Songwriters, long given short shrift in Bollywood, are now up in arms for recognition and royalties
Rishabh Suri (HINDUSTAN TIMES; July 26, 2020)

After nepotism and favouritism, another debate seems to be in the making in Bollywood. Recently, songwriter-singer Swanand Kirkire tweeted, “OTT pe lyricists ka naam na hona sirf credit ka na hona nahin hain balki Lyrics Writer ke Wajood ko na maanana hai”.

Last year, the Indian Performing Rights Society (IPRS) filed an FIR against a production house seeking around ₹100 crore in royalties due to composers and writers since 2012. Danish Javed, of the Screen Writer’s Association, says, “If lyricists get their name on a publishing platform, as a member of the IPRS, they get part of the royalty,” he says. We got in touch with some prominent lyricists on this.


SWANAND KIRKIRE (3 Idiots, Barfi!, Lage Raho Munnabhai)
Music companies and big labels put songs on YouTube, and don’t give proper credits. They don’t get back when we point out. Some platform did get back recently saying ‘thanks for bringing to our notice’. They didn’t even say it was a mistake. Apps don’t credit the lyricists anywhere in their algorithm. You can’t search a song by a lyricist’s name. You can search the music director’s name. I can search for songs I’ve sung as I am a singer too. I get a detailed history what’s happening with my song, how many are streaming it, which state or country they belong to, but lyricists have no way to find that out.


SHELLEE (Shahid, Manmarziyaan, Jawaani Jaaneman)
I wrote a song in 2014, Beparwah, for Shahid. Why is my name missing on YouTube? People comment ‘soulful lyrics’ but my name is missing! There’s a rule: if the name is missing, the royalties from the song won’t come to you, be it YouTube or music apps. Music apps have a different algorithm. If we are given credits, we’ll start getting royalty. But what about the royalties of the past? We don’t do gigs or concerts like singers. We get paid peanuts once, and nothing after that. Even if the spelling of your name is wrong, you won’t get royalty. IPRS controls the domestic royalties, we need more transparency in it too.


VARUN GROVER (Gangs of Wasseypur, Fan, Udta Punjab)
I have been talking about it for years now. Many official channels on YouTube, and music company channels of Eros, Sa Re Ga Ma, Shemaroo, Ultra, don’t credit lyricists or give wrong credit. We have a list of these song credits. Gulzar, Javed Akhtar, Shailendra, these legends have credits missing on YouTube channels. Apps pick data from music companies who provide them their libraries. In their library itself, they don’t have the lyricist’s name! Some apps work on the American mode, where they think composer is the songwriter. They don’t even have space for lyric credits in their software. You can’t search if you want to.

SAMEER ANJAAN (Aashiqui, Kuch Kuch Hota Hai, Dhoom 3)
The Screen Writer’s Association is taking a big step because I think people do this knowingly. They have a huge nexus and intention behind not keeping the writer or composer’s name, because then royalties will not go to the right place. But now we are trying our level best to make them (apps) aware. Then we will take legal action.

Also, about last year’s hit Dilbar Dilbar (Satyameva Jayate), a leading publication said, ‘Music by Tanishk Bagchi, lyrics by Shabbir Ahmed’, when the original song was by Nadeem-Shravan, and lyrics by me. Shabbir wrote one line in the beginning, rest of the song was original.

(From left) Bappi Lahiri, Shaan, Anuradha Palakurthi and Bappa Lahiri

Mumbai-based Bappi Lahiri, Bappa, Shaan join Boston singer Anuradha to create a song for Corona warriors
Upala KBR (MID-DAY; May 12, 2020)

Bappi Lahiri has joined the ever-growing list of artistes coming together to pay tribute to Corona warriors. The veteran composer and son Bappa have roped in Shaan, lyricist Sameer Anjaan and Boston-based singer Anuradha Palakurthi to create the song, Saath do.

Bappa, who is stationed in Los Angeles, says he wanted to compose a number that highlighted the theme of unity even as we are staying in self-isolation amidst the Coronavirus crisis. A quick phone call to Anjaan and several brainstorming sessions later, the duo gave shape to the song. "My father, who is presenting the song, wanted me to do the vocals after he heard my composition. But, I wanted Shaan and Anuradha to render it," says Bappa.

Over the next few days, Shaan and Palakurthi, separated by continents but united through the endeavour, recorded their portions at their home studios. "Despite being stationed in different countries, we have all come together for the track. Now, I will request celebrities to feature in the video," adds Bappa of the song that will drop online later this week.

