Crooning away to hammy songs, exemplifying patriarchal and misogynist perspectives imbued with a tweaked approach, the singers of this millennium often end up being the maverick whom the party busters would like to take after. In an attempt at limning snippets which would entice and unleash an unbridled titillation, these post-modern maestros are often seen tripping the light fantastic toe amidst luscious girls.
Reading into the pervading cult, one might end up concluding that a song ends up becoming a hit, less due to the music but more due to the ingredients it portrays. For instance, Honey Singh’s Chaar bottle Vodka, has nothing to do with music or lyrical ingenuity. The ceaseless focus on vodka and the character’s penchant for a hangover is everything that the song has to serve on a platter.
Cracking down upon the newfangled fetish for party songs- that renders a monochromatic definition of partying where in crumby and sleazy numbers reverberate cubicles exclusively earmarked for eccentric people who think taking to binge drinking and humming to flimsy songs would let them off the surging humdrum and fetch them the state of Nirvana- All India Bakchod brings forth a rib-tickling video, taking a dig at the seamy item numbers.
“same old party song…cliched party song…same old shit let’s sing along..”- AIB party song
AIB’s party song lampoons the fad at the very beginning of it, with Irfan Khan chipping in a colloquial take on the new-donned culture. Letting loose his swag, he puts up his take on Bollywood party songs, ” Nangi Ladkiya dekho…sharab warab pheko..” At the very first attempt at discerning his notion one might be left stupefied at his eccentricity and daft remark, but if mulled over for a considerable stint one might get an inkling of the nuances of his views.
With a series of cases plaguing the tenets of equality and popularizing the cult of catcalling in India, we, the citizenry of a civilized society have often tried to scuttle the pervading misogyny and deconstruction of art forms like movies or music. However, despite our growing disenchantment, we often end up attuning to the popular cult.
Further, while paging through the recent trend, one might be taken aback at the recent dabangification of film-making. A legion of post-modern filmmakers in India have taken to a ready-made formula wherein a song turns out to be the trump card fixating the destiny of the movie.
Films like- Student of the year, Boss, Chennai Express, Yaariyan, Ragini MMS, Shaukeen etc illustrate the tenets of the trick thus fleshing out the nuances of the coveted trick–which is filming a flamboyant number that would bear everything except for artistry and lyrical acumen.
Keeping aside the brouhaha raveled out by the video, one requires to have a more nuanced stance on the new found cult. It would be an abrupt inference to hold the permeating party culture as the sole reason propelling a demented social construct, but at the same time party songs have in a way deconstructed the artistic eccentricity a filmmaker requires to wield. Therefore, even though it might be an affordable trick to garner money, one mustn’t be tricked by its fallacy which might end up impeding ones artistic prowess.