His contribution to classical music and bhajans has been tremendous. It is his devotion to his craft that saw him through so many decades
As told to Sonia Lulla (MID-DAY; August 18, 2020)

He has influenced me ever since I was a child. When I would go for [cultural events] in Delhi, I would browse through their brochures in advance to see if Pandit Jasraj ji was performing. You didn't need to understand classical music to enjoy his performance because it flowed in such a way that people would forget everything else. His voice was divine and mystical. Apart from the way he sang, his persona was [admirable]. He had a front-lock that would rest on his face, and had a certain aura.

His contribution to classical music and bhajans has been tremendous. It is his devotion to his craft that saw him through so many decades. In his teenage years, he left the tabla, and took to singing. He had faith in and a deep connection with his craft. Even now, he was in the US to teach [music].

It has been a while since I met him. We keep thinking that we will pay a visit to someone, and then we lose the opportunity. Now, there's nobody to look up to. If we needed guidance, we could pick up the phone [and seek it from him]. The artistes of his generation have undergone a different level of [training]. We practise in air-conditioned rooms; one can only imagine what they had gone through to reach where they are.

Vishal Bhardwaj, Gulzar and Rekha Bhardwaj talk about their latest collaboration, a song that’s not just on the Coronavirus pandemic, but on positivity and caring for nature
Niharika Lal (BOMBAY TIMES; July 5, 2020)

'Meethi meethi hai, bahut khoobsurat hai' — this is how Gulzar describes the earth in his latest creation, Dhoop Aane Do, a song on the Coronavirus. The track is a collaboration between Gulzar, Vishal Bhardwaj and Rekha Bhardwaj, and is about positivity, hope, and caring for nature.

I DON’T LIKE SONGS THAT COME WHEN TRAGEDY STRIKES, BUT DHOOP AANE DO FELT NICE: VISHAL
Even before the lockdown began, one of Vishal’s friends had contacted him for a song on the Coronavirus. Vishal says, “He said we should be the first ones to create a song on the Coronavirus, but I don’t like songs that come when tragedy strikes. Then, multiple songs on the virus kept releasing, and one day, Gulzar sahab told me about Dhoop Aane Do, and it felt so nice. I told him this was what I was going through, and what I was feeling inside.”

For Rekha, the song is not just about the pandemic. She shares, “More than a COVID-19 song, it is an environment-based song. It is being released in the time of the Coronavirus, but it is timeless. For me, that is the depiction of the song and that’s what I told Gulzar sahab and Vishal.”

EVERYONE’S TALKING ABOUT FIGHTING THE PANDEMIC, BUT WE ARE THE ONES AT FAULT: GULZAR
Reflecting about how the pandemic is a result of the damage inflicted on the environment, Gulzar says, “Iss waqt jo halaat hain, jo mahamaari (pandemic) chal rahi hai, everybody is talking about fighting this pandemic. But when you see it, kasoor toh hamara hai – itni khoobsurat dharti hai, humne apni dharti ki qadar nahi ki. Isko sambhala nahi humne. Toh woh thodi si shikayat hai.” He adds that while writing, he was visualising the earth. “Mere saamne visual Mother Earth ka tha, ki humein itni pyaari mitti mili hai, jahan humein panaah mili hui hai. Isse bacha kar rakho,” he says.

GULZAR’S COOK, VISHAL’S SON SHOT VIDEOS FOR THE SONG
About how the song and the collaboration came about, Gulzar shares, “I narrated it to Vishal, and he took it up. Ideology uski apni hai. We’ve decided we’ll do more songs in this period. Let’s have more songs and poems on saving the environment and earth. It’s a global cause,” adding, “Both Vishal and Rekha are classical singers. Bahut ruhaaniyat (spiritualism) hai Rekha ki awaaz mein. And, Vishal is a wonderful singer. Both of them have done justice to the song.”

Due to the lockdown, the recording process was more complicated than usual. Rekha says, “Vishal learnt the software, recorded the song, and then uploaded on his iPad to send to musicians. Then, the chorus was added. Vishal shot a video for which everything was rehearsed and planned. Mere videos Vishal ne record kiye, phir kuch galat ho jata tha toh do-teen baar karna hota tha. From recording to shooting videos, it’s more hard work, but the outcome is beautiful.” Vishal adds, “Gulzar sahab’s cook shot his portions. My son and my assistant, who lives nearby, shot my video. All the musicians collaborated from their homes.”

