Outrage Cycles And Obscene Songs: Why Bollywood Keeps Pushing Boundaries

Suggestive, and double-entendre lyrics in Bollywood have a long history, far predating recent controversies such as the 2026 backlash against the Sarke Chunar track. The industry has frequently used innuendo and suggestive language, often causing public debate, criticism, and calls for bans.

The 1980s-1990s era was marked by several hit songs that were, in retrospect, considered highly suggestive and notorious for their suggestive lyrics and that include, Hum to Tambu Mein Bambu), Sarkai Lo Khatiya, Main maal gaadi tu dhakka laga, Khada hai khada hai, Din mein leti hai, Chadh gaya upar re. Khalnayak’s Choli ke peeche kya hai was perhaps one of the most famous examples as it had a big banner and big names like Subhash Ghai, Madhuri Dixit and Sanjay Dutt attached to it. This song faced massive protests, with critics accusing it of vulgarity and the objectification of women. In 2000s-2010s: The trend continued with songs like Bhaag DK Bose (2011) and Dreamum Wakeupum (2012), which were criticised for blatant double-entendres and suggestive visuals.

Quite recently, Sarke Chunar featuring Nora Fatehi and Sanjay Dutt from the upcoming film KD: The Devil was removed from platforms after attracting a formal complaint regarding vulgar lyrics and inappropriate content. Sources say that the Ministry of Information and Broadcasting directed the Central Board of Film Certification (CBFC) to take strict action and ensure the removal of the song from all media platforms if the allegations are found to be valid.

Similarly, Badshah's Haryanvi song, Tateeree faced legal action and criticism for its "obscene" lyrics and “suggestive” video, it was removed from YouTube following intense backlash and legal complaints regarding allegations that the music video sexualized schoolgirls. The video, featuring students in uniform dancing in a classroom setting, drew criticism, leading the rapper to issue an apology.

The recurring debate highlights a continuous tension between commercial demands for catchy "item numbers" and evolving social standards regarding the objectification of women. While older songs often hid behind metaphors, modern songs are increasingly explicit, generally more direct in their suggestion, leading to intensified backlash often driven by social media.

Blaming the government and slamming the entire system, veteran lyricist Sameer Anjaan wonders – “What’s the point in banning songs in this digital age? Once something comes out, it will always be there. Why don’t the authorities, the government body which is the CBFC (Central Board of Film Certification) stop such songs before the release? Why ask artists, what is CBFC here for? What can people do if something has come into the market, and there are all kinds of people, there could be some who would want to see this stuff and enjoy it. Look at the content on OTT, it is replete of sex and cuss words, so when there is no censorship anywhere then why for movies and songs? If the government can’t censor OTT or digital content and has no control over something that is currently so widespread, then shut down CBFC,” says Sameer in an aggressive tone.

While the National Human Rights Commission (NHRC) issued a notice to CBFC over the alleged use of objectionable and double-meaning lyrics in the song, CBFC chairperson Prasoon Joshi’s in a statement clarified that -- “CBFC has not received any application seeking certification for the song Sarke Chunar from the film KD: The Devil." Joshi further added, “It is to be noted clearly that content on digital platforms is not certified by CBFC. There is often confusion about this, and CBFC is unnecessarily dragged into matters that are not connected."

Sameer is familiar with the scenario since he has courted such controversies in the past when some of his songs had come under scrutiny, one of those being Sarkai lo khatiya, the raunchy number picturised on Govinda and Karisma Kapoor from David Dhawan’s, Raja Babu. Back in 1994, this song was both a chartbuster as well as controversial. While the masses loved, the “intellectuals” criticised the lyrics.

Over three decades have passed and the lyricist seems to have not forgotten the controversy he was “dragged” into and still puts the blame on Dhawan.

"Definitely, its picturisation is very seductive, the dance movements are quite similar to Nora Fatehi’s moves in Sarke Chunar. Choli Ke Peeche and Sarkai lo Khatiya were cleared by CBFC, how could they do it? The government should have penalised the CBFC chairperson then. Why accuse the writer? It is not in our hands. We don’t go on shoots, after release I saw the visuals and the song and by then everybody had seen it. I don’t have any control, I can’t tell David Dhawan or the producer that you don’t picturise in a vulgar way, I am not an authority. My job is only to write songs,” says Sameer.