Roshmila Bhattacharya (MUMBAI MIRROR; August 31, 2019)

When Anees Bazmee approached Boney Kapoor with a story of three men and their sexual peccadilloes, which he had written and wanted to direct, the producer was game and they quickly decided that Anil Kapoor was apt for Kishan, the newspaper editor with a suspicious wife. “I had written films like Laadla and Deeewana Mastana featuring Anil, and knew he had great comic timing,” Anees reasons, saying they then approached Saif Ali Khan for the role of Shekhar, Kishan’s employee whom he treats like a younger brother. “Saif wanted to play Kishan but since Boney ji and I were convinced Anil was the best choice, we took Shekhar’s role to Fardeen.”

Salman Khan was Prem, though the director is quick to point out that his Prem unlike Sooraj Barjatya’s shareef, seedha family man, was a charming womaniser whose extra-marital affairs sparks off this comedy of errors and terrors. “Salman bhai had allotted only a day for the climax, but when I told him I needed three, he immediately agreed to stay back in Phuket,” Aneees reminisces. The climax was one of the film’s USPs, with the trio going over the edge of a cliff and hanging on to a tree for dear life, as a snake slithers by. “After we shot there, it became a popular tourist attraction and came to be known as the ‘No Entry Spot’ till the Tsunami washed it away.”

Anees surprises you with the revelation that after wrapping up the film, he had to wait for more than a year to release it. He had started writing his script with the title No Entry because, he reasoned, for a married man to court a woman other than his wife is like entering a ‘no entry’ zone. However, to his surprise, most members of his frat disliked it intensely and he was surprised by the almost violent reactions.

“People would snap, ‘Bakwaas hai’, and for a while I flirted with other, titles like Pati Patni Aur Woh, but eventually decided to stick to No Entry,” narrates the writer-director, who was later rewarded when it heard the audience raving, “Bahut achcha title hai”, encouraging him to experiment with Welcome, Ready and Singh Is Kinng.

But before that Anees almost despaired of his film seeing the light of the day. In fact, two days before the its release on August 26, 2005, he was suddenly told that it had been pushed again. “We finally opened without any advance booking and when I heard that there were very few people outside Chandan theeatre in Juhu, I resigned myself to the fact that two years of hard work had gone down the drain and went to sleep. I was woken up by the same well-wishers calling me a few hours later to say that the film was playing to a full house. In fact, business was better in the second week, with blackmarketeers doing brisk business. Even 14 years later, No Entry hasn’t gone into vanwas,” he exults.

Interestingly, despite its risqué subject and an escort, Bobby, at the centre of the plot, the film is seen as a family entertainer. Anees however reveals, tongue-in-cheek, that he knows of many husbands who have managed to distract their better halves from seeing the entire film, afraid that “unki sab pol khul jayegi”.

Prod him on Bipasha Basu’s Bobby who drives the men crazy when she enters the “Ishq Di Galli” and Anees informs that when the actress heard that this song was to be filmed on her, she begged him for 15-20 days to shed the weight she had put on during a holiday in the US. She turned up a fortnight later, looking gorgeous and her sexy moves still makes pulses race.

“Boney ji had wanted to shoot the song on a lavishly-mounted set in Mumbai, had allotted a Rs 3 crore budget only for it. Anu Malik (composer), Sameer (lyricist) and I had cracked while on our way to Lonavala. It was so catchy I immediately knew we had a chartbuster,” reminisces Anees. They eventually shot it in a real club in Bangkok, located opposite their hotel. Raju Sundaram who choreographed mostly for films down South, was cajoled into directing it and Anu’s opening beat became No Entry’s signature tune, used in the background at significant points in the narrative.

In the years since, talk of a sequel has come up several times. Anees admits that two years ago, he locked a story which can take the franchise forward. “We juggled five stories before settling on this one which took six months to finish. Now, I am waiting for Salman bhai and Boney ji to greenlight the project. Bahut khusboorat picture banegi,” he promises.

Tanvi Trivedi (BOMBAY TIMES; May 31, 2019)

Kapil Sharma’s show is in the news again. And this time around, it has nothing to do with the anchor of the show, but his guests. Last Sunday, lyricist Sameer Anjaan, who was on the show, went on to share how a song that he wrote: ‘Chaar baj gaye lekin party abhi baaki hai’, became the party anthem of the country. He also spoke of how he was inspired by his children when he first wrote this song for the film F.A.L.T.U in 2010. This, however, did not go down well with hip-hop singer and rapper Hard Kaur, who has sung the song. She posted on instagram, “Wah what a f****** lie ???? I would love to know how he wrote '4 baj gaye'. Please tell us the process. #noshame taking my credit & royalties is one thing. Sitting on national TV & talking shit with such pride is just next level low (sic).”

