Kavi Ki Kalpana Dekho..!

Everytime I heard Munni, I would be amazed at both, the audacity with which the lyricist thought of and the lack of vocabulary with which he chose the phrase “Zandu balm” to convey what Munni becomes for her darling! The song, celebrated as one of the best item numbers in recent years, is filled with such ‘poetic’ gems – “Popat na jaane mere peeche Saifu….”; “tu atom bomb hui” to quote a few.

Is this degeneration of poetry? Coming of age of slang in cinema? Or a sheer disgrace?

Whatever it is, it is the reality. And it is working. Remember, there was a time when any bollywood album was not complete without the infamous mention of a choli, khatiya or takiya. History is repeating itself. Only this time, the words are shittier – literally.

As someone who has taken writing seriously, I love to weigh my words even in emails. My professor told me once to imagine the expression of the reader as he or she reads what I have written. So I believe the today’s lyricsts are visualizing puking faces and embarassed grins! For what on earth are they expecting in reaction to “Potty be baithe nanga”. With all the endorsement of openness and sexuality in recent cinema, it seems like even potty is coming out of the closet!.. Please, no!

The bigger problem I have with the Potty-nanga number, is that it aims to rehash a classic and reduces it to instant gratification. Not only are Deepikas semi-clad jerky movements no comparison to the mad albeit rehearsed grooving of Zeenat Aman – the lyrical “improvisations” in the song are the last nail in the coffin. Shameful, scornful and embarrassing, the songs lyrics show how superficial niceties are merely a prelude to the hidden exploitation - “Aaj chair kheech raha hai, kal skirt kheechega!” So, lyrically I wonder, if todays lyrics say - "aaj skirt kheech raha hai," what are we leaving for tomorrow? Or are we going to leave anything to imagination at all?

The line between poetry and lyrics has always been blurred in Hindi Cinema – from Ghalibs lines being used in film ghazals to some of the lyricisit getting poetic recognitions – we’ve seen it all. Unlike the west – where the line has been clear - Poetry being the haven for subtlety and restraint and lyrics being literal and ephemeral. So if Enrique Iglesias makes a number called “Tonight I’m f***ing you” it doesn’t surprise me. It passes off as a ‘natural’ progression. But what about mera bharat mahaan?

Just like everything, the influence of the western culture seems to have entered our content. Our expression seems more direct. If one chose to calculate one might realize that 50 percent of content on MTV roadies is beeps. The guy who punches the beeps into the AV, would make a lot of money, if he were on a ‘per punch’ rate. And the so called ‘reality’ is entering our music – early examples being “Ae ganpat, chal daaru laa” and “Aati kya Khandala” – which passed off as cute comic relief at that time, but inevitably paved way for a lot of slang to pass off as lyrics.

If the ghost of the yesteryears yearned to say “aaja re.. mai toh kab se khadi hu is paar, ye ankhiya thak gayi panth nihaar”, or “kahin deep jale kahin dil” - today she simply snaps– “bhoot hoon mai” – take it or leave it!

Even romance is not so subtle and a guy is no more saying “chandan sa badan” or even “Jaane kyu log pyaar karte hai”; today he is a go-getter “Peeloon.. Hai Peena ka Mausam”

But it isn’t hopeless yet. Every once in a while comes a number like “Pankhon ko” or “Dil toh bacha hai ji” – which rules hearts and charts alike. No, I’m not a fan of the Aks and Uns school of lyrics, but let’s not push meaning and interpretation into oblivion. I heave a sigh of relief, and live with the fact that these poetic gems are few and far between.

A common SMS making the rounds says life was much easier when apples and blackberries were only fruits. Likewise, lyrics were much better when Zandu Balm was just a Balm.