To take her guru’s legacy forward, Rekha Bhardwaj has contributed to a new edition of a landmark book by him
Urmi Chanda (MUMBAI MIRROR; March 16, 2020)

Bongaa: ‘Unmusical’; idiotically out of tune and unaware of it.

Opening a random page of the new edition of The Dictionary of Hindustani Classical Music by Pandit Amarnath, the first word I chance upon is this. Given that it is a ‘book’ about music, this is a most hilarious irony. But I can almost picture its writer, grimly chiding a student and calling him or her “bongaa”. And suddenly, it’s not funny any more. Imagine sitting before a stalwart of Indian classical music and being called that unironically, and finding the insult documented in his landmark book. Almost 25 years after it was first published, it has been revived by Penguin Publications with a short biography of the master — written and edited by his daughters — and a foreword and some additions by his student Rekha Bhardwaj. Mumbai Mirror spoke to the renowned singer about her guru, his book, and the intertwining of life and music.

You’re a classical singer, but also part of the Hindi film music industry where there is little appreciation for classical music at present. Why did you feel the need to revive this book now, when the roost is ruled by remixes, Punjabi pop and TikTok stars?
My roots are in classical music, and just because the current trends include Punjabi pop, remixes or TikTok, it doesn’t uproot me as an artist. And contrary to what it may seem, a lot of young people continue to take up classical music as a profession, it is a popular performance category in music reality shows too. Also, it’s not like the entire Hindi film music industry has forgotten its classical sensibilities. There are still music composers like Amit Trivedi, Shankar-Ehsaan-Loy, Pritam, Sachin-Jigar, who are making music that blends classical tunes with other elements, and I think it’s okay. Everyone has the right to express their musicality and choose the music that appeals to them. As for why now, I think the time is right. Many of the young generation of musicians I interact with seem genuinely interested in knowing more about classical music, but do not know where to start. This book is an excellent starting point for anyone curious about this art form. I feel fortunate to be able to utilise my position and bring the focus back on this important piece of work. As they say, there are only two ways of bringing light into the world — be a lamp or a mirror. I am just upholding a mirror to my Guruji’s luminosity.

In your foreword to the book, you warmly describe your relationship with Pandit Amarnath and the way it embodied the guru-shishya tradition. Have you had such a relationship with any of your students?
To be anything close to what my guru was like, takes immense patience and practice. As a performer and a busy artist, I’ve not really had the time or opportunity to take on any long-term students. I’m still learning myself. But as and when possible, I share my riyaaz with some of my peers and fellow artistes and those are always wonderful experiences. The guru-shishya tradition may not be as common today as it once was, but there still continue to be teachers and schools that uphold those values and teach their students the old way. For example, the respective schools of Pt Hariprasad Chaurasiya and Pt Jasraj, the Gandharva Mahavidyalaya in Delhi, and the Gundecha Brothers in Bhopal still teach in the old tradition.

Pt Amarnath’s decision to write this musicological dictionary in English can be said to be a ‘progressive’ step since this is a field where ‘linguistic purity’ is valued over Westernisms. What do you, as his student and an artist, think of that?
I’d just say, my Guru was very farsighted and decided to write this dictionary in English because he knew that would become the language of choice among the youth eventually. He wrote in an easy manner that would help musically even an elementary reader understand it easily. Remarkably though, he chose transcriptions over translations, when it came to describing technical terms. Instead of terms like ‘legato’ or ‘staccato’, he stuck to Hindi terminology that was best understood by practitioners of Hindustani Classical music. No matter what the current trends, this is a timeless piece of work and essential to any serious student and artist.

If you had to pass on one bit of your Guruji’s wisdom to the aspiring students of today, what would it be?
The most important piece of advice our Guruji gave us was “Listen to yourself.” It was meant to be both, musical and life advice, and practicing that sincerely would always ensure we picked the right path. Listening to oneself allows us to see our own weaknesses and strengths, understand the areas that need work, and to know what we truly are and want instead of being told that by society.

What is that one new term/phrase that you would add to this dictionary?
Frankly speaking, I would not dare to add anything to this dictionary, because that would be like sacrilege for me. I’m pretty orthodox in that sense; I take my responsibility of preserving my guru’s knowledge as it is very seriously. All I’ve done is added a very brief foreword and updated the book with some important profiles of musicians who were his contemporaries (he had written only of artists from the earlier generations). All we want is for this book to reach more people, translate it into other languages, and publish some more of his works in the hope that his art and wisdom remain immortal.