We spoke to Hard Kaur, who is currently in the UK, and she said, “It is rare to find a rapper who will sing songs penned by another person. Most rappers pen their lyrics and sing their own songs. I got an opportunity to sing two songs in F.A.L.T.U in 2010. At that point, music composer duo Sachin-Jigar asked me to write the song and sing it. They promised me to give another opportunity soon in the future and requested me to let go of the credit for it. In a few days, Sachin-Jigar visited me and offered me to use a line for the song. They said, ‘We are giving you one line Party abhi baaki hai… and the rest you pen on your own.’ I then penned the song and also sang it. Now, after nine years, when I heard Sameer taking credit for the song, talking about getting inspired by his children and how they asked him to write something new, I was shocked. How can he do that by just taking his children’s names? Has he ever gone out and checked out in discotheques what songs youngsters like to listen to? Has he ever picked up a CD and listened to rap numbers? And he is claiming that the full song is his on national TV?”

When we contacted Sameer Anjaan, he said, “The song is mine. I don’t want to argue on this anymore.”

Composers Sachin-Jigar react to Hard Kaur’s claim

Composer duo Sachin-Jigar, however, say that it was a collaborative effort. In an exclusive statement to BT, they said, “This happened nine years ago, when we had just started our journey in Bollywood. It was a privilege to work with a rapper like Hard Kaur, and we wanted to work with her on our future projects, too. She is exceptionally talented and when we were working on the song, all of us, including Sameer ji, would jam together. There were some lines that were contributed by all of us in the process and there is no denying the fact that Hard Kaur contributed to the song in a big way. We both believe that the song was a collaborative effort and the best lines were picked and that’s how the song was finally completed.”

Reacting to Sachin-Jigar's statement, Hard Kaur said, “Apart from one line, no one had given any input for the song. It is not really a team effort when I have written it alone.”

Asks Modi biopic producer, who fought controversies and court cases in the last 20 days before it was stalled by the EC; argues there were no objections to Lalu Prasad’s autobiography
Natasha Coutinho (MUMBAI MIRROR; April 12, 2019)

With the Election Commission on Wednesday staying the release of PM Narendra Modi till after the Lok Sabha elections, arguing that it could disturb the level-playing field, your plans for your ambitious project have been hit for a six. How much do you stand to lose?
We had a premiere planned at PVR, Juhu, to which over 1,500 guests had been invited, along with a media screening, when the news of the EC’s decision reached us. We cancelled Thursday’s screenings and the media went crazy. My team and I were with our lawyers till 10pm. We read the EC notice repeatedly, with my lawyers wondering what to do. We eventually decided to follow the law, like I always have.

My losses as a producer started the day my release was moved forward by a week from April 5 to April 11. Tell me, the release of which other film has been pushed twice? We fought legal battles in the Bombay, Delhi and Madhya Pradesh High Courts and were cleared for release. The Supreme Court dismissed a plea seeking a stay on the film. Then came the EC notice, a day before the release, and stopped us in the tracks. My distributors are being questioned by exhibitors who were going to release PM Narendrea Modi with a lot of prints, in India and overseas.

Will you need to do some reshooting now depending on the poll verdict? Will the word ‘chowkidar’ which was added in the film’s poster after Modi announced it as a Twitter campaign in March, stay?
Nobody has said we are releasing the film after the elections. No dates have been announced by us or anyone else. Nobody has the authority to decide the release date of our film. We are still trying to understand why we are in this situation. We only request that our film be allowed to release because a lot of money is invested in it.

But why coincide the release with the elections and invite questions on your motive for making the film?
Even before a film rolls, the Khans, Salman, Shah Rukh and Aamir, announce a date, whether it’s Christmas, Diwali, Holi or Independence Day, and no one questions them. They are stars and need their films to do well. As a producer, I thought April 5 was a good date for better box-office collections. Elections come once in five years, festivals every year. People should understand that an individual producer is risking crores on this project.

Was it meant to be a propaganda film for BJP and Modi?
I don’t know why people think this film was a part of BJP’s election campaign. It is not. If that were the case, every party would be making films and would stop doing rallies. Senior leaders should be confident of the work they have done, only that can influence voters and not a film. Why are they scared of a two-hour film?

Apart from allegedly violating the Model Code of Conduct during the polls, why else has the film invited so much criticism?
Nobody is talking of Lalu Prasad Yadav’s just-released autobiography, From Gapalganj To Raisana, when his party, Rashtriya Janta Dal, has an alliance with the Congress. Why is everybody only attacking a film on Modi? Are they scared of him? Vivek (Oberoi, lead actor), Omung Kumar (director) and I have been a part of this industry since the last two decades, yet no one has come forward to support us. Everybody says the industry is one big happy family. Where are these people now?

