But what made Honey Singh accessible to millions were his Bollywood outings such as Cocktail’s Angrezi Beat Te. 1) and if the title wasn’t an indication enough the lyrics, too brazen by any stretch of imagination, go something like: Aja teri ch**t maroon, Tere sar se ch****y ka bhoot utaroon, Ch*****7 ke baad tujhe joote maroon, Tere mooh mein apna l***a de ke m***h maroon (Come let me f*** you till the thought of making love leaves your mind, Beat you with my shoe after I f**k you and then I’ll shove my d**k in your mouth and j**k off). One of his first independent songs is called Ch**t Vol. Bollywood’s embrace of him has made an obscure underground rapper into a bona fide playback star. In the middle of this kind of mindset comes an artist such as Yo Yo Honey Singh whose songs have been nothing but a blatant glorification of misogyny at its crudest. In Prem Nagar (1974), the hero, a bit of a playboy with a drinking problem nevertheless beats a rich man to a pulp for overpowering a woman and tells him “ Jab tak auraat haan na bole paas naa aana” (till a woman says yes, don’t come anywhere close.) Today the hero could be a policeman ( Rowdy Rathore, Dabangg) a college student ( Dil, Hero No.1) or working professional ( Hum Tum, Deewana Mujhsa Nahin) or a happy-go-lucky dhaba owner ( Dulhe Raja) but he always thinks it to be his right to pester the heroine by every means possible till she falls in love with him. Once the Bollywood heroine told the man she loved that she was not his slave as in the song Bindiya chamkegi from Do Raaste (1969 ) where she sings Maine tujhse mohabbat ki hai, gulaami nahin ki balamaa. In fact you wonder how could someone actually think of a crime as gruesome as rape in a way other than what it really means? When viewed in the wake of the recent Delhi gang rape the seemingly innocent ‘ Chamatkar-Balatkar’ gag from 3 Idiots (2009) doesn’t seem so funny.
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