Nishad Neelambaran (HINDUSTAN TIMES; November 30, 2019)

After a break of almost two years, actor, director and producer, Divya Khosla Kumar made a comeback in the music video of Yaad Piya Ki Aane Lagi. The song, which is a recreation of Falguni Pathak’s ’90s hit, Chudi, has garnered more than 64 million views on YouTube. Divya, who featured in the video, says that it was truly amazing to be part of the recreation of this iconic song. “It is coincidental that it was directors Radhika (Rao) and Vinay (Sapru), who got me into the industry. They had selected me from an audition with over 1,000 girls in a Falguni Pathak video in Delhi. And now that I am beginning with acting again, I am working with them in another Falguni Pathak song,” she says.

Divya, who has directed movies such as Yaariyan (2014) and Sanam Re (2016), says that she is in a completely different frame of mind while acting. She says, “Though I have donned multiple hats, my frame of mind while acting is completely different from my frame of mind while I am directing. As an actor, you have to trust your director and their vision. It is the director who is the captain of the ship and I don’t believe in interfering in that.”

So, was it a conscious decision to stay away from acting for the last two years? Divya says, “It wasn’t a conscious decision. I am a workaholic and I love working in this industry. I am very passionate towards this field. I was getting a lot of offers to direct, but I always felt that I should focus on acting. I was waiting for the right opportunity to come my way. Nikhil Advani, Monisha Advani and Milap Zaveri saw Bulbul (short film that she directed) and they offered me Satyameva Jayate 2. I am very excited to be on board for that project and I hope it won’t be so long a wait further on. And whatever I get, if it’s good, I will take it. I am concentrating on acting now.”

About how things have changed due to digitisation, she says, “I think people only watch songs or movies on digital platforms. Digitisation has changed the rules and it is also good because if anyone wants to show their talent to the world, they can just upload it on these platforms and you never know, it might just get viral. It has made things much easier and it has brought the world closer.”

Divya, who will next be seen opposite John Abraham in Satyameva Jayate 2, says, “I am super excited to be working with him. He completely amazed me with his performance in Batla House.”

MUMBAI MIRROR (November 9, 2019)

After sharing the poster of her new song, "Yaad Piya Ki Aane Lagi", a few weeks ago, Divya Khosla Kumar will be shooting for the video at Jogeshwari Station today. What makes it a nostalgic moment for the actress-filmmaker is that she began her career in the hit Falguni Pathak song, "Aiyo Rama" and now she is recreating the magic with another one of the singer's popular numbers.

Interestingly, Radhika Rao and Vinay Sapru, who are directing the Tanishk Bagchi-recreated track, had first spotted and cast Divya for the Falguni number, "Aiyo Rama". "Radhika ji and Vinay ji had spotted me during my Delhi modeling days and cast me in 'Aiyo Rama'. The song went on to become a chartbuster instantly," says Divya, adding, "'Yaad Piya Ki Aane Lagi' is one of my favourite 90s tracks. So, when Radhika ji and Vinay ji suggested it as something we can work on, I agreed immediately. It's their idea and I'm very excited about shooting for it."

The recreated version is a single produced by Gulshan Kumar & T-Series, penned by Jaani and sung by Neha Kakkar is completely Radhika and Vinay's concept of how they see Divya, a talented actress, enacting their vision. The actress-filmmaker says, "But as far as the audio goes it’s nowhere similar to the original song; it’s a beautiful recreation, keeping the melody intact, albeit more peppy.” As the video tells a short story, Divya will bring it to life by sporting different avatars.

Point out to her that those who swear by old songs attribute recreations to a lack of originality, and Divya disagrees. She reasons, "There are several songs from our Hindi music industry which are beautiful. Yet many from today's generation have not had a chance to hear them. Recreation is one such way to introduce them to these songs with a fresh tune and flavour that is very today."

Probe her on what makes her confident that Bhushan Kumar's "Yaad Piya Ki Aane Lagi" will be as popular for future generations as the original was, and Divya states, "The original song will always remain popular. Our version will be well accepted because of its melody, contemporary sound, concept, story and re-enactment."

After filming some portions in Jogeshwari, Divya and the team will move to the heart of the city, South Bombay and also shoot a part in a college campus.

As the Navratri season nears, Falguni Pathak tells us how she still manages to keep her shows full paisa vasool
Mayank Shekhar (MID-DAY; September 25, 2016)

"You're 52, how long do you intend to crank up dandiya beats,” we ask the terribly shy, quiet Falguni Pathak. For once, she misses a beat herself. Her eyes survey her team — seated around us in a circular table at the Ambassador Hotel in Churchgate — strangely glued to our conversation, even clicking pictures of this interview. "I'm not 52. I’m 45," Falguni says. Oh, damn Wikipedia. "Aaj kal log Wikipedia pe kuch bhi dalte hain," her crew joins in. I agree.

To be fair, the slightly stout, short Falguni, in a black formal jacket, smart trousers, and a pendant around her neck, has looked the same for so long that it’s really hard to tell how old she could be — fit to be modelled as a timeless bobbing doll, with cropped hair (called 'boy-cut' back in the day), gentle smile — looking anywhere between 25 and 52.

This face dominates Mumbai’s imagination for a week-plus, once every year. Which makes Falguni far more of a seasonal worker than a single-crop farmer — she comes in during Navratri, blasts music with her back-up band Tathaiya, mints moolah over nine to 11 days (it’s 11 this year), and then, it seems, she disappears altogether. You hear nothing about her (album, soundtrack, concerts). Even her public appearances are limited, if not zero.