How did you manage to complete the film and get it censored in record time?
We were struggling for a censor certificate and got it on April 9, just two days before the release. It was a smooth 38-day schedule but the last 20 days have been a nightmare. There were so many controversies, then strong opposition from DMK, NCP, Mamta Banerjee, Omar Abdullah, Prashant Bhushan with all of them wanting the film banned. There were allegations that we belong to BJP and the party has funded the film. I hope after this people realise this is not a propaganda film. We have been running from pillar to post for justice.

Why did you cast Vivek Oberoi as Modi? He hasn’t played a lead role in a while...
He is one of the finest actors we have and has delivered hits in Hindi, Malayalam, Telugu and Tamil over 18 years. He was in Saathiya and Company in the same year and was a superstar. And even though destiny didn’t side with him, he continues to be a perfectionist. He allotted a year for this film which is why we could make it in 38 days. He had a call time of 7am and since prosthetics would take him seven hours, he would start his make-up at 2am and was never late. Till the time he took the make-up off, he could only sip water and juices through a straw. Vivek was my spotboy, actor, director and writer.

Writer?
Yes, he’s worked on the screenplay and dialogue with my writers Aniruddh Chawla and Harsh Limbachiyaa.

Veteran lyricists Javed Akhtar and Sameer were upset to find their names in the film’s poster when they haven’t officially written any of the songs. Were their names included to give credibility to the project? Why weren’t they informed about being given credit for “Suno Gaur Se Duniya Walon” from the film Dus and “Ishwar Allah” from 1947: Earth?
One shouldn’t react immediately to anything, we all belong to the same industry. “Ishwar Allah” from 1947: Earth and the Dus song were penned by them and since both are legendary lyricists, we gave them credit as is the norm.

Poet-lyricists Javed Akhtar and Gulzar speak in one voice, exhorting people to vote without fear or favour, in the upcoming elections
Khalid Mohamed (MUMBAI MIRROR; March 31, 2019)

Javed Akhtar and Gulzar, two of the most revered poet-lyricists of India, have sounded a clarion call to the nation to push for freedom of expression “at a time of darkness and uncertainty” facing the country on the cusp of the elections next month.

In separate interviews with Mirror, they have exhorted the electorate to vote with a conscience, without fear or favour. Poets and writers, they emphasise, articulate the mood of the people. “Our poems, in effect, serve as slogans,” Akhtar states. “But slogans cannot spark revolutions. I’m not pompous enough to believe that my words amount to anything more than a purposeful incentive.”

Gulzar notes, “One has to say what one must without any dilution. And I will say that the killings of the eminent thinkers Govind Pansare and MM Kalburgi, and of journalist Gauri Lankesh, have been lamentable.”

The current debate on writers versus realpolitik commenced on March 16 in New Delhi, where Akhtar recited an unpublished ghazal at the 53rd edition of the Shankar-Shad mushaira. This year, breaking from tradition, Pakistani poets were not invited to the mushaira, in the wake of tension between the two countries. A couplet from Akhtar’s ghazal asserted, Jo baat kehte darte hain sab, tu woh baat likh/Itni andheri thi na kabhi pehle raat likh (To speak of the thing which everyone fears, of that you must write/The night was never so dark before, you must write) To express his solidarity with Akhtar, Gulzar wrote a ghazal, a part of which said: Tum ne bhi khoon-e-dil mein dubboii hain ungliyan/ Humne qalam ki pehle bhi jhankar suni hai (You too have dipped your fingers in your heart’s blood/ We have heard the clangor of the pen earlier too). Buoyed by the support, Akhtar exults that it was a wonderful gesture from Gulzar. There is no one-upmanship or competition among lyricists, he remarks. Instead, contrary to popular opinion, there is an unspoken unity.

Akhtar recently found himself in a Kafkaesque situation. The credits of an upcoming biopic PM Narendra Modi, scheduled for release on April 5, listed his name prominently as one of the six lyricists. When this was pointed out to the writer with a WhatsApp message, he immediately contradicted the news with a tweet. “Usually writers have to fight for an inclusion on the credit titles. But here I was credited for a film which I haven’t even worked on,” he laughs.

Maintaining his cool about the recent incident during the interview at his Juhu apartment, Akhtar elaborates, “The producer [Sandeep Ssingh] acquired the rights of the song Ishwar Allah written for Deepa Mehta’s 1947: Earth. Now, as everyone knows, whenever earlier songs are re-used, the names of the film, composer and writer are mentioned in the end credits. And that’s it. In any case, it is up to me whether I want to be associated with a biopic, be it of the Prime Minister, Rani of Jhansi or Milkha Singh. If I want to keep a distance from a film of any nature, that’s my prerogative.”

Gulzar concurs that the poster credit was unfair: “Ethically or otherwise, the producer has to acquire the permission of the writer who may or may not agree with the theme of the project. A lyric is not a toothpaste tube which can be bought in a market.”

