Not so Honey Singh

We all are familiar with the rags to riches tale of a mundane Punjabi rap singer who
at present is the face of the coeval music dominating the Indian music industry.
With both of his hands full of ample caviar thats consist of film songs, music albums
and peppy singles, Hirdesh Singh better known by his stage name Yo Yo Honey
Singh is the voice thats the soul of every cinema, party or car that might have just
sped by oneself turning around the curb. Claiming his form of music to be hip, men,
women and children are all purchasing the Yo Yo merchandize, making Honey
Singh a breathtaking trend of the modern times.
And why shouldnt we? We should definitely accord a chance of improvement to the
chauvinist man who kick started his career with derogatory songs that comprised of
abhorrent lyrics that imparted his abominable approach towards women. What
followed the release of such songs was naught shame and nil regret, rather an
outspoken strident proof of the prevalent patriarchal society who continued his
contaminated expedition against women in the form of more abounding verses.
When such an unjustifiably rebellious person along with his works that are backed
up by reprehensible motifs should be forgotten with time with his perspective being
omitted from the society, the populous accepted him warmly thus not only
endorsing his views but also hyping his presence to an elite stature.
Next we know that Honey Singh is singing and producing movies for the top notch
Bollywood films such as Cocktail, Chennai Express and the recently released
Boss, with the industry dousing him with creative control of diverse and plentiful
project crowning him as the highest paid musical artist in Bollywood.
The consummate of the contemporary times is a definition so sordid thats arduous
to digest. And when such a definition is the depiction of the present day music
scenario continuously flinging songs in the form of soundtrack and singles, its quite
hard to elude it.
Yo Yo Honey Singh is a very accepted, dominantly prevailing household name now a
days.
But the question of the hour is whether his glorious rise to fame, name and acclaim
changed his perception?
His latest single Blue Eyes is the answer to this question. The song, though being
considered as a candid number is nothing more than a fashionable form of
commercialized insult towards women. The tone of the song is dominant in nature,
an actuality fairly evident from the attentive dissection of the lines, Meri aakhon
mein dekha kar jab main baat karta hun. The lines in question carry off themselves
reeking with the characteristics of a man who has a minimal potential to accept a

denial to his orders. The next instance that s an ode to Mr. Singhs perspective is
when the following lines are mouthed by the singer, You decide ki kya karna hai,
tujhko to zara sa bhi darr na hai. When one listens to the very line, he/she gets the
intuition that the singer wants women to fear something perhaps the orthodox
barricades of the social norms that flourish within his brain. Padhne likhne ka na
tera koi plan hai these lines depict that the protagonist of the song is quite
sarcastically obsessed with his girls education and he possesses the qualities of the
court of law when it comes to passing judgments.
Seriously Mr. Honey Singh? You still cant get your attitude towards women right?
The legitimate truth is that Honey Singhs music is quite blunt to the core
comprising of lyrics that are vague and insignificant and backed by vocals that are
subpar. To overshadow such fallacies Honey Singh succumbs to the act of flinging
sarcastic verses on women, a gender that he so eminently disrespects. If the
masses are providing oxygen to this degenerated flame conjuring an inferno out of
it, theres actually something wrong with them too.
For unlike the name, the songs are actually more like bitter and not so Honey
Singh.

End.