Samiksha Bhatnagar: Don’t know how songs with crass lyrics survive the censor board scissors

Actor Samiksha Bhatnagar thinks there should be an immediate check on such songs as they tend to disrespect and objectify women, and set a wrong example for the society.

Actor Samiksha Bhatnagar feels that party songs these days disrespect and objectify women with their lyrics loaded with sexual innuendo. The actor, who was last seen in Poster Boys (2017), points out that it’s time that the censor board takes notice of such songs.

Samiksha Bhatnagar was last seen in the Bollywood film Poster Boys (2017).

“Party songs don’t really need to be nasty or disrespectful, yet some are a bit abusive or have sexual innuendos,” says Samiksha, adding that she does not appreciate kids singing or dancing to such songs on reality shows.

“Four and five-year old kids belting out phrases like, ‘Hey, Sexy lady!’ or the immensely popular Starboy and Despacito tracks, which have filthy lyrics. Since when did this become okay? Sure, you might argue that kids don’t understand half the things that they say. But doesn’t it feel uncomfortable to hear a kindergartner singing or dancing to such lyrics?”

The actor further states that crass lyrics with double meaning and peppy music are what these songs are all about. “Be it the 90s hit Sarkai Lo Khatiya (Raja Babu; 1994), or the controversial Bhaag DK Bose (Delhi Belly; 2011), or the relatively recent Daddy Mummy Hai Nai Ghar Pe (Bhaag Johnny; 2015). I wonder how these songs survived the censor board scissors,” says the actor, who has done TV shows such as Veera, Devon Ke Dev...Mahadev and Uttaran, and also starred in Madhur Bhandarkar’s Calendar Girls (2015).

Samiksha feels that such songs misuse music, and pass on the wrong message to the younger generation. “As elders, we understand the difference between good and bad, but young souls who enjoy music, aren’t learning the right things. Music plays such a huge role in so many people’s lives, that if they hear their favourite artist saying offensive things and objectifying women, they’ll be just okay,” she opines referring to songs such as Laila Teri Le Legi (Shootout at Wadala; 2013) and Baby Marvake Maanegi (2017) as examples.

“As long as songs continue to portray women in a negative light, or in a way that encourages stereotypes and gender roles, people will continue to disrespect women without thinking about the consequences,” she signs off.

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