According to lyricist Sameer, his name was also included in the credits of PM Narendra Modi without his consent for the song Suno Gaur Se Duniyawallon from Dus. He further comments, “As far I know, the mukhada of the original song has been retained but the antaras have been changed. So, it’s a ‘recreation’ of sorts. I have no clue what can be done about this; whatever decision is taken, will have be a collective one.”

Prasoon Joshi, ad guru and chairman of the government’s Central Board of Film Certification, also features among the songwriters for the biopic. So far Joshi, as well as the film’s director Omung Kumar and leading man Vivek Oberoi, have maintained a pin-drop silence. Vis-à-vis Joshi, neither Akhtar nor Gulzar have any issues, describing him as a colleague and friend whose political views do not necessarily have to align with theirs.

Eminent playwright, script and story writer Javed Siddiqui is angered by “the mud thrown on Javed Akhtar’s face”. On noticing Akhtar’s name in the credit titles of the PM biopic, Siddiqui says he was appalled. When the news was contradicted, there was a sense of relief and regret. It’s sad, he contends, that politics has descended to “such a crude level”.

“Did they think they could get away with this?” Siddiqui asks. On being counter-questioned about why he was ascribing political motives to film’s producer, he bristles, “What do you mean? Do you think any producer would have the guts to indulge in such false propaganda without the tacit consent of the powers-that-be?”

As for other contemporary progressive writers — be it in the realm of poetry or prose — there have been no indications about an official, collective protest so far.

Akhtar states pragmatically, “Once the Progressive Writers’ Movement [formed in 1936] encompassed several Indian languages. There was a galaxy of writers in the pre-and post-Independence era who would meet regularly, almost like a commune, and recite their works. But ultimately one is alone. Five writers can’t write a joint piece of poetry or prose. Undoubtedly, like-minded writers should meet more often, but life is too hectic, too fast-paced nowadays. As long as a group of writers are committed to liberalism and share the same world view, that should suffice for the time being.”

Gulzar underlines the fact that the Progressive Writers’ Movement was immeasurably impactful in advancing the cause of social justice, gender equality and secular values. To date, the influence of the movement and its legendary writers, has persisted. Yet this Millennium’s conditions are bound to be different. There is a heightened fear of authoritarianism. In the event, it’s the writer’s responsibility, once again, to strike a wake-up call.

Siddiqui suggests that writers of liberal views should organise roundtable conferences regularly, and communicate their views to the people through the press and the plethora of social media platforms.

Poets and novelists may not have chosen to come together formally in a movement. But the consensus among Mumbai’s phalanx of writers today is that dissent and truthspeak — even while operating from the entertainment-centric Bollywood — have been advanced successfully through the decades.

Viewing that in a broader perspective, the two poet-lyricists agree that the Indian social structure is essentially moderate. Extremism of the far-Left or of the far-Right in overall governance, is bound be rejected. “I’m not a pessimist,” Akhtar avers. “I am hopeful that there will be a rational outcome [to this election]. A totally Right-wing government is fraught with hazards. As for those who are dedicated to the Leftist ideology, I admire their compassion for the underprivileged and their respect for secularism, but I’m afraid even Communist China has outgrown its economic policy.”

Consistently, Akhtar has been viciously trolled, and has even received death threats. Has he ever feared for his life? To that, his riposte is: “I may have been under threat from the fundamentalists — both Hindu and Muslim. I had to move around with bodyguards on two occasions. Still, I’ll be worried the day that either of the fanatic groups stops criticising me.”

Gulzar reasons that his personal ideological values are reflected in his stories, film scripts and poems, in a voice which syncs with his personality. He says, “I’ve never been an activist, I’ve never raised my fist in the air at a public rally. So where does one share one’s writings with one’s colleagues and peers? To a degree one can, at literary festivals, and this may not necessarily be while speaking from the dais. I’ve shared some of the best inspired and rousing writings in recent years with other poets after the festival’s formal sessions are over.”

Cautioning that tolerance is key today, Gulzar maintains, “One has to express oneself with dignity; let’s not raise the volume to a deafening blast. Unfortunately, unparliamentary language is being used far too frequently during the course of debates today. Why? Obviously because so many politicians become power-drunk and start behaving like zamindars. This form of feudalism must end.”

Even from the solitude of his booklined home-cum-office in Bandra, Gulzar feels that poetry, as a form of protest along the lines of Chile’s Pablo Neruda, can certainly reflect reality. “I may spend hours on end at my desk,” he concedes, “but I’m not locked in an almirah. I’m in touch with the people of today. The Millennials are a transparent and honest generation. They’re direct, and speak one-to-one.”