Similar is the case in the current controversy around Nora Fatehi’s song as lyricist Raqueeb Alam broke his silence by revealing that he was persuaded by the makers to write the 'vulgar' lyrics blaming the film's director Prem for courting controversy. While The Devil director defending the song said, ‘I Mean No Harm’, his wife Rakshitha further defended him, questioning 'selective outrage' over such songs. ‘When songs like Peelings, Dreamum Wakeupum, or Choli ke Peeche or 100s like these came out it seemed fine. When an entire film came out talking about how the actors just spoke about having sexual intercourse throughout the film it seemed fine but one song creates massive news. still not justifying, just asking so I can understand this’, Rakshit posted on social media.

Meanwhile, Nora Fatehi washed her hands off saying that she had no idea about the inappropriate lyrics after it was translated from Kannada to Hindi to which well-known poet and lyricist A M Turaz says, “Actors are also to be blamed, it is also Nora Fatehi and Sanjay Dutt’s fault, can’t they see it. Are they both stupid? They are very smart and rich people. Also, CBFC gets influenced by big makers, and big heroes. Otherwise such content or visuals should not be passed by CBFC, it should be cut, I am totally against it. Vulgarity has no scope in art. Art is not vulgarity.” Turaz has penned many famous songs for director Sanjay Leela Bhansali like Ghoomer, Khalibali and Binte Dil from Padmaavat.

Singer-lyricist Priya Saraiya agrees with Sameer. “Sometimes after the song is written and recorded it is all fine but due to titillating choreography and the hook step it appears obscene. How is the woman’s body shown and presented? I have a problem over there,” says Saraiya, one of whose recent popular works, include, the Mere Mehboob song from Vicky Vidya Ka Woh Wala Video that was picturised on Rajkummar Rao and Tripti Dimri.

“Mere Mehboob is an item song, it is semi-classical with a ghazal feel to it, there are no double meaning lyrics in it. Or look at Aaj Ki Raat written by Amitabh Bhattacharya, again it has that ghazal feel and deep romantic mood but no double meaning lyrics. Now people are more aware. Today we are careful about what we are writing and we are not always catering to the demand of makers. Earlier, in the 80’s or 90’s there was a kind of trend of double meaning songs,” says Saraiya.

“Choli Ke Peeche, Mungda, Chhat pe khada tha behnoi …all these songs have origins of folk music which can be a bit sensual, then in marriages in North India, songs sung are quite suggestive and naughty with even cuss words thrown into it. This is part of folk culture, so nothing can be done about it, who do you go to complain to?” Saraiya further adds.

Most lyricists are against any kind of censorship, instead they feel imposing self-regulation or self-censorship is the best way to avoid double-entendre in music, driven by fears of backlash, censorship, or a desire for broader, "cleaner" appeal. However, while self-censorship is a powerful tool to prevent, or dilute double entendre, it frequently comes at the cost of authentic artistic expression and creativity. Artists may self-censor by altering lyrics or themes to avoid controversy but it can diminish the original artistic message. Self-censorship is often not driven by direct orders, but by fear of negative reception, resulting in artists acting as their own regulators.

“Look, sometimes there is demand for a script, say for an adult movie, or there is a love-making scene then the writer has to fulfil that demand, it is an individual choice,” says Saraiya. “I have written songs like Aaja lip-lock karle (sung by Mika) about 10 years back but today I may refuse to write such lyrics. All of us evolve …now I am a mother and I know the consequences, you never know your child might participate in some dance competition where this song is played. Today Shreya (Ghoshal, prominent playback singer) may not agree to sing a song like Chikni Chameli …” adds Saraiya.

Turaz adds, “I try my best to avoid writing suggestive songs but sometimes director-producers insist, they become adamant and we can’t leave the film and walk out. Writers don’t have any other job, this is our only livelihood, actors have several other resources to earn money. We get limited money in which we lead our life, we can’t do business out of that money. But yes, there are many films I refused because of double meaning lyrics.”

And the best way to deal with the “sticky” situation is to write “cleverly,” say certain writers.

