing the video online. However, this is not the first video that the musician shared about composing songs. He earlier shared a video on composing a Ritviz song in two minutes using an ‘aasmaan’ twist.

Watch the video shared by Anshuman Sharma on Twitter right here:

Since being shared two days ago on Twitter, the video has raked up more than 1.2 lakh views, over 4,700 likes and numerous comments.

“Who are these people? Let’s do R D Burman next!” wrote an individual on Twitter. “OMG that actually works,” shared another. “This is GOLD man!! Spot on!! What say @AnuvJain,” commented a third. “Bruhhh!!! U just killed it,” posted a fourth. “He is secret lyrics maker for Anuv Jain,” joked a fifth.



  • ABOUT THE AUTHOR

    Arfa Javaid is a journalist working with the Hindustan Times’ Delhi team. She covers trending topics, human interest stories, and viral content online.
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Pianist, guitarist to put on classical Christmas show this weekend | Music




Intradisciplinary musician and USC Thornton graduate Rohan Chander is in your mind’s eye – Annenberg Media


I knew Rohan Chander was thoughtful before I was able to witness his chronic, mid-conversation philosophical spirals. This personality trait is spelled out by each and every track on his latest release, “Bakudi Scream,” a careful balance between high-level audio storytelling and blended hyper pop-chip tune instrumentals that draw from video games, fantasy and guilt.

“I harbor a lot of guilt,” the composer said via Zoom. “Around the choices I’ve made professionally and personally and whether it matters to [my parents] that there’s things that have mattered to me, that don’t matter to them…Things I believe are really important that everybody should think about.”

Chander’s family is always present in his music the same way they are always present in his life, but their forms morph into fantastical musical abstractions regarding relationships and love.

Chander, a first-generation Indian American raised in Rhode Island was given piano lessons from a young age, but didn’t develop a true interest in music until he found himself in the grips of pubescence. When his family acquired a mini-Mac computer, Chander’s older brother was the first devoted to the GarageBand application.

The composer admiringly ascribes most of his core musical identity to his older brother’s similar musical disposition and love of hip hop. “He would make a bunch of old school boom- bap-type hip hop, and was really big on J Dilla,” Chander recalled. He would sit at his older brother’s feet and mimic the styles he heard. Slowly, Black music such as soul and jazz, “started to seep into [his] musical language.” Older brother didn’t pursue music, but his one-time hobby set Chander off on the trajectory of his life—to the chagrin of his parents.

He thinks that maybe there was some kind of artistry a couple generations back…but he isn’t sure. For now, he is it.

Chander describes his parents’ relationship to him making “musician/composer/performer” his full-time career as a culture clash. Even before that career was a possibility—back in high school—they were not fans, hoping that he would become a doctor or lawyer. Their confusion and passive disapproval have only driven him to a pure-heartedly contrarian lifestyle guided by music. He recalls months of running on solely power naps so that he could write music during the school week. The experience forced Chander to put everything into music.

“I was just working hard because I had to prove to them that I could,” he said. “I felt like I could prove to them that I can do it, but also to myself, that I was not fucking up in the way that they thought that I was.”

His parents warmed up to the idea when he began chasing his MFA degree in music from USC’s Thornton School of Music following his undergraduate studies in classical music at NYU. He knows they mean well, but Chander still questions himself. He mythologizes this inner turmoil into his work.

Whatever escape that music couldn’t provide, the young Chander found in stories. He spotlights anime and video games as the intersection of his loves. He names longform story based RPGs such as “The Legend of Zelda” and “Naruto” specifically. “Bakudi Scream” features a number of samples from and sequences inspired by both. The album’s introduction features a robotic voice asking a series of invasive questions that act like security questions protecting your mortal identity. You have selected your avatar and are about to enter the audiophonic universe that Chander has sculpted.

The span of his imagination thinly veils a meticulous sense of logic behind an operatic album. By deceiving the ears of those accustomed to relating certain responses to video game-style music, Chander inserts himself into your mind’s eye. There’s a story in “Bakudi Scream,” if you’re willing to find it.

The main character, “The Architect Prince,” acts as a second body that listeners can use to ask how they’ve become themselves.

“In my case, this idea of self-synthesis is really still tethered to an image of whiteness that has its own damaging colonial archive,” Chander said. “In whose image am I trying to create myself? And whose image is the architect Prince trying to create? What is this exosuit that you’ve built? What is this mechanism, this engine you’ve created?”