Akhtar points out that he was nominated to the Rajya Sabha (from 2010 to 2016) by the President. But he wouldn’t join any party to become a Member of Parliament again. “There’s no possibility of going back,” he insists. “I have cherished close friendships with several leaders of every party. Indeed, many of them were of tremendous help in getting the Copyright Bill passed. At this point, any allegations about me trying to canvas for a seat of power, in any capacity, are not only unfounded but foolish.”

To wrap, the writer offers a pertinent thought: Kabhi toh raat ko tum raat keh do/ Yeh kaam itna bhi ab mushkil nahin hai/ Bahut aasan hai pehchan iski/ Agar dukhta nahin, toh dil nahin hai (At least call the night by its name at times/ It is not so difficult/ It is very simple to recognise/And if you don’t feel deeply hurt, my friend, then yours cannot be a heart).

When requested to pen a few impromptu lines, Gulzar writes without a pause: Ghurub hota hua suraj dikhayee de raha hai/ Hazaron bulb roshan karke koi/ Andhere ko chhupana chahta hai/Ki aankhen raat ko pehchan na paaye (During the fading rays of the sunset/Amidst thousands of light bulbs, somebody seeks to hide the approaching darkness/ So that the eyes do not recognise the night).

After Mumbai-based youngster files online petition opposing Bollywood’s misogynistic songs, IIFA promises to support her campaign in the upcoming awards edition
Sonil Dedhia (MID-DAY; January 26, 2019)

Bollywood has been plagued with songs that reek of sexism, for long. But now, things may be headed for a change. Chandana Hiran, a Mumbai-based chartered accountancy student, has filed a petition with change.org opposing the misogynistic songs that are regularly churned out by the industry. She has also requested International Indian Film Academy (IIFA) to publicly condemn the objectification of women in Hindi film songs at its 2019 awards show — a move that has met with a positive response from the IIFA team.

Hiran says the idea to condemn the act publicly stemmed from a personal experience — recently, in a case of eve-teasing, several boys sang Kaddu Katega Toh Sab Mein Batega (R... Rajkumar, 2013) as she stepped out of the college, the innuendo of the song not lost on anybody. “I would often see kids in my family dance to these vulgar songs. I don’t want any child to be taught that it is okay to equate women to objects like Afghan Jalebi, Tandoori Murgi or Zandu Balm.”

Ask her why she approached IIFA to champion the cause, and she reasons, “The entire film fraternity attends this show, and millions tune in, making it the best gender-sensitive platform to send out a powerful message.”

Andre Timmins, director, Wizcraft International, producer and creator of IIFA, recently tweeted to the youngster assuring that appropriate action will be taken in the regard.

When we reached out to IIFA, the organisers said, “IIFA stands against any injustice or mistreatment, regardless of gender and hence, we replied positively to this campaign. Injustice against women is a major problem in the world. IIFA, as a platform, is trying to help make a difference to such causes.”

Lyricist Sameer, who has penned songs including Aa Re Pritam Pyaare (Rowdy Rathore) and Sarkailo Khatiya (Raja Babu), said, “Many times, artists are under pressure from makers to produce a certain type of song. I have immense respect for women and have never intentionally written anything which objectifies them. The onus also lies on the directors, in terms of how they shoot a song.”


Kaddu Katega from R...Rajkumar prompted Hiran to start petition

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Lasyapriya Sundaram (BOMBAY TIMES; October 22, 2018)

Over the past few days, the #MeToo campaign has gained momentum in India. You were the first to call out music director Anu Malik of sexual harassment...
I chose to be the first to ‘bell the cat’ so that the many others, who he has done much worse to, get the courage to speak up. At the time that I shared my experiences with him, I did so knowing very well that many people and quarters will trivialise it, and they did. I was trolled and people said being called ‘maal’, being called at unearthly hours and being subjected to one-sided and unwanted conversations are not instances of sexual harassment. It is a terrible reflection of the world we live in when others, specifically men, decide as to what constitutes harassment in the first place. That they also legislate on our behalf is another matter. Anu Malik, in fact, denied meeting me ever. But I exposed that lie by presenting the timeline of our meetings and facts, subsequently. The point is, I shared my experiences, because it was my story to share and it is not in my place to share other gory stories that are an open secret in the industry. That would be conjecture, speculation and gossip. When people think that I have a right to speak up only when I’m raped or something equally serious happens to me, I will say, ‘You are the reason why serial predators get away’. That he didn’t do worse with me doesn’t indicate anything. I say this to the naysayers, ‘You are the ones who normalise this abhorrent behaviour and system’. Anu Malik’s behaviour with me was sexual harassment. There are no doubts about it. I blocked his number and chose not to work with the likes of him. I was lucky to find fewer, but good allies in the industry. But that doesn’t mean everyone can and that is not their fault. My speaking up about my experience with him gave the courage to another woman, singer Shweta Pandit, who was harassed as a minor by him, to speak up. Many more are writing in with their own personal horror stories to both of us. Most are scared to come out in the open for fear of being shamed or losing work, but I’m more than willing to do it if this empowers others and helps cleanse a system. As I read somewhere, #MeToo is only the beginning of an equal rights movement that is aiming to press a giant reset of the norms across a spectrum of systemic inequal, dehumanising and violent behaviour that women have been subjected to for times immemorial. This is across all workplaces, and not only in the entertainment industry. This needs to change. This change will not only benefit us women, but the whole country. Currently, India is second to only Saudi Arabia in terms of percentage of women in the organised urban workforce and these numbers have been shrinking over the last decade. This isn’t good for India. Women are 50 % of the population and our participation in all walks of life plays a big role in the country’s progress.