Organisers of 10-city event 'India, My Valentine', which will start in Delhi on Feb 14 and end in Mumbai on Feb 16, say they will reach out to those who may not turn up at protest, but will go to a cultural event
Gaurav Sarkar (MID-DAY; February 10, 2020)

At a time when the country is polarised and lines have been drawn between the Left and Right with CAA-NRC-NPR at the epicentre, one could say there's been little bhaichaara and pyaar and more nafrat and aag. To counter this, love seems all set to be in the air next weekend, that is, the Valentine's Day weekend, when 10 cities across the country are expected to come together to celebrate their one true love — India.

The event is being organised by a group of citizens under the umbrella platform, India My Valentine. This includes people from the film fraternity Swara Bhasker, Vikas Katyal, Aditi Anand, activist Fahad Ahmad (above), Kabeer Palshikar and entrepreneur Richard Jacob, among others.

The celebratory and collaborative programme aims at celebrating the February 14 weekend with music and spoken word. So far, the event is to take place in ten cities including New Delhi, Kolkata, Indore, Jaipur, Kochi, and Hyderabad. The opening ceremony will be held in New Delhi on February 14 and the closing concert on February 16 will be held in Mumbai.

"The event will reaffirm our faith in our fraternity; in our unity; in our Constitution — as Indians — no matter what our political differences may be," reads the concept note. "We will help you curate the line-up of talent and artists and help coordinate the event in your city. Logistical and financial responsibility will belong to the local groups."

The note further read: "We gather to celebrate the India we know and love — the India of tolerance, the India of acceptance, the India that strove to be a better place for even her most oppressed children, the India that was a dream. We celebrate the India of Tagore and Gandhi, the India of Ashfaqullah, Bismil, Savitribai Phule, Fatima. The India of Bhagat Singh and Ambedkar."

Facilitating hosts, artists The organisers will act as facilitators between potential venue sites and the artists themselves. Those interested in bringing the event to their city can contact them at Indiamyvalentine@gmail.com.

"It is a sort of callout," said Bhasker, who is one of the organisers. "We realised that there are people who aren't into aggressive politics or harsh messaging. They might not come for a protest but they will come to attend an evening of cultural performances such as spoken word, poetry, and music. The name 'India, My Valentine' represents the fact that no matter how many differences the electorate might have over political views, we love India."

India, My Valentine will also act as a liaison between artists and the venue. The city-based venues will have the freedom to choose the content for the event. For instance, whether or not to mention the Citizenship (Amendment) Act, the National Register of Citizens (NRC), and the National Population Register (NPR) will be up to the individual venues.

"On the other hand, some venues are hardcore protest sites themselves. So it is open to interpretation," Bhasker said.

The organisers have also received requests from smaller towns of Uttar Pradesh. "We are concerned about the artists' safety. We won't compromise on security," Bhasker said.

"Most of the current protests are taking place in echo chambers. The Right wing has successfully polarised them. Whether we have been able to reach across this echo chamber is unclear," she added.

"It is heartening to see the response. People from all across the country have offered their spaces to host the event or participate as performers. It goes to show how deeply the events of the past months have captured the imagination of the youth," she said.

Ahmad, on the other hand, said, "The idea is to celebrate an India that gives equal rights to everyone without any discrimination. We will restore that India for which our freedom fighters fought. India is my first love because it gives us everything today that we have in our life."

Participating Artistes
Vishal Dadlani (music/vocals), Rekha Bhardwaj (music/vocals), Swanand Kirkire (poetry/vocals), Aditi Mittal (stand-up), Kaneez Surka (stand-up), Sanjay Rajoura (stand-up), Ankur Tewari (music/vocals), Saba Azad (music/vocals), Madara (rap), Aamir Aziz (spoken word), Sabika Naqvi (spoken word), Himanshu Bajpai (dastangoi — Urdu storytelling), Dolly Singh (YouTube sketches)

Sangeet Natak Akademi and admirers offer financial support
Alka Dhupkar (MUMBAI MIRROR; September 19, 2019)

Days after Mirror highlighted the plight of top music composer Vanraj Bhatia, who is penniless, isolated and bedridden in his Napean Sea Road apartment, citizens have begun to loosen their purse strings.

The Delhi-based Sangeet Natak Akademi (SNA), an autonomous body under the ministry of culture, has decided to offer a one-time financial assistance to the virtuoso composer, who had scored the music for Shyam Benegal classics like Ankur and Bhumika as well as TV series Yatra and Discovery of India. A group of friends is also raising funds through WhatsApp to provide him with an aid of Rs 25,000 every month.

