When Bollywood Met Misogyny
- GIRL UP JANAKI
- Nov 5, 2021
- 4 min read
By Siya Thakur
As the festive season approaches, Indians all across the world will start leading a dichotomic lifestyle. During the day, they will serve as ‘woke activists’, waging war with their words (read: tweets) and at night, they will be busting moves to the musical embodiments of ideas they previously claimed to reject.
Whether it’s on the roof at 3:00 in the morning or on a random Tuesday afternoon, we have all caught ourselves grooving to some of the most classic Bollywood songs. However, what we fail to realise is how deeply misogynist and sexist these numbers are.
For instance, Udit Narayan and Kavita Krishnamurthy’s ‘Tu cheez badi hai mast mast’ is a go-to party track. In fact, it has also managed to secure multiple remakes. Whether these were attempts to mask Bollywood’s inability to be original or an effort to ruin our childhood, we’ll never know. However, what we do know is that this song, which classifies as Hindustani Classical music, is a way to reinstate notions like the male gaze and objectification of women. It minimises women to the sole purpose of being sex objects created purely for the pleasure of men. The literal translation of the word ‘cheez’ is ‘thing’. This, therefore, makes it evident that the song was not created for the appreciation of women, but the gratification of men.
Another popular 90s hit is ‘Jaadu teri nazar’ by Udit Narayan. Apart from giving people named Kiran a life’s supply of embarrassment, the song has also managed to completely invalidate the idea of consent. The lyrics ‘Tu kisi aur ki ho na jana / Kuch bhi kar jaaonga main deewana’ portray women as the property of men, as if their primary goal in life is to belong to their male partners. By this time, the writers had already reinstated so many backwards notions that the demolition of the idea of consent seemed like the perfect way to end the chorus. The lyrics ‘Tu haan kar, ya naa kar / Tu hai meri… Kiran’ once again reiterates the fact that the song romanticises toxicity and patriarchy.
Some listeners may let the previously mentioned tracks slide since they were released in a ‘different' era. However, if it was the time period that was the problem, then surely our music industry is now sexism free, right? Wrong.
Let’s take a look at the progress of Bollywood music over the years:
2013 saw the release of the movie Phata Poster Nikhla Hero. Although this film was unable to secure its way to the box office, the soundtrack successfully got itself stuck in all our heads. One of the most popular beats on the album was ‘Tu mere agal bagal hai’ by Mika Singh. The lyrics of this melody read ‘Khali peeli khali peeli rokne ka nahin / Tera peechha karoon toh tokne ka nahin’. It quickly becomes evident that the lyrics of this song attempt to normalise stalking and harassment. Most girls are told that if a boy teases you (read: harasses you), he likes you. This song reiterates the same poisonous notions and thereby completely distorts the idea of a healthy relationship. Additionally taking a cue from Jaadu teri nazar, this song also showcases the idea of ownership. The lyrics ‘Haan tujhpe right mera / Tu hai delight mera’ are proof of the same.
2018 noticed the popularity of ‘Buzz’, a song by Badshah and Aastha Gill. Similar to the 2011 party favourite ‘Lak 28 kudi da 47 weight’ by Diljit Dosanjh and Yo Yo Honey Singh, this song also dictates the requirements for a perfect body. The lyrics ‘Jahan se hona chahiye wahi se hai tu thick’ express how a woman’s curves should be carefully catered such that they are able to please men.
2020 welcomed the remake of the 1995 blockbuster Coolie No. 1. Although IMDb ratings don’t apply to songs, a 1.3 is just what comes to mind when you hear ‘Teri bhabhi khadi hai’ by Neha Kakkar, Javed-Mohsin, and Dev Negi. ‘Bhabhi’ is one of the most precious terms in the Stud-universe. It is a mark of respect and a token of appreciation for men and a stamp of ownership for the women. This dated notion transforms women into the property of men, deeming them a trophy seeking to be won by men. The song is therefore used to reiterate these ideas only this time masked with a catchy beat.
The sheer fact that Bollywood music still comprises of such sexist and misogynistic ideologies even after 30 years, shows the lack of internal progress within the industry. The only difference in the music is the less cringe-worthy outfits and better camera quality; the rest remains the same.
Apart from the persistence of these backwards ideologies, there is another classic Bollywood feature that remains constant. This is that of ‘Item Songs’. Whether you want to show a sly business deal in an action movie or you need something to cut the tension in a chilling thriller, item numbers are a director’s best friend. These songs however create the most misogynistic sections of the music industry since their main purpose is to objectify women and romanticise the male gaze.
One of the most popular trends in such songs is the diabolical use of metaphors. In the 2012 hit ‘Fevicol se’ by Mamta Sharma and Wajid Ali, the lyrics read ‘main to tanduri murgi hoon yaar’. This absurd metaphor reduces women down to a grilled chicken which is essentially ready for consumption. Another similar track titled ‘Munni badnaam hui’ goes so far as to directly call the woman an ordinary item in the lyrics ‘item yeh aam hui’. Additionally, throughout the song, the woman is being ridiculed with such metaphors all for the man who in the song is referred to as ‘darling’. This, therefore, suggests that every action taken by the woman is in order to be desirable to the man thereby reinforcing sexism.
Bollywood music overall is filled with several such derogatory and demeaning numbers. When these tracks gain popularity, they quickly secure positions at the tip of every person’s tongue. The problem however arises when these lyrics slip out in the form of catcalling and harassment. Since the lyrics already romanticise misogyny and sexism, people feel free to take a cue from such songs and implement the same ideas in the form of actions. It is evident that these tracks can shape a person’s mind and can, as a result, mould society’s perception of women. It is therefore vital that Bollywood recovers from its creative slump and takes accountability for its actions.
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