Indian cinema has always had a vibrant relationship with music. From soul-stirring ghazals to high-energy dance numbers, songs have been the heart and soul of Bollywood and regional cinema. But somewhere in the 1990s and 2000s, a curious shift happened — songs with bizarre, wacky, and outright nonsensical lyrics began topping the charts. And surprisingly, they weren’t ridiculed or forgotten. Instead, they became cult classics.
The rise of absurd yet addictive lyrics
Take “Kuchi Kuchi Rakamma” from Mani Ratnam’s Bombay (1995), sung by Udit Narayan and Kavita Krishnamurthy, composed by the maestro A.R. Rahman. The phrase “Kuchi Kuchi Rakamma” meant nothing in particular — it was just a rhythmic hook. But that didn’t stop it from becoming a nationwide sensation.
Soon after, “Humma Humma” (also from Bombay) dropped like a bomb. With lines like “Ek ho gaye hum aur tum, toh ud gayi neend”, paired with the groovy “Humma Humma” chant, it was pure magic. Clubs, weddings, and street corners blasted it on loop. No one asked what “Humma Humma” really meant — they just danced.
The era of 'Tamma Tamma' and 'Telephone Dhun Mein Hasne Wali'
Then came the madcap pop of the '90s. “Tamma Tamma Loge” from Thanedaar (1990), with its chorus that sounded like a tongue-twister, was iconic. Bappi Lahiri’s disco beats and Madhuri Dixit’s hypnotic dance moves made it unforgettable. Did it matter that "Tamma Tamma" had no dictionary meaning? Not at all.
Similarly, “Telephone Dhun Mein Hasne Wali” from Hindustani (1996) pushed the envelope of lyrical absurdity. The song described a woman who laughs like a telephone ringtone. Ludicrous? Yes. Lovable? Also, yes. And once again, A.R. Rahman pulled it off with flair.
The art of writing Gibberish – Javed Akhtar’s challenge
A resurfaced video of legendary lyricist Javed Akhtar adds depth to the idea that writing gibberish is far harder than it seems. In a now-viral clip from his appearance on the Cyrus Says show, Akhtar recalled being asked to deliberately write nonsensical lyrics for a film.
“If you are asked to write meaningless, it’s a challenge. If you ask somebody to stand up here and speak for 2 minutes, there shouldn’t be any sense — although many times it happens — but it does not happen on a conscious level. The moment you are aware that you have to speak gibberish, you start speaking sense.”
The request came from director Farah Khan during the making of a song from 'Om Shanti Om', who told him, “Javed uncle, I want a song in which any line does not have meaning because the whole situation is absurd.” The film’s protagonist was wheelchair-bound, and the absurdity was part of the narrative.
Akhtar added with a laugh, “I realised for the first time that to write gibberish is very difficult. I’m happy that it was fairly meaningless.”
His words highlight an important truth: creating nonsense with purpose takes craftsmanship.
Singer Madhushree, the melodious voice behind gems like Kabhi Neem Neem and Kanha So Jaa Zara, offered her own perspective on the trend.
“This kind of wacky or nonsensical song is totally based on situation and specially created for characters like Mehmood ji, Johnny Walker. That’s part of what makes music so magical and such massive hits. It’s just pure fun and pulls people in. And the beautiful part is the singers sang in different ways to justify the character — like ‘Sar Jo Tera Takraye’ or ‘Main Kaala Hoon Toh Kya Hua Dilwala Hoon.’ It’s funny, and also good for the changes in films.”
Her insight reflects the intentionality behind the madness — these weren’t random word salads, but deliberate creations aimed at comic relief or emotional pauses.
The Mid-2000s Boom
By the mid-2000s, the trend had fully matured. From “Kurta Fadke” in Anjaam to the explosive “Fevicol Se”, “Munni Badnaam Hui”, and “Sheila Ki Jawani”, lyrics often made little logical sense but generated massive pop-cultural traction.