This conflict grounds the story, which brings “The Architect Prince” into contact with a hacker and character named “HINDOO WARRIOR.”

Chander’s live performance brings even further energy to this concept, embodying the storyline physically. Disguising himself behind a light-up mask, Chander’s frenetic movements turn him into an overexposed human laser. So long as those central questions clearly exist, however, Chander doesn’t mind if the journey itself can seem abstract. The journey continues with the sequel record he’s creating, building on the same universe, but around the execution of the architect prince. “The whole record is confronting questions I’ve had recently in relation to death,” the composer said. “How death and…the considerations about identity can kind of actually go hand-in-hand.”

The album will be completed alongside commission-based work and his podcast, “Critic, Critic,” a place that brings artists of color together to discuss the overlooked nuances of their music stemming from their identities—something Chandler believes is missing from music journalism. “I just felt—honestly—white people don’t get it, you know? It’s really good when you are talking to other people of color and you can really bond over and discuss things in a different way.”

Chander’s deeply contemplative perspective leads him forward as much as it drags him back. Evolutions are inevitable and he’s aware, but the 2022 version of his innermost self can be found on Spotify under, “Bakudi Scream.”



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AROUND CAPE ANN: Love letters focus of Olson lecture | News


The work of the late Charles Olson, a 20th century American poet who made Gloucester his home, still makes ripples around the world.

In that spirit, the annual Charles Olson Lecture will take place on Saturday, Oct. 29 at 1 p.m. at the Cape Ann Museum auditorium at 27 Pleasant St., in downtown Gloucester. The talk is free to the public but reservations are required. The lecture also will be live-streamed on Facebook and Vimeo.

The featured speaker will be Sharon Thesen, a poet and scholar, who will give a talk titled “Olson & Love: The Transformative Correspondence of Charles Olson and Frances Boldereff.” Thesen will talk about working with Ralph Maud on the pair’s correspondence for which there are two editions: “A Modern Correspondence,” published by Wesleyan in 1999, and “After Completion: The Later Letters,” published in 2014.

“In this lecture, Thesen will show how Olson’s love affair with Frances Boldereff set his compass intellectually in his move toward the recovery of what could be found in the archaic as a guide or inspiration for a new poetics,” according to the museum.

Thesen, who grew up in western Canada, attended Simon Fraser University in British Columbia where she studied poetry with Robin Blaser, George Bowering, and Maud. She later began teaching English and creative writing. This lecture is presented in collaboration with the Gloucester Writers Center.

Olson, a literary giant in the post-modern realm, created a personal library of massive proportions at his home at 28 Fort Square in Gloucester. That library is now housed at the University of Connecticut, along with other Olson papers. Maud created a near duplicate of Olson’s library, which was later given to the Gloucester Writers Center. Earlier this year, the Gloucester Writers Center donated the Maud/Olson Library to the Cape Ann Museum Library & Archives. This is a collection of 4,000 volumes owned, read, or referenced by Charles Olson. The library is now housed within the Janet & William Ellery James Center at the CAM Green.

To mark this new acquisition, the museum will offer a tour of the Maud/Olson Library at the CAM Green,13 Poplar St., on Oct. 29 at 11 a.m. The library is situated next to the Vincent Ferrini Library. Attendees registered for the 1 p.m. talk are welcome to join the tour at 11 a.m. To register and for more details, visit capeannmuseum.org.

Halloween party

The Knowles Halloween Bash, open to the public, takes place Thursday, Oct. 27, from 7 to 10 p.m. at the Gloucester Elks, at 101 Atlantic Road on Gloucester’s Back Shore. Costumes encouraged for those wanting to dress up but are not required. There will be food, cash bar and live music from Tregony Bow. Tickets are $20. For details and advance tickets, go to Kenneth J. Knowles’ Facebook page. Tickets also at the door.

Musicians Unleashed

Cape Ann Symphony announces the return of its popular Musicians Unleashed Concert Series with its next performance, “American Classical Music,” on Saturday, Oct. 29, at 3 p.m. at the Unitarian Universalist Church, 10 Church St., Gloucester.

“We wanted to put together a program of great music that reflects the vast and wide diversity of peoples and cultures that have made up and continue to make up our great country of America” said Cape Ann Symphony Conductor Yoichi Udagawa.

The concert program features an array of musical styles, from Dvorak to the Grateful Dead. Selections include works by Florence Price, Cape Ann Symphony Concertmaster and violinist Scott Moore, William Grant Still, and Rachel Grimes. The concert will be performed by Cape Ann Symphony violinist Erica Pisaturo, cellist Seth MacLeod and violist Brandon White as well as Moore.