On Wednesday, SNA chairperson Shekhar Sen, writer and executive member of SNA Atul Tiwari, and singer and executive member of SNA Chhaya Ganguly visited Bhatia at his rented flat in Rungta Housing Colony on Napean Sea Road.

Sen said he learned of Bhatia’s condition through Mirror’s front page report on September 15.

He said Bhatia’s association with the SNA—he was conferred with the Akademi’s Tagore Akademi Ratna award in 2012—prompted the three to make a personal visit to his house. “Atul Tiwari had worked with Vanraj ji in the past.”

He said the visit livened up the 92-year-old recluse and that they were struck by his sharp memory. “He shared stories of working on Discovery of India as well as with [late theatre doyen Ebrahim] Alkazi and [late playwright and actor] Girish Karnad.”

Sen said the SNA’s aid will be announced soon. “It should not be viewed as an aid. It is our duty to help him out for his contribution to the field of music,” he added.

He said the SNA will also soon document Bhatia’s life as part of its ‘Meet a Maestro’ series, which aims to help youngsters learn about those who shaped the music industry. “The way he combined Western and Indian music, as well as the combination of tribal and folk music in his scores will archived soon.”

Jaipur-based technocrat Pavan Jha and his friends from India and abroad are chipping in, too. They have created a WhatsApp group titled ‘Thank You Vanraj Sir’, through which they are raising funds and plan to contribute Rs 25,000 every month. “We want to pay Vanraj ji back for his contributions through the years.” Jha, too, insisted that the aid not be viewed as help. “We want the SNA to make put a system in place to support senior artists in their old age,” he said.

Jha claimed music industry veterans like Shubha Mudgal and Rekha Bhardwaj have also expressed willingness help Bhatia out.

Prakash Borgaonkar, state director of NGO HelpAge India, which works for the rights and welfare of elderly citizens, said he has reached out to Bhatia as well. “We have mobile medical vans and can offer assistance for medical checkups.”

Rekha Bharadwaj breaks down why the finesse in the independent music industry isn't arguably translating to Bollywood
Sonia Lulla (MID-DAY; February 18, 2019)

Ashe chronicles the goings-on in the Bollywood music industry, Rekha Bhardwaj sprinkles this conversation by drawing examples of artistes and films, spanning decades. Her fine observation skills and deep understanding of cinema trends are made evident, even though she isn't one to go to town when critiquing the industry. Set to serenade fans on an upcoming episode of MTV Unplugged, Bharadwaj talks to mid-day about the reason behind the increasing gap in the quality of music being churned out in and out of the film industry.

Edited excerpts from the interview:

There is a lot of talent in the independent music scene. Why do you think that quality arguably isn't translating to Bollywood music?
[Independent music] platforms still have a long way to go [before they can become popular]. Abroad, an artiste first releases an album, then the song is picked up for a film. But, songs are an integral part of our films, [and hence] we have incorporated film songs [on this platform too], to meet the demand. We are, primarily, a melodramatic society, and caterers of mediocrity. A majority of our population appreciates mediocrity, and that's why it exists in films and fine arts. Also, since crores are invested in films, certain requirements must be met. Today, the film business is a three-day affair, governed by collections from Friday through Sunday. Few are [driven] by a creative pursuit. The independent music genre has come to the fore after 20 years. I struggled for 11 years to release the album that was to launch me. There's a lot that we have to do to put up the quality [of music] that we desire. Rural audience won't appreciate sophisticated music. They would prefer folk music, while the youngsters would, maybe, choose noisy tunes. Remixes too are horribly executed. They are derogatory to the original classic.

How do you suggest that can change?
Artistes should be more concerned about content, [which comprises] language, diction and musicality. The younger musicians must educate themselves about our musical heritage. Also, [a lot depends on] aesthetics. I've sung many item songs, and am proud of all of them, including Namak Ishq Ka, and Ghagra. When Gulzar sa'ab writes a naughty, raunchy song, you will still find it aesthetically appealing. Aesthetics must be maintained in the lyrics, composition and rendition.