Well-known screen-writer, lyricist and director Mayur Puri explains - “Anand Bakshi wrote Choli ke peeche kya hai and in the immediate next line he said - Choli mein dil hai mera… now that is justified, it is a poetic expression. My own song, Dil garden garden ho gaya bhawra bagiyan mein kho gaya... dekha jabse tujhe hai jaani ho gaya main paani paani dil ka visarjan ho gaya… the song has a deep meaning and it has all the sexual innuendos and suggestive lines in the song but this is not direct. Those who want to understand what is being said and if a 10-year-old child sings it because he or she finds it fun with no buri bhavna (bad intentions) …so there is a way to do it. When you are doing suggestive work, or something of adult nature or obvious then to save it from vulgarity and obscenity you have to be clever in writing, you can avoid writing directly. Anand Bakshi would often pen good poetry for these situations,” says Puri.

Citing yet another example of a song written by Bakshi from Subhash Ghai’s 1982-release Vidhaata, Puri says, “Now the song - Saat saheliyan khadi khadi is indirect. Whoever wanted to understand understood its meaning but if children are humming and it is not sounding awkward then there’s no problem. An artist can write on any subject but they must observe self-censorship,” says Puri, who believes that people’s outrage is very selective.

“If Gulzar Saab writes -”Zabaan pe laga namak ishq ka (Omkara) we know what he is talking about but we don’t call it obscene or vulgar because it is written by a very respectful artist, he is a great poet. He doesn’t need anything to prove his art or kala. But where did that respect come from? That is because he writes in a poetic fashion, he didn’t write Khada hai Khada hai,” says Puri.

Puri further gives an example of the controversial song DK Bose written by esteemed lyricist Amitabh Bhattacharya. “There is both direct and indirect reference in this song. There was no connection of that song with the film, there is no such character, hence people immediately understood that the song was made just for attention to make it a hit. When it is done directly it doesn’t sound good like the one done in Sarke Chunar... its lyrics are very direct, it sounds vulgar. In poetry such sexual innuendos should not be direct. But yes, there is a thin line between vulgarity and obscenity, it is difficult to judge, it can be subjective. I also believe that artists cannot just throw up their hands and say I will do what I want to. If you expect society to love and respect you then you too have a responsibility, you can’t do cheap tricks,” says Puri.

Every society, community deserves the entertainment it gets, art and culture is a mirror to society say the writers in unison. However, with changing times, item numbers have dwindled and people’s taste in music has evolved and therefore ceratain songs were rejected downright.

“Recently, a song was downright rejected. The best punishment that you can give an artist is to ignore their work. But instead, we reward them by giving more traction. The blame goes to both the audience and creator... As an artist I am against any kind of censorship and for many years I used to believe that art is for art’s sake and people should never tell an artist what he should do or what he shouldn’t. The best punishment that you can give an artist is to ignore their work. But instead, we reward them by giving more traction. The blame goes to both audience and creator... But now I believe with maturity that an artist cannot just throw up his hands and say I will do what I want to, I don’t want to do anything with society. They also have the responsibility towards people. If you expect society to love and respect you then you too have a responsibility of doing that kind of work and don’t do such cheap tricks. Such things should not happen but if it does happen then it is a mirror to society," Puri says.

“I don’t think we should take a moral stand on it. Society will have to raise its intellect. Art is also market-driven. Writer writes not for his happiness, he doesn’t preserve his art at home, it is because somebody is giving them money in the market, we don’t write for dharm or daan. Is samasya ka samadhan (solution to this problem) lies in the market only and not outside. Writers are writing such lyrics because it is selling but we also have some social responsibility towards people. My songs like Bheegi bheegi or Teri Ore have got me a lot of royalty all these years and this will continue even after 50 years which a song with vulgar lyrics won’t,” says Puri.

Saraiya, too, sounds hopeful, however, she has a different take, as she says, “I feel that every song has its own audience. Item songs are slowly diminishing and with a lot of awareness, we, writers are also very careful. Earlier, in the 80’s or 90’s there was a kind of trend of this kind of songs and lyrics but today Bollywood is not the only source of music,” says Saraiya.