Udagawa said he is thrilled that the audiences will get a chance to hear and meet the new concertmaster.

“Scott Moore is a fabulous violinist who plays at an incredibly high level in all kinds of styles from classical music to Kentucky Bluegrass,” he said.

For more information and tickets, visit www.capeannsymphony.org.

NPR Tiny Desk Contest winner

The 2022 NPR Tiny Desk Contest winner, Alisa Amador, will perform on Friday, Oct. 28, at 7:30 p.m. as part of the Old Sloop Presents performing arts series, held at the handicap-accessible Fellowship Hall of the First Congregational Church of Rockport, 12 School St.

Amador’s music is known for its synthesis of many styles, including rock, jazz, funk and alternative folk, wrapped in the spirit of Latin music. NPR’s Cyrena Touros calls her “a pitch-perfect rendition of my wildest dreams.”

The opener will be Hayley Sabella, who was born in Massachusetts but raised in Nicaragua. She won the 2019 New England Songwriting Competition.

For tickets and information, visit oldslooppresents.org.

Classic films, live music

The Gloucester Meetinghouse Foundation presents an afternoon of classic silent movies this Sunday, Oct. 30, at 3 pm. at the Gloucester Meetinghouse at the corner of Church and Middle streets with live keyboard accompaniment by Jeff Rapsis.

This family-friendly afternoon will feature three works from the early era of cinematic history presented on a large screen with Rapsis infusing his interpretations of this lost technique. The films, with non-stop action and knee-slapping comedy routines, were selected for their wide appeal.

The films are:

“The Haunted House” (1921) with Buster Keaton. A gang of robbers, a crooked bank manager, and a bank teller converge on a booby-trapped house decorated to appear haunted in order to fool the authorities. A series of uproarious encounters between the antagonists leaves the audience wondering who the true villain really is.

“The Floorwalker” (1916) with Charlie Chaplin in his signature role as “The Tramp.” This early comedy features “gags galore” with an early version of an attempt to run down the up escalator and one character mirroring the movements of another.

“The Kid” (1921), which was written and directed by Chaplin. He plays the role of “The Tramp” who cares for a young boy whose mother left him for adoption. The three’s lives become intertwined in this heartwarming story of reconciliation.

Tickets are available online at www.gloucestermeetinghouse.org, or at the door. General seating $15; students with ID $5; children under 12 free.

Yellow Brick Road party

The Studio restaurant, at 51 Rocky Neck Ave. in Gloucester, will close out the season by presenting a Wizard of Oz-themed Halloween event on Sunday, Oct. 30, when the team will be decked out as their favorite characters. The event runs from 11:30 a.m. to midnight.

“At Smith Cove’s own Emerald City, country crooner Annie Brobst will serenade scarecrows from 6 to 9 p.m. while the bar mixes up some potent potions,” according to a press release. Some of those libations feature The Studio’s “Oz-twist” on a rum runner, or a “Brain Shot” made with peach schnapps, Bailey’s Irish Cream and grenadine.

In an added note, the restaurant team is rallying around a fund-raiser by Sal Valenti, the sous chef, whose 10-month old dog, Trager, needs an unexpected surgery on his leg estimated to cost $8,000. To help defray the costs, a baseball signed by recent Hall of Fame inductee David “Big Papi” Ortiz as well as a signed Patriots jersey by running back LeGarrette Blount will be auctioned off. Both items will be available for bidding onsite on Oct. 30. There is a fundraiser page also on Sal Valenti’s Facebook page.

Irish folk singer

Tommy Sands, an Irish troubadour and peace activist, is performing “Music of Peace and Healing” at First Church in Ipswich, at 1 Meetinghouse Green, on Saturday, Oct. 29, at 3 p.m. This is a free presentation of the House of Peace in Ipswich.

Gloucester’s Michael O’Leary, vocals, and Carol McIntyre, harp, will open the program; Pierce Woodward, fiddle, and Harry Wagg, guitar, will welcome concertgoers with a set of fiddle tunes in the foyer before the show. For more information, visit www.houseofpeaceinc.org.

Around Cape Ann is a column devoted to events happening on Cape Ann and artists from Cape Ann performing elsewhere. If you would like to submit an item, contact reporter Gail McCarthy at 978-675-2706 or gmccarthy@gloucestertimes.com at least two weeks in advance.





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