Starting October 1, it’d be that time of the year again that generates two customary pieces of news: young girls missing their periods (abortion rates shooting up); and thousands dressed in flashy ethnic clothes, holding sticks, matching steps, with Falguni leading the city’s biggest party that moves venue every other year. Pushpanjali Gardens in the predominantly Gujarati neighbourhood Borivili is Falguni’s haunt for 2016.

And she’s been packing garba grounds (anywhere between 15,000 to 25,000 people per night) since 1994, when she first sang at a Navratri gig in Khar, where she grew up. Her father didn’t approve of her career choice initially. “He’s no more, but he would be proud (of me),” Falguni says.

He would be. What makes Falguni practically number one, in the field of one? What’s so different about Navratri/garba music that sets her apart? Well, it is different all right. For a precious clue, consider that over the years, one of the most popular dandiya songs has been Paree hoon main, a kinda hip, indie-pop number by Suneeta Rao, who may well be remembered forever, thanks to Navratris alone.

Faguni discovered that unlikely song for dandiya: "Even before I’d started performing professionally for Navratri, someone from the audience had once come up back-stage with a cassette, asking me to try out the Side-B last song. At every performance since, I’ve played Paree hoon main. The groove is perfect for (dandiya) beats." Kai Po Che (2013), the well-researched film set in Gujarat, if you recall, had rightly placed the Suneeta Rao song in its garba scene. Another number from Kai Po Che soundtrack, Shubharambh, Falguni says, is ideal for dandiya as well.

The formula, as Falguni explains it, is quite simple: “The garba ‘theka’ (beat) has to be the same. It’s derived from the ‘dakla’ (damru) beats that play at temples in Gujarat. While the beats can’t change, the songs must. But whatever the song, (dance) step tootna nahin chahiye (tempo mustn’t break)."

Falguni’s challenge therefore is to sample all types of desi music to pick tracks that can be seamlessly aligned to the dandiya rhythm. She says, "Earlier I would attend garbas in villages in Gujarat, and source local CDs from there... Internet has made that process easier.” And given that her audience is also fairly cosmopolitan, "some of them travelling from different parts of India and the world to play garba,” she makes sure to include Punjabi, Marathi, even South Indian tracks. This is besides devotional songs she concentrates on. "Navratri, after all, is a religious festival,” she says. Even if entertainment is the point of it all.

Bollywood, one hears, dominates the charts. Speaking of which, Falguni says the Bollywood track that was a major dandiya success last year was Gulaabo from Shaandaar. And this year? "I’m still preparing the list. But an instrumental version of two songs from Sultan — 440 volt, which is in 6-8 beat, and Jag ghoomeya in 2-4 beat — should work."

Despite getting the pulse of her audience pat-on, Falguni’s business, as with Navratri in general, took a hit in 2000, when the state imposed the 10 pm deadline for use of loud speakers in public. The rule was modified in 2002 to allow for Navratri shows to carry on until midnight over weekends. Until these diktats, Navratri shows in Mumbai would continue all through the night — finishing around six in the morning. "I just have to compress the whole show into three-and-half hours now, ensuring that it’s still 'paisa vasool'," Falguni says.

Has that affected her income as well? The only confirmed figure for what she charges that I came across was Rs 1.6 crore for the 10-day gig. True? "Kaash (I wish),” Falguni smiles, elaborating that she could command that cheque if she performed outside Mumbai. As she did in Ankleshwar in Gujarat, during Navratri in 2010. "But what I charge includes (payments for) my 40 musicians, costumes, rehearsals, sound and light."

This is when one of her crewmembers butts in, "Too many IT raids happening, let’s not talk about money." At some point, another one exults, "Ho gaya!" He’s managed to change Falguni’s age on the wiki. Good.

Jackky Bhagnani gets into his Gujarati character of Kedar Patel from Welcome To Karachi and answers some fun questions!
Sneha Mahadevan (DNA; April 15, 2015)


How did you get the perfect Gujju accent?
I stepped into this role 48 hours before the film went on the floors as Irrfan Khan could not do the film. In the two days I had, I watched this Gujju guy, Devarshi on Roadies. I kept seeing the episodes continuously, observing his mannerisms and his accent. That’s where I picked it up from.

Your favourite Gujju dish?
Dhokla, without an iota of doubt.

Best Gujju friend?
Zayed Khan’s wife, Malaika who is a Gujarati and is my rakhi sister.

A pick-up line in Gujarati.
Su che, saru che, danda leke maaru che.

Fav Falguni Pathak song?
It was really long ago but it would have to be — Indhana Mirwa Gayi Thi Mori Saiyaan.

Choose one — dandiya or garba?
Garba, because I am straight.

Worst thing about Gujjus.
Nothing except their dhoklas and fafdas can sometimes cause digestion issues.

One stereotype about them that is untrue.
That they break into garba or dandiya whenever they listen to any kind of music.

And one that is true.
They say Jai Shree Krishna without fail.

If you had to dance to a Gujarati item number, which one would you pick?
We have a dance number in our film called Kuk du ko boat ma. Either that or Salman Khan’s number from Jai Ho – Tu Nathi Toh.

Fav Gujju word.
Gadheda (ass).

If you were stuck in a lift with Narendra Modi, Mahatma Gandhi and Paresh Rawal, what would you tell the three of them?
To Gandhi – Eh Bapu, inko samjhao na — Ban, Ban karke band bajaa di hai!
To Paresh Rawal — OMG – Oh My Gaathiya!
To Modi — Modiji, Mujhe bhi aisaa mera naam wala suit chahiye.