Elsworth, C. (2009, February 23). Oscars 2009: Slumdog Millionaire wins eight Academy Awards including best picture and best director. Telegraph.co.uk.
After thorough analysis and research it is clear to see that there has been a truly drastic transformation of Bollywood music, distinct from “the golden age”. Western music has had an apparent impact on this new form of Bollywood, as there has been a high pressure for Bollywood music to appeal to its other audience members. Looking to the future, I have suggestions for further study and questions that have gone unanswered. Although through these various case studies we can see the influence of English music on contemporary Bollywood music, what is the process that goes into song production and how does Western music play a role in this process? As well, marketing is a key aspect to item songs, the use of English singers in Bollywood music, and the use of product placement within song lyrics and music videos. In what way does the quality of music affect these marketing strategies? And lastly, is there a formula or certain characteristics that ensure the songs from a Bollywood movie will be a hit in North America? Which of the strategies mentioned have worked the best and in what circumstances? These are all questions that delve further into the issue of the transforming Bollywood music for the West.
It is undeniable that there has been a significant change in the Bollywood music from its signature style. Although I do believe that many times this means that the genre of Bollywood music is lost in its many influences, this is not always the case. In many instances, the use of other genres of music such as rock and roll, dance, hip-hop and so on have served Bollywood well. These fresh new inspirations have allowed Bollywood to transform into a revised genre. This trend toward a “new Bollywood” is also apparent in the selection of singers. A film will no longer only use one singer and one songwriter. Due to the popularity of YouTube and the accessibility to new talent, it is easier than ever before to find skilled musicians. Some may argue that it is inevitable for Bollywood to change with the times and take influences from Western music, and I am not suggesting Bollywood fossilize itself and become stuck in the past. I am suggesting that the genre of Bollywood music is not just changing but it is becoming lost. Due to the increased number of collaborations, international influences and the need to appeal to a global audience, Bollywood music has become a difficult term to define.
What is the logic behind this shift? How have music producers and composers appealed to a wider audience? Other than the mentioned change in lyrics and musical form of songs, there also has been an increase in the use of English singers (and sometimes actors) in Bollywood songs. A good recent example of this is Akon’s songs in the Bollywood film “Ra One”, the most popular being “Chammak Challo”. By using a popular Western artist such as Akon, singing in Hindi, the music appeals to audiences all around the world who know Akon’s music. Another example is Snoop Dog featured in the title song for “Singh is Kingg”. Having Snoop Dog as a rapper for a Bollywood song is a clear indication of something changing. Not only was this a publicity move, using a celebrity, but it also shows a change in Bollywood music. Using popular English singers to feature in a Bollywood song is a sign of collaboration but more importantly of a move toward Westernized music.
What is the logic behind this shift? How have music producers and composers appealed to a wider audience? Other than the mentioned change in lyrics and musical form of songs, there also has been an increase in the use of English singers (and sometimes actors) in Bollywood songs. A good recent example of this is Akon’s songs in the Bollywood film “Ra One”, the most popular being “Chammak Challo”. By using a popular Western artist such as Akon, singing in Hindi, the music appeals to audiences all around the world who know Akon’s music. Another example is Snoop Dog featured in the title song for “Singh is Kingg”. Having Snoop Dog as a rapper for a Bollywood song is a clear indication of something changing. Not only was this a publicity move, using a celebrity, but it also shows a change in Bollywood music. Using popular English singers to feature in a Bollywood song is a sign of collaboration but more importantly of a move toward Westernized music.
Not only has “inspiration” been taken from Western songs in Bollywood songs today or has Bollywood music aimed to please Western audiences but also in many circumstances Hindi songs have been outright copied from English songs. The example that I will be using to demonstrate this is the recent song “Hookah Bar” from the film Khiladi 786. The sequence from the beginning and the end of the song are almost identical to the beat in Chris Brown’s “Turn up the Music”. This example is one of many; in other cases where the melodies of entire songs are copied or entire song lyrics are copied from English songs. This demonstrates the lack of creativity in Bollywood today and the need to “borrow” material from other songs. As well this song is a clear example of the use of vice in Indian songs today as well as “mumbo jumbo” lyrics. The main line of the song “tera pyar pyar pyar, hookah bar bar bar” translates to “your love love love, is like a hookah bar bar bar”. Again, this does not indicate any true meaning or use of poetic language. The song is undoubtedly catchy, but would not be considered a well-composed song with brilliant lyrics by any means.