Is the industry receptive of singers with unique voices, like your own?
After Namak Ishq Ka, a lot has changed. The younger lot of composers have a background in Western music, and are hence open to experimenting with all sort of voices. Jagga Jasoos, for instance, had so many new voices, and a beautiful range of singing. Also, pronunciation must be paid heed to. For example, in Bombay Velvet, all the songs were nice. Some singers, like Neeti Mohan, paid attention to diction. When singing in Urdu, one should be certain to pronounce correctly. Neeti was, while a few others weren't. When the diction is correct, 60 per cent of your job as a singer is done. Unfortunately, even lyricist don't care if their words are being pronounced right. We pay heed to accents and pronunciation when singing English numbers. But, Hindi songs are tackled with carelessness.

You've often spoken positively about the influence of Western music in India. Why is that so?
This is something that was even evident in old music. In fact, earlier, Catholic musicians from Goa formed a major part of our industry. If you listen to older melodies, like Madan Mohan's Khelo Na Mere Dil Se, you'll notice that the introductory music will not reveal the melody that comes in later. The music arrangers then were classically trained in Western music, and also understood Indian nuances. The young generation is talented since they are exposed to all genres. But, there's a thin line between good and bad influences.

How does a platform like MTV Unplugged benefit the industry?
When a song is composed for a film, it's based on situations. Here, we're not bound by demands. I've recreated Darling [for the show], and used a brass section. There are two originals too, one of them being an Amrita Pritam poem.

The actress returns to the screen after three years with a special track for Vishal Bhardwaj’s next
Roshmila Bhattacharya (MUMBAI MIRROR; September 3, 2018) 

Mirror was the first to report (August 20) that Vishal Bhardwaj has roped in Malaika Arora for a special appearance in his upcoming comedy-drama Pataakha which revolves around two warring sisters from a small village in Rajasthan. The song in question is “Hello Hello”, set to tune by Vishal and crooned by his singer-wife Rekha. With references to WhatsApp and social networking, it is carefully coached in desi lingo by Gulzar.

Now, we have got a picture of the actress in action and going by her latka-jhtakas, “Hello, Hello” promises all the sizzle of Bipasha Basu in Omkara’s “Beedi Jalaile” and “Namak Ishq Ka” and Priyanka Chopra’s Kaminey act, “Raat Ke Dhai Baje”.

Talking about her return to the screen three years after the special track, “Fashion Khatam Mujhpe”, in the 2015 romcom, Dolly Ki Doli, Malaika said that she has immense respect for Vishal and Gulzar. “Rekha has sung the song. They have created magic in the past and I’m happy to be a part of this track. I love the title of the film and the title of the song,” she asserted.

Choreographed by Ganesh Acharya, the song was filmed on August 23 and 24 at a studio in Mira Road. “There were about 18-20 dancers accompanying Malaika and they were so much in sync that the song was wrapped up in a day and a half. It’s going to be a real pataakha,” promises a source from the sets.

Roshmila Bhattacharya (MUMBAI MIRROR; August 20, 2018)

Vishal Bhardwaj has lit a few fireworks already with the first trailer of his upcoming film, Pataakha, which is based on a short story by Charan Singh Pathik that revolves around two warring sisters from a small village in Rajasthan. They tear each other’s hair out, wrestle in the muck and finally manage to break free of each other only to land up married in the same family. And even as everyone is talking about Sanya Malhotra and a new-and-improved Radhika Madan’s fiery histrionics, Mirror has learnt that a sizzling siren is now getting ready to swing into the picture. Vishal has roped in Malaika Arora for a special number which promises to be all that Bipasha Basu’s “Beedi Jalaile” and “Namak Ishq Ka” were, and more.

Malaika, who is still remembered for her moves in “Chaiya Chaiya” from Mani Ratnam’s Dil Se and Dabbang’s “Munni Badnam Hui”, will be grooving to “Hello Hello”. Sung by Rekha Bhardwaj, it is to be filmed this week. Rehearsals are already on in a Mira Road Studio.

According to a source close to the development, Vishal needed a no-holds-barred song at a village fair and who better than Malaika to pull it off. “She has the earthy sensuality needed for the song and is known to burn up the dance floor with her moves. Even though it’s a desi number, like his earlier special appearance tracks, this one too should strike a chord with everyone, and will be playing in discotheques and dandiyas soon,” informs the source.

The lyrics have been penned by Gulzar and set to music by Vishal. It is being choreographed by Ganesh Acharya who had also done “Namak Ishq Ka”. In fact, Vishal, Rekha, Gulzar and Ganesh were also associated with the Omkara track which is hailed as a benchmark in subtle raunchiness.

