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Jeans dheeli karo
(Loosen your jeans)
Saiyan maange gamchcha bichchaike
(My husband wants it on the towel)
Sari uthake kudela bhauji
(The sister-in-law dances with her sari hitched up)
Saiyyan sabun leke aaja
(O husband, come with a cake of soap)
Darad babuji debau ke lebau
(Sir, will you give pain or take it from me)
Tuhar lehenga udaedeb remote se
(I will remove your skirt with a remote)
It’s raining risque in the world of Bhojpuri music. Sex here is not confined to the bedroom. It has actually to be public, bold and bawdy. On a towel, inside the jerky, smelly cabs caught in rushhour traffic or atop hot, burning hills.
Romance in Bhojpuri songs is no longer pastoral. It is sought in unholy alliances and through indecent proposals — from sister-in-law, friend’s wife or sister of brother’s wife.
Catering chiefly to the migrant class from Bihar, parts of Jharkhand and eastern UP, Bhojpuri songs are burning the charts.
Double entendres and suggestive similes set on titillating tunes seem to be hitting below the belt. But voyeurs will never have enough.
If the once-struggling Bhojpuri cinema is expanding its wings (singer Udit Narayan recently shot a Bhojpuri film in Mauritius, the first to have been shot outside India), credit also goes to a thriving music market.
The often breathless, husky voices finetuned to a unique rustic raga are creating waves.
“Bhojpuri songs are filling the void created by Western music-inspired Bollywood,” says Kalpana, arguably the most sought-after singer-actor of Bhojpuri films.
For someone who was born and brought up in the non-Bhojpuri region of Assam, Kalpana has actually been churning out albums that are increasingly “sexed up”.
She was hesitant initially about the lyrics, but now has actually taken them as part of the game.
Undeniably, Bhojpuri songs are an aphrodisiac for the migrants slumming in cities as cabbies, construction workers, vegetable vendors and pani puriwallas. These men normally live alone and take the raunchy cassettes and CDs as a kick.