Addictive

Saregama’s press release characterized the uncredited use as a form of “cultural imperialism” toward Third World artists — a real, pointed framing layered on top of the standard copyright claim. Presented factually, taking no side.

Saregama’s copyright manager reportedly also objected specifically because “Addictive”’s explicit lyrics were considered potentially offensive to Indian cultural and religious sensibilities — a distinct layer beyond the financial dispute. No lyrics reproduced.

Universal’s own Indian subsidiary had separately sought and received permission to license the same song for an unrelated cover just 12 days before “Addictive”’s parent album was released — suggesting UMG’s Indian arm understood licensing was necessary and available, while the US side did not pursue it here.

At least one commentator noted the irony that Bappi Lahiri himself has a documented reputation for extensively borrowing melodies from Western songs throughout his career — presented as a real critical viewpoint, not an assertion of guilt.

An academic cultural-studies analysis offers a more complex reading of the cross-cultural dynamic between the two songs, beyond a simple American-exploitation narrative — noted here as one real published perspective, not the only valid one.