As demonstrated, Bollywood music has experienced a decline in quality in terms of senseless lyrics, the use of product placement, sexual connotations and references to vices such as drinking, smoking and sex. This transformation into a “new” Bollywood can be correlated to a new demand from North America’s mainstream. By adapting this style of carefree lyrics and references to sex and drugs, Bollywood music may be attempting to appeal to their newfound audience by providing what is believed to be aspects of being enjoyed by North Americans. Although this type of Bollywood music is selling well in North America, I fear that this will not be able to be kept up for too long. The reason people enjoy Bollywood music is because it offers something new, fresh and exciting. By dumbing down lyrics and adopting a Westernized approach to music, Bollywood is losing it’s touch.
The second example is the incredibly popular item song “Munni Badnam Hui” from the film Dabangg released in 2010. The song is sung by Mamta Sharma and Aishwarya Nigam, with music by Lalit Pandit. To clarify, an item song is a upbeat, catchy musical performance that often has little to do with the movie but is used to market the film, often featuring a popular Bollywood actress in revealing clothing, oftentimes dancing for a group of men (Grant 2006). The raunchy nature of the song contributes to the scene that is set in the song of being on a street in Mumbai, and at a grungy local bar. The lyrics of this song also reflect this ambience as they are sexually explicit and in many ways nonsensical. The main line of the chorus “munni badham hui, darling tere liye” translates to “I have lost my innocence (or purity) for you my darling”. This may not come as a shock as many English songs today contain explicit sexual references, much more extreme than the ones in this song, but for Bollywood this is extremely significant as Hindi music has been vey conservative in the past. As well, throughout the entire song there are constant sexual references as reflected in the dance and dress of the actress in the video.
Another key aspect to this song is its use of product placement. The product Zandu Balm, a pain relieving balm, is mentioned several times in the song in quite a blatant way (Himatsingka 2010). The lyric “meh Zandu Balm hui, darling there liye”, as in the chorus translates to “I have become Zandu Balm, for you my darling”. Although this can be seen as a sexual innuendo, the use of “Zandu Balm” is not integral to the meaning and is clearly only put in the song as a marketing technique.
Overall, the sexual nature of the lyrics as well as the use of product placement indicates an aim to sell and entertain rather than to create a beautiful musical piece. As quoted by the lyricist of “Munni Badnam Hui”, “[t]hey are amusement numbers. I have heard some people call ‘Munni Badnaam Hui’ (Dabangg) a folk song. What is folk music? Please do not abuse folk. Folk is the music of the people, by the people and for the people. It’s a collective art form… Where does ‘Munni Badnaam Hui’ reflect that?” (Ayaz 2013). As illustrated in this quote, the song clearly is a song for pure amusement and does not reflect the ideals, emotions or life struggles of people. This is far from a folk song and has been created to sell the film, and evidently Zandu Balm. The question here remains if this movement away from folk and more toward raunchy, sexual, pleasure based songs is a reflection of Bollywood’s need to please a wider, Western audience.
By incorporating Bollywood into the mainstream, a whole new arena for Hindi music has been opened in the West. What does this mean for Bollywood music today? It means that the audience has changed and therefore the product has changed as well. Not only does Bollywood music have to cater to audiences in South Asia but it now also has to appeal to audiences worldwide. This new audience means that Bollywood, including their music must adapt to the mainstream in different parts of the world, while still remaining unique and entertaining. According to Priya Joshi (2010), “in many ways, the germane issues is not the influx of Bombay cinema en masse into America’s screens but rather the specific form from Bombay that have been able to capture the interest of mainstream audiences in the US.” So the question remains, what type of Bollywood attracts the attention of North American viewers? How has Bollywood music changed to accommodate its new viewers? Has anything been compromised?