When he denied meeting you, you alleged that he had harassed singer Suman Sridhar as well. However, she says no such thing ever happened...
The movement is called #MeToo for a reason. If and when someone feels comfortable enough to share their story, it’s the right time to talk about it. If she wants to deny it, she might have reasons for that, too. Basically, it’s her prerogative. My partner at OmGrown Music (composer and husband Ram Sampath) and I both have a clear memory of this case and we stand by our story. Again, it did happen to us, it isn’t hearsay. Suman not only called us several times about this to ask for advice, but also met us to discuss it. This was after the release, Luv Ka The End (2011). At one point, Suman mentioned being paranoid about picking up the phone because he was calling her from unknown numbers. She was an upcoming singer in the industry and didn’t want to miss any other singing opportunity by missing a call, but she was being harassed by him. We did the best we could to help her, but lost touch with her eventually. She also had some issue with the song (Muskanein Jhoothi Hain by Ram) that she sang for the film Talaash (2012), after it was released by Excel Entertainment some years later. I was the EP on the film’s soundtrack. She was demanding singing royalty and residuals, which we couldn’t secure for her because forget about a singer, getting the same for composers and writers is impossible to start with in India. The last I remember is telling her that things in our industry don’t work like they do in the US as yet, her home base. She was very upset with me. We lost touch after that.

After you, Shweta Pandit has now alleged that she was harassed by Anu Malik...
I stand by Shweta Pandit. It takes a lot of guts and integrity to come out and share a deeply traumatic experience, which has no benefit other than being personally cathartic. Those who accuse her of doing it for publicity and saying sick things like — ‘What’s wrong with just a kiss?’ etc. do not have any idea of personal and professional ethics or boundaries. Also, India needs to note that Shweta was a minor and she was 14 years old. That this man judges a reality show year after year, surrounded by vulnerable youngsters and their parents, scares me to no end.

Lyricist Sameer says that Anu Malik didn’t harass Shweta...
He’s entitled to his opinion, but I believe Shweta and stand by her. We all know the industry to be a ‘boys’ club’ and while I’ve met Sameer saab in the past and thought him to be a gentle and kind man, I am not shocked that he would stand up for his colleague of many years, Anu Malik. I guess there is much more to gain if the boys and men stick together and keep the lopsided power structure intact. I do ask him ‘why’, though. After all the success, money and fame, why would you try and dilute this story, Sameer saab? What does Shweta have to gain except for stress and negativity by finally gathering the courage to tell her story? Also, his account with detailed quotes of what he said during the recording, which took place 17 years ago, at a time when he was the busiest lyricist, sounds wrong to me. How can you remember such exact details Sameer saab, I ask? It is different for a child experiencing trauma, because it is not a date or incident one would forget. I know many more women will be coming up with their horrifying accounts and I am sure Sameer saab is unlikely to claim to have been present everywhere to protect Anu Malik.

You have called out Kailash Kher, too...
Calling out someone for their grossly inappropriate behaviour isn’t easy or desirable. I’m not against men, just against predators. They’re an entirely different species. They are men in power who are drunk on that power and use it to abuse vulnerable women and sometimes get so addicted to it that they forget when to press the stop or pause button. I want to be that ‘stop button’ for Kailash Kher and Anu Malik. Even if two go down, it will benefit all of us. We have seen this exploitative behaviour across all strata and it’s just simply wrong to let things be. We have told countless women, who have suffered at the hands of these predators, to shut up, bear with it and carry on. This is inhuman and untenable. If we want an equal society, we must deal with this head on. Kailash’s behaviour with me is just an indication of what he is capable of. Having known me and Ram for years, having gotten his first commercial break with my partner Ram, knowing how aggressive and strong I am, he had no fear and made passes at me, touched me inappropriately in public and called me to his hotel room, despite me avoiding his phone calls during a stressful concert day. Many women have spoken up after I called him out, seven of them in the public domain, including a journalist, and I am sure many more will in the coming days, too. I shudder to think what a person might do to someone more vulnerable than me and this is the only reason I shared my story at this point of time: To give strength to others.

