A Song Of Protest: Credit De Do Yaar, Or Why It Is Proper To Credit Bollywood Lyricists For Their Work

One of the frugal pleasures of growing up in 1970s small-town India was listening to the portable transistor radio. The transistor – as it was referred to by most of us – served as a versatile companion in the kitchen, a knowledge enhancer at sports stadiums and an engineer of debates around politics. Both indoors and outdoors, the transistor was an informer and an entertainer; an all-purpose comfort pillow for every reason.

- Avijit.Ghosh

The transistor was also a seamless repository of film songs, which formed a staple for Vividh Bharati, the entertainment channel of All India Radio (AIR). On every music request programme, the compere took care to mention the names of the film, the composer, the songwriter and the singer. Even the redoubtable Ameen Sayani on Radio Ceylon’s weekly countdown show of chartbusters, Binaca Geetmala, would always acknowledge the trio who create, nurture and deliver a song.

The norm of crediting everyone started in the 1950s after poet Sahir Ludhianvi urged AIR to include the name of the lyricist whenever they play a track. The new custom had a bunch of positive side-effects. The song became a passport of identity for the artistes. With the passage of time, their names were hardwired in the listener’s head and became part of his music archive. Poets such as Sahir or Shailendra were already stars in the mushaira and kavi sammelan circuits. But the practice added to the popularity of lesser-heard songwriters as well.