Malaika has not been seen in films of late but has been a regular on TV, appearing in four seasons of the reality show, India’s Got Talent, and last year, in India’s Top Model, as a judge. Her last appearance on screen was three years ago in a special appearance number, “Fashion Khatam Mujhpe”, in the 2015 romcom, Dolly Ki Doli, which she had co-produced with her ex-husband Arbaaz Khan. She had also turned up in “Pandeyjee Seeti” with Salman Khan and Sonakshi Sinha in the Dabbang sequel, produced and directed by Arbaaz.

It’s a creative overload when Bollywood’s quintessential guru-shishya, filmmaker-poets Gulzar and Vishal Bhardwaj come together. Here, they not only muse on their times together, but also the three ‘c’s — cinema, censorship and children’s films
Rachana Dubey (BOMBAY TIMES; January 8, 2018)

This guru-shishya’s exchanges are what literary and artistic dreams are probably made of. The seamless blending of their crafts, as a pensmith and a composer-storyteller,over the years often makes it difficult to analyse their works independent of the other. So, it was a momentous day for admirers when they came together at an literary event recently — Gulzar for his first book as a novelist,and his protégé, Vishal Bhardwaj for his first book as a poet. Off the stage, Bombay Times sat them down for a conversation to understand their views of marrying creative liberties and art in modern times, their mutual love for poetry and children’s literature and what really makes their association so special.

Gulzar saab, your protégé has followed into your footsteps as a poet now, and added another feather to his cap...
Yes, Vishal is a poet and a certified one with his first book. A lot of people ask me if he is inspired by me. I just tell them one thing, yeh mera naam le leta hai, bahut si ladkiyan iske chaaron aur phirti hain, batata nahi hai mujhe (Vishal laughs loudly). He tells them that he’s inspired by me. You know the traits of these poets…Yeh badmaashi bhi ek trait hai.

Vishal, do you agree with him?
I can never disagree with him about anything. The truth is that he genuinely inspires me. If I had to put it in numbers, it would be more than 100 per cent. Everything about Gulzar saab inspires me.I know all his poetries by heart. If you quote even a word from any of them,trust me, I can recite the entire poem for you. It’s his films, his songs and his poetry that have made me who I am.

Did you also use his poetry to woo your wife Rekha (who blushes at the mention)?
Vishal: The first film Rekha ji and I saw together was a film, Ijaazat (1987), made by Gulzar saab. Now, that is romance of another kind. Our kind.
Gulzar: Inka record kuch theek nahi hai (laughs). I am not responsible isko bargalane ke liye.

Is there any one of your collaborations, across the years, that you could pin down as the best that you’ve done together?
Gulzar: You can never like any one thing, because everything has a reference and was meant to be a certain way in that time zone. We like everything we have done, and we own everything we have worked together for. It’s not right to place a finger on one piece of work and say, ‘this is the best we have done so far’. We belong to all the work we have done and vice versa. There is not one piece of work that happened by chance, there was conscious effort on both our parts.

Vishal, what have been your takeaways from the exchanges you’ve had with a mentor like Gulzar saab?
Vishal: I became a director because of him. He inspired me to become a director and in turn, to be a writer and a visualiser.
Gulzar: Once during our early years as collaborators, Vishal had said, ‘Yeh peti leke main nahi ghoom sakta.’ I had told him then, ‘Yeh cinema ek hi shaqs ki zubaan samajhta hai, woh hai director.’’ For years, he has persistently written and directed his films. His imagination is very strong. And I have enjoyed every step of our journey. In fact, he has learnt to write in meter, which I can’t. It’s my turn to learn that from him. For me, his poems are like my child’s hand and finger impressions. Whenever I’d ask for one of his earlier poems, he would go looking for them all over. He has written so many poems over the years that it became important to put these pearls together in a chain and not let them get lost in the sands of time.

Vishal, what is the kind of feedback you get for your work from Gulzar saab?
He is very honest. If he likes something, he says it, and if he doesn’t, he still says it; in simple words — koi parda nahi hai.

Does Gulzar saab have inputs to offer on your films?
When I’m working on the film’s edit, there’s one session that I have with him. He edits my films, pins down things in each one of them and tells me what I could do away with. While he tells me what he thinks,he consciously ensures that he doesn’t force me to accept what he says.