Will calling out perpetrators on social media deter them?
Outing perpetrators is not easy. One can only share one’s own experience. But when there’s a groundswell of accusations against a particular person, as in the case of M J Akbar, Suhel Seth, Sajid Khan, Anu Malik, Kailash Kher and many others in the workspaces, it becomes obvious that the person has a pathological problem. The process of naming and shaming is already yielding positive results in corporate India and it is commendable that the response has been swift, so it has served its purpose. I do believe that this is only the tip of the iceberg.

While I stand for the movement unequivocally, I also ask for due diligence on all our parts. We are not here for a ‘witch hunt’ and cannot become the monster we despise. I have strongly stood in my support of writer Varun Grover because of the shady manner in which he was accused. No facts, contradictory statements and just on hearsay. That kind of thing is unacceptable, but thankfully, Varun has the grace and maturity to understand the bigger cause. He isn’t pressing charges and staying quiet for now. He doesn’t want to dilute a truly important movement where there is more truth than not. I would fight for his good name with just as much conviction as I fight for the #TimesUp #MeToo movement. So, we are all in this together. All the good men and women of India, not just the women. A happier sex-pest free society will benefit all of us.

Do you think after outing them on social media, the survivors should take legal action?
Legal action requires patience, an iron will and deep pockets. Not every survivor will have the stomach for a fight that’s arduous. We must give even the accused a chance to clear their name if the accusations are patently false or malicious, so legal action is an option. I have personally always believed in the system, fought and even won in court and set a precedent. I don’t know how many can do the same though. Cannot blame them either. It isn’t that easy. We all have a life to lead and livelihood to earn. To all the good men out there, I request you to stop being bystanders. We need your voices to speak and stand up for the right thing. This is as much your fight as ours.

BT reached out to both Anu Malik and Kailash Kher for their response to the allegations, but we didn’t receive any clarifications till the time of going to press. Earlier when both Anu and Kailash were ousted on Twitter, they had denied the allegations.

Nayandeep Rakshit (DNA; October 21, 2018)

In the last four weeks, after the Tanushree Dutta-Nana Patekar case gained momentum, several women from different sectors called out alleged perpetrators, who they have accused of sexual harassment at the workplace. Among the many women, who have spoken out as part of the #MeToo Movement, were singers Sona Mohapatra and Shweta Pandit, who made allegations of inappropriate behaviour against Anu Malik.

Later, more women, who chose to remain anonymous, made similar charges against the 57-year-old singer-composer, who is currently judging the 10th season of Indian Idol. Those from the music industry haven’t commented on this matter. Ask Shweta what action does she expects to be taken, and she says, “I don’t know what internal discussions have taken place among the channel officials. But even if people working with him take a stand, it will make a lot of difference. Sona called out the other judges of Indian Idol (Vishal Dadlani and Neha Kakkar) to stop engaging with Anu Malik. There are so many more girls out there, who probably don’t have the courage to speak up, but I hope they do someday. There are five women, who have accused him, so it can’t be baseless. It’s not just me screaming from the rooftops. His fellow judges should step down because it will send out a strong message. If someone like me, who comes from a gharana of music, is treated this way, one can imagine what must be happening to newer singers,” she says.

Shweta adds, “Even back then, when it happened, I was shocked because I was the one suffering. Our mentality is to blame and question the woman when things like these happen.” She feels that this also brings out the underlying hypocrisy that exists within the music industry. “Surprisingly, people from the film industry have reached out to me, but no man from the music industry stood up for me,” she says. “Like me, Sona, too, is a victim of harassment. Chinmayee (Sripaada) is also actively involved with the movement. It’s very eerie and shows what kind of music industry we work in. It’s shameful. I’m not asking anyone to fight for me, but even when you look at Bollywood, in some cases, even the family of the accused has tweeted in solidarity with the victims. I’ve been here for 20 years and these are the kind of people I’m working with. It’s sad and shocking for me.”

Lyricist Sameer Anjaan has called her accusations ‘baseless’. Shweta says, “There are several mistakes in what he’s written. Why am I fighting this battle? Am I not fighting for their daughters’ future as well? Both, Anu and Sameer, have two daughters each, so this fight is also to ensure that they don’t face such harassment at the workplace.”

Does she plan to lodge a formal police complaint? “I’m in Italy right now and I will be in London after this, for concerts. Once I’m back in India, I will meet the women who are supporting other girls in the #MeToo Movement. That’s when I will know what the situation is like and what my next move should be. Right now, a lot of cases have been coming out. I have to understand the case better because I was a minor when this incident happened,” she concludes.