The TC at Disco Station

The TC at Disco Station

Many things considered basic-ditching or obscene in their time – the Yankees were preferred by many who are not the cultural elite – often ironically in later times and retrieved by said elites through the safe distance of the camp. goes. Bollywood of the 1970s and ’80s has suffered a particularly condescending fate. This was partly true of musician Bappi Lahiri, who passed away last week.

It is very accurate that Bappi Lahiri was known worldwide as Bappi Da. He was really like that one cherubic family member, called into old age by his childhood pet name, who lets you ‘freak out’ when accusing you of babysitting, who never seems to flout that restraint and predictability. does not achieve what supposedly defines adulthood. He’s always up for fun and you might see him one day, as you travel through your dreary adult life, partying on a golden cloud, pink martini in hand, rainbow glowing in goggles. Look like someone is carrying, dancing, dancing. The ultimate dream queen.

Bappi Lahiri entered a cinema phase between Amitabh and Shah Rukh in post-independence (that obscure golden age) and pre-globalization (lip sync without all the family values ​​and gritty realism), when adults didn’t really pay attention to Hindi cinema. were shaping it’s national (dominant) image; It was in essence a hormonal teen party without parental guidance where Zindagi was my song and Pyaar Bina Chen Kahan Hai, baby?

Bappi Lahiri’s music paints gold as gold as his body, with scintillating vocal fanfare. It is unique with this time, where cinematic bodies are not as refined as the nation’s example. The raw sexuality of Reena Roy and Mithun Chakraborty, the so pelvic, or the non-feminine Amrita Singh and the lumbering Sunny Deol and the very hairy Anil Kapoor, or the raw sexuality of Runa Laila is a physical, cheesy queue typified by that. Sensual buzzing and cheesy singing (how sublime that Lahiri later recorded an album with Runa Laila-Superuna at Abbey Road Studios).

Bappi Lahiri seems to have had no desire for respect, driven by some inner fervor and pursuit of joy. He dressed like his childhood idol Elvis, eventually developing an iconic style of gold chains and tight pants and wide-collared shirts. He was always happy in himself, like a child who was showered with love and always given the best mangoes.

Their upbeat tunes celebrated the digital enthusiasm of the synthesizer, encouraging a break with some of the traditions, reflecting the era of re-mixing. The rise was a clear demonstration of the fact that what corporate capitalism likes to pretend is not true – culture is made up of imitating, mixing and quoting centuries of styles and influences. As with much of IPR’s discourse and so-called originality, the idea of ​​’taste’ has much to do with the classes and communities that can dominate cultural production, often applying rhythms and styles that are born out of community life. . centuries. They favor the owners, not the creators.

As ideas of heterosexuality that privilege monogamy and marriage, some dismiss existing desires as unnatural or crass, and some call relationships illegal, so capitalism makes certain things unattainable, the circulation of art and Controls construction, steals manufacture, and tarnishes what is ‘farji’. as a lower class or criminal. In the world of such bhadraloks, Bappi da was the TC at the disco station, who allowed the bindaas people to be killed.

Paromita Vohra is an award-winning Mumbai-based filmmaker, writer and curator working with fiction and non-fiction. Reach him at paromita.vohra@mid-day.com

Kaomoji

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