Here I will focus on key examples of the decline of contemporary Bollywood music in four main areas: lyrics, product placement, quality of sound sexualization of the music itself and the video. The first example is the song “Party on my Mind” from the movie Race 2 released this year, sung by KK, Yo Yo Honey Singh, Shefali Alvares and composed by director Pritam. The song uses influences from Western dance and techno music as it has a very synthesized sound. This may primarily be due to the use of auto tune for both the male and female voices. In many ways this makes the song sound very electronic instead of the raw, delicate and rich as seen in traditional Bollywood music. As well, the lyrics contain many English phrases and words that are integrated into the Hindi lyrics. Here is the first verse of the song:
Maine pehne party shoes (I’ve worn my party shoes)
Gonna let my body loose
Karli hai thodi booze (I’ve drank a little booze)
Let’s party on my mind
Hai horsey horsey ride
Cause Saturday hai night (It’s Saturday night)
Aur music bhi hai right (the music is just right)
Let’s party on my mind
In this first verse, it is evident that English words such as “booze”, “Saturday” and “shoes” as well as the re-occurring phrase “let’s party on my mind” are integral to the chorus and the song as a whole. As well, many of the lines of the verse are nonsensical and do not contribute to an overarching message, such as “hai horsey horsey ride” or “let’s party on mind”. The lyrics overall do not contain any deep meaning nor do they use metaphors or creative imagery as is seen in many older Bollywood songs.
This carefree dance song is not expertly produced, as it is heavily reliant on auto tune and music borrowed from other styles such as dance or electronic music without any real use of signature Bollywood sounds or instruments. As well, the lyrics do not convey any other meaning except that of the enjoyment of partying, dancing and drinking. This type of song is not inherent to Bollywood as many songs in the past have typically been about struggle, love or romance. This genre of a dance song based primarily on having a good time, drinking and being carefree is typically seen in many English songs today. I would argue that this genre of music had a direct influence on this song and if the lyrics were all in English it would be difficult to detect any hint of Bollywood within it.
It is undeniable that Bollywood has quickly become an international phenomenon enjoyed by people all over the world. Many Bollywood movies are played in theatres in North America and its music is readily available on the Internet and in stores. Top grossing Indian films in the U.S include Monsoon Wedding (2001) grossing $13.9 million, Bride and Prejudice (2004) grossing at $6.6 and Khabi Kushi Khabi Gham as $3.1 million (Joshi 2010). What has been the source of success for these films and what role did music play in this success? The film that was instrumental in bringing contemporary Bollywood music to North America was Slumdog Millionare, best known for its song “Jai Ho” released in 2008. The film is an adaptation of the novel Q & A (2005) by Indian author Vikas Swarup. Set and filmed in India, the film tells the story of Jamal Malik, a young man from the Juhu slums of Mumbai, who appears on the show “Kon Banaga Karor Pati” (the Indian version of Who Wants to Be a Millionare) (Bradshaw 2009). Jamal unexpectedly does very well as his knowledge from the slums aids him in answering the questions as he has flashbacks of his experiences from the past. This film, was a huge hit in North America as it was nominated for 10 Academy Awards in 2009 and won eight, the most for any film of 2008, including Best Picture, Best Director, and Best Adapted Screenplay (Elsworth 2009).
The Slumdog Millionaire soundtrack was composed by A.R Rahman who won the 2009 Golden Globe Award for Best Original Score and won two Academy Awards, including Best Original Score and Best Original Song for Jai Ho. As well, the song “O… Saya” got a nomination and the song “Jai Ho” won the Oscar. Although the film’s music received immense success in North America, many argue that the songs are not “authentic” and have been transformed to cater to a North American audience.
Bollywood music has a very vivid past with singers such as Lata Mangeshkar, Asha Bhosle and Kishore Kumar defining Hindi music in the 60s and 70s (Arnold 2010). Each singer has a particular style that was not only defined by the vocals themselves but how they played into the movie they were apart of. For example, Asha Bhosle is well known for her “cabaret” style songs influenced by Western music that were played in movies such as “ O Mere Sona Re” from the film Teesri Manzil and “Chura liya hai tumne jo dil ko” from Yaadon Ki Baraat. Another singer with a distinct signature is Mohamed Rafi’s “Yahoo!” in “Chahe koi mujhe jungle kahen” from the film Junglee (Arnold 2010). These signatures have defined this time in Bollywood music in cinema and are still remembered today as the “Golden Ages” of Bollywood music. What are some musical signatures today? I would argue that today music is not defined by the singer or composer (unless it’s A.R Rahman of course) but rather the actors and the movie in which the song is played. One of the very few singers that have a distinct signature today is Rahat Fateh Ali Khan who has a Qawwali or ghazal style to his music, although would not be classified as a new singer by any means. These “signatures” of the past have made those times extremely unique and distinct which is lacking in Bollywood music today. It seems there is nothing new or special about the sound today, and therefore no real distinct signatures that define Bollywood music today or it’s characteristic sound.
The Golden Age of Bollywood Music 