Filmmakers and their creative liberties have come under the scanner in recent times. It is unlike the time when Gulzar saab underlined social and political matters through several of his films like Mere Apne (1971) and Aandhi (1975). Do you think creative thinking is being confined today?
Vishal: Situations and times change and as filmmakers, artistes and creative thinkers, you have to adapt to the given circumstances. You can always say what you have to, but you can change the style of saying things. I say what I want to in my films, but in a manner that is suited for the times. In fact, I believe that this is a good time for creative and artistic thinkers as creativity always flourishes in such times. Jab aapko kone mein dabaaya jaata hai, tabhi to cheekh nikalti hai. Jab tak logon ko bilkul corner nahi kiya jaata, tab tak koi react nahi karta. If you are not pushed to the hilt, you won’t make the effort.
Gulzar: The most important thing is that you have to be yourself and not simply mirror trends or a herd thought. Be honest with yourself. Remember, you are the historian of your times. You are noting everything about the society that you are living in. Your work has an exchange with society, it doesn’t exist in isolation as it’s the history of people and the times. That’s the reason why I am also against the culture of remixing old Hindi songs. By remixing, you are simply destroying something that has a period and a thought behind it. One should preserve it as it is. It is unfair to the creator if you try to revisit it or contemporise something. If someone thought of a film in black and white, why colour it? Don’t damage it in the name of restoration.

Accha hai humein kisi ne thonk kar, kohni maar kar hila diya. Ahsaas ho gaya ki hum soye nahi hain.

Both of you have created a lot of content for children. Gulzar saab, you’ve voiced your concern about the dearth of content for kids. BT had also raised this point in its Children’s Day edition while speaking to a crosssection of filmmakers. What are your thoughts on it?
Gulzar: Children’s literature is neglected in our country. Having said that,we can’t force it on anyone to create it. It can’t be imposed. You can’t do anything unless you like children, bond with them and understand their psyche. In fact, major languages like Hindi and Urdu don’t have anything to offer children. We have imports from other countries, which are dubbed and dumped before them. You have to create stories for them all the time. Marathi, Malayalam and Bangla are the languages that offer a lot of literature for children. There’s a reason I never refuse a function or an invitation from a school. I like children. I have to confess: when I meet children, I know they are teaching me, I’m not teaching them anything. As individuals, you have to absorb that aspect and give it back to them as stories, poems, films.

Are Vishal and you working on something for kids?
We have been doing it for years, and we will continue to do so.

Natasha Coutinho (MUMBAI MIRROR; November 15, 2017)

After collaborating in films, Vishal and Rekha Bhardwaj are coming together to perform on the small screen. The filmmaker-composer and his singer wife will be belting out hit numbers from VB’s filmography, including “Chappa Chappa”, “Chhod Aaye Hum” and “Pani Pani” from Maachis, “Pehli Baar Mohabbat” from Kaminey, “Dil Toh Bachcha Hai Ji” from Ishqiya and “Naina” from Omkara, among others, for MTV Unplugged.

“The songs I have chosen are some of my best compositions. Some of them are 23 years old but feel timeless and relevant. I sing all my songs for referential purposes before they are recorded by other artistes. Many times, I have been asked to share my version of the songs. I feel close to them and love to sing them,” Vishal told Mirror.

About his collaborations with Rekha, who has delivered some of the most memorably tracks in his films in her lilting voice, VB said, “I have only performed a few times on stage, primarily college competitions. I remember once, Rekha and I had gone to the Parliament when the Copyright Law was passed along with other composers, singers and authors. We performed 'Chhod do Aanchal' for the nostalgia element.”

Soumya Vajpayee Tiwari (MID-DAY; October 2, 2016)

It's believed that music bridges the gaps between countries. This holds true for several years of cultural exchange between India and Pakistan. A few years ago, many Indian filmmakers had started banking on popular international musicians for the success of their films’ soundtracks. While Thai pop sensation Tata Young sang Dhoom Machale for Dhoom (2004), American R&B singer-songwriter Akon (above) sang Chammak Challo in the Shah Rukh Khan-starrer Ra.One (2011). Also, Snoop Dogg donned Indian attire and did bhangra with Akshay Kumar in Singh Is Kinng (2008). The rapper grooved to the tunes of the title song of the film. But there was a lull in the trend for a while. Now, it seems to be making a comeback. Several international artistes have started embarking towards Bollywood again.


New voyage
Akon has come on board for a track in Tum Bin 2, alongside Pakistani singer Atif Aslam. The makers of the movie have also signed West Indies cricketer Dwayne Bravo (above), aka DJ Bravo, for a song. This marks the cricketer-musician’s Bollywood playback debut. There’s also buzz around UK-based popular teen band, The Vamps, who are part of Ajay Devgn’s upcoming film Shivaay’s soundtrack. The band also did a music video, Beliya, with composer duo Vishal-Shekhar recently. While Pakistani singers Ghulam Ali, Rahat Fateh Ali Khan, Atif Aslam and Ali Zafar have been part of Bollywood’s music space for a long time, the latest entrant from across the border is singer Quratulain Balouch (below). She has made an impression with her powerful rendition of the song Kaari Kaari from Pink.