Singer-composer Adnan Sami, known for soulful tracks like “Tera Chehra” and “Kabhi Toh Nazar Milao”, had also weighed in on this shift in an earlier conversation.
“I completely value the use of meaningful lyrics and the ability to tell a story, but sometimes when I am composing music and doing my music, words don't make any sense to me either. I don't know why this is happening, but one has to remember we cannot deny it is worthy. We cannot say it is unacceptable. The numbers reflect that it is being accepted. I might personally not relate to it, but the fact is that it is there," Adnan said to IANS.
His words underline the reality of evolving audience tastes — composers may not always align with the lyrical direction, but they respect the democratic nature of popular music.
When Nonsense Became Narrative
Beyond the hooks and beats, there’s a story in how these songs evolved. What started with the quirky charm of Johnny Walker's “Sar Jo Tera Takraye” slowly morphed into Govinda’s riotous dance tracks and later became the DNA of item numbers and wedding bangers.
From “Latka Dikha Diya Tumne” and “Laila Main Laila” to “Tattad Tattad”, “Pungi Baja Ke”, “Swag Se Swagat”, and even “Zingaat” — the formula was clear: create a catchy line, loop it, add vibrant choreography and visual flair, and watch the masses fall in love.
Even regional cinema took this trend global — Tamil and Telugu bangers like “Appadi Podu”, “Why This Kolaveri Di”, and “Rowdy Baby” brought this energy to new heights.These songs work because they combine several irresistible elements. First, they have catchy hooks — nonsense phrases like “Jumme Ki Raat Hai” or “Lungi Dance” are easy to remember and hum along with, where rhythm and beat take precedence over lyrical meaning. Then there's the danceability factor — these tracks are made for movement, not contemplation. They thrive in weddings, discos, and college fests with their high-tempo energy that gets everyone on their feet. Add to that the pop culture quotient — unforgettable visuals like Govinda’s OTT expressions, Katrina’s dazzling presence, or Ranveer Singh’s uncontainable flair — and the songs turn into iconic moments. Lastly, they enjoy mass appeal. These tracks transcend language, class, and geography, tapping into a universal desire to let go and dance. They are made for the “sab kuch chhod do aur naach lo” moment — and that’s why they click.
Video
Today, these wacky songs are more than just playlist staples — they’re part of our cultural memory. They remind us that music doesn’t always need deep meaning to strike a chord. Sometimes, it just needs fun, madness, and a phrase that gets stuck in your head long after the speakers go silent.
The rise of absurd yet addictive lyrics
Take “Kuchi Kuchi Rakamma” from Mani Ratnam’s Bombay (1995), sung by Udit Narayan and Kavita Krishnamurthy, composed by the maestro A.R. Rahman. The phrase “Kuchi Kuchi Rakamma” meant nothing in particular — it was just a rhythmic hook. But that didn’t stop it from becoming a nationwide sensation.
Soon after, “Humma Humma” (also from Bombay) dropped like a bomb. With lines like “Ek ho gaye hum aur tum, toh ud gayi neend”, paired with the groovy “Humma Humma” chant, it was pure magic. Clubs, weddings, and street corners blasted it on loop. No one asked what “Humma Humma” really meant — they just danced.
The era of 'Tamma Tamma' and 'Telephone Dhun Mein Hasne Wali'
Then came the madcap pop of the '90s. “Tamma Tamma Loge” from Thanedaar (1990), with its chorus that sounded like a tongue-twister, was iconic. Bappi Lahiri’s disco beats and Madhuri Dixit’s hypnotic dance moves made it unforgettable. Did it matter that "Tamma Tamma" had no dictionary meaning? Not at all.
Similarly, “Telephone Dhun Mein Hasne Wali” from Hindustani (1996) pushed the envelope of lyrical absurdity. The song described a woman who laughs like a telephone ringtone. Ludicrous? Yes. Lovable? Also, yes. And once again, A.R. Rahman pulled it off with flair.
The art of writing Gibberish – Javed Akhtar’s challