Tagged: plagiarised songs
The importance of being Bappi Lahiri
While Bappi Lahiri would continue to be celebrated for his very strong imprint on the musical legacy of India, his larger contribution in the social space remains as melodic and charming, if not more, with its own pronounced rhythm and bass. Because despite seemingly being a 1970s and 1980s music icon, Bappi Da inadvertently became the new India story for the generation that came into its own in the 1990s.
With the advent of Liberalisation and Globalisation, the changes that us 90s kids were witnessing were sudden and far too many, and my generation was scrambling for home grown icons that we could take pride in, and call our own. Somebody associated with beats of disco that were moving towards obsolescence already, some very brazen ctrl-c-ctrl-v accusations, and a pronounced regional accent in the Queen’s language perhaps was not what the doctor would have prescribed.
Only, in Bappi Lahiri, we did not just get an icon, but a superhero!
For this long haired short man flaunting the entire Kalyan Jewellers bridal collection, and then some, around his neck typified the spirit of the nation that we were to become, his capitalist-bull-in-a-socialist-china-shop personage breaking all the stereotypes that could have been. He embraced his obstinate confidence, he cradled his true blue rockstar credentials, he snuggled to his blings and glares, and in the process, he gave a big, big bear hug to us, to the India that was emerging. Highlighting that it was okay to believe in one’s supreme awesomeness, and that’s how any success story must begin. That we were no less than the others, that we were a strong, parallel force, complete with this luminescent luster that was both inside and outside of us, that even if we were questioned/ challenged/ ridiculed, we had reasons to be assured and optimistic, that we were ready to take on the world at our own terms.
Bappi Da’s public persona gave us the confidence to redefine cool, and create the idea of the lassi-in-a-can India that was blatant and unabashed and cheeky, ready to take off, and take on, and how! The man was Made in India much before aatmnirbhar became a part of our social lexicon. He gave us both coolth and comfort. And that’s essentially because he never tried too hard. The gold chains were naturally designed to be around him. The fancy sunglasses were mandatorily destined to cover his face. The self-comparison with some of the biggest international popstars was, therefore, the immediate and natural consequence. So what if he took inspirations ranging from Beethoven’s Fur Elise to UB40 to Modern Talking, he made them his own. He made them ours. This was him sticking it to the man, everything else be damned, and we loved it. The wheel, of course, turned a rather skewed full circle when he sued Dr. Dre for lifting one of his songs, Kaliyon Ka Chaman, and triumphed! We smiled. We chuckled. We laughed. We had arrived. We had won. The Kohinoor may still adorn the crown, we had managed our reparations.
Superhero. Bona fide superhero.
In my 10 years at MTV between 2000 and 2010, the decade that MTV was needed in India to shape and shake perceptions, Bappi Da and his personality consistently hovered around in our promos, shows, interstitials, powerpoints, the works. Hell, he literally hung out in all our acts and actions! But it wasn’t his musical presence that we are referring to. Newer sounds had emerged in both the mainstream Hindi film and Indipop spaces, and he did not really latch on to either. It was his radiant, care-a-damn presence, reflective, again, of the times we were living in. That assured rockstarness. The joie de vivre. He wasn’t willing to leave us. We weren’t willing to leave him.
I don’t think we would ever be willing to leave him.
Thank you for making us what we are, sir! Pyaar kabhi kam nahin karna.