Strong connect
Anubhav Sinha, the producer-director of Tum Bin 2, says he shares a great bond with Akon ever since they worked together on Ra.One. Explaining why he decided to get Akon and Bravo on board, the filmmaker says, “Akon has a huge fan base in India. And Dwayne’s single, Champion, got close to 25 million hits. Collaborating with artistes of that stature makes sense, because they are 75 per cent Indian at heart, owing to their existing bond with the place that has a lot of their fans.”

Ajay Devgn, the producer-director of Shivaay reveals that he was clueless who The Vamps (below) were. “But my daughter jumped when she heard their name. She told me they are massive. That’s when we decided to have them on board,” says the actor-filmmaker.



Worth spending on
Though getting international artistes on board can burn a hole in filmmakers’ pocket, they are still preferred, as they help generate buzz around new movies. “International artistes are expensive. However, attaching an international name to a film’s soundtrack attracts global audience. It helps in the pre-publicity for a movie. Today, with films being a competitive business and every movie vying for the audience’s attention, one off associations gives a film high recall value,” explains Sinha, adding that such associations also help bridge cross-cultural synergies.

Devgn doesn’t feel getting international musicians on board is expensive. “Though it’s a time-consuming affair, when you look at it, you realise that the entertainment world is shrinking. Besides it’s never a matter of pricing. It’s more about how the energies align to create great content,” he says.

Filmmakers feel having international musicians adds value to their projects. “Today, every film requires good music to sustain itself in the market. Anything 'foreign' excites the masses, which, in turn, boosts the musical score of the film,” says Sinha.

Ajay adds the trend adds 'immense value' to the project. “Today’s generation, whether in Mumbai or Varanasi or anywhere in the world, is ‎a global generation. They can’t get enough of new content. So, such collaborations work.”

No insecurity
But are Indian singers welcoming of the trend? Singer Rekha Bhardwaj loves the fact that more and more international singers are singing for Bollywood. “I feel it’s great. If a film song has rap, and if a filmmaker can get one of world’s best rappers for the track, then why not? There’s no question of being insecure, as every singer is special in his or her own right,” she says.

While fighting for royalty over Jagjit memorial concerts, wife to attend tribute show on his death anniversary
Shlipi Sampad & Soumya Vajpayee Tiwari (MID-DAY; September 26, 2016)

It all started with recreating Jagjit Singh’s iconic number, Koi Fariyaad, from Tum Bin (2001) for the trailer of the film’s sequel. Following a rousing response on YouTube (10 million views in five days), director Anubhav Sinha and producer Bhushan Kumar have planned a tribute concert on the ghazal king’s fifth death anniversary on October 10.

What’s more, it will see the participation of his wife, Chitra Singh, who has been locked in a legal battle with event organisers and performers for using the musical maestro’s songs and pictures without coughing up royalty. On September 14, mid-day (PM edition) had reported about how she has been running between courts to reclaim her legendary husband’s properties.

When we reached out to Chitra, she told us the tribute concert is being organised by the Jagjit Singh Foundation. Titled Tum Bin Misses Jagjit at Rang Sharda, Bandra, will bring music industry stalwarts under the same roof. Sources share the line-up includes Talat Aziz, Mika, Ankit Tiwari, Arijit Singh and Rekha Bhardwaj. “In fact, Rekha will perform a duet with her filmmaker-lyricist husband Vishal Bhardwaj for the first time. Celebs from the fields of film, sports and business will also be invited and it will be streamed live for fans. Since Koi Fariyaad featured in each of Jagjitji’s concerts, the tribute event will have the soulful track being presented in various renditions,” says an insider.

The original ghazal, penned by Faaiz Anwar, was composed by Nikhil Vinay. The recreated version used Jagjit Singh’s voice recorded in 2000. Producer Bhushan says, “This is the first time I have seen audiences waking up to music in such a big way. It generally takes a week to ascertain fan reaction to a film’s music, but in this case, it has been phenomenal in every sense. Koi Fariyaad, a ghazal, has challenged the perception of the youth’s music consumption. That’s what prompted us to organise a concert to pay homage to the legend.”