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'Shakira Se Bhi Jyada...' bawdiness in Hindi lyrics reaches its apogee

May 21, 2011 07:04:42 PM IST
Enkayaar, Glamsham Editorial
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If Shakira were to hear how her famous song, 'Shake my hips' has been adopted by the world of Hindi cinema, she would also think twice before doing any such attempts in future. The song doing the rounds of FM Circuits, 'Shakira e Bhi Jyada tera hille Pagli... from the film NO PROBLEM has left it to the imagination of the public to conjure up images about what all can move in the body of a female and what kind of repercussions it could have once the song hits the country.

In the same manner, Jaideep Sahni, who had emerged as a the consciousness of the middle class, reached his nadir through the song 'Dum Maaro Dum from DUM MAARO DUM, with the lyrics 'Oonche se ooncha Banda potty pe baitha nanga... well, how else does one sit on the potty, and what is the connection of such kind of lines to the spirit of ecstasy that the remix version of the song 'Dum Maaro Dum', wanted to communicate. May be, it was owing to such repulsive lines in the lyrics that the remixed version of Dum Maaro Dum could not catch the imagination of the public of the country, in any manner, as the original song by Pancham from HARE RAMA HARE KRISHNA. In the same way Mallika Sherawat also tried to woo the audience 'Allah Bachaye meri jaan ke Razia Gundo mein phas gayee...' from THANK YOU. It seems that in the zeal to stand out, blue murder is being committed in the name of creativity.

Raunchiness in the Hindi film as a component through the song has been a part of the tradition and this tradition has been given a poetic license in the form of its association with one of the most important festivals of the country Holi, but the manner in which it has become blaze, crass, has surpassed all limits. The attempts of the song writers to deliver a punch on the nose through lyrics of such kind do not gel with the audience. In fact, raunchiness was genre but it was done in a rather subtle manner, as it was done in KHALNAYAK, with the famous song, 'Choli Ke peeche kya hai'. Indeed, from then on, the folk as a medium to show raunchy songs on the screen became a tradition, as it was also in the film KARAN ARJUN, 'Mujhko Ranaji Maaf karna'.

Aesthetics has to be the guiding principle in setting the tone for a lyrics and one cannot take shelter under the premise that it is the location that demands such kind of impacted and suggestive lyrics to let the audience soak in the ambience, but it is clear that the audience rejects such songs with same disdain and it indeed provides the song writers, the so-called experimenters of the present genre, to revisit the manner in which they are portraying the songs in the films these days. But the moot point is whether they would be listening, or would continue to get away with blue murder.

They need to ponder that music indeed becomes hit if there is an element of aesthetics woven as a basis to weave the miasma and let the listeners groove to the impact, otherwise it just has a life akin to that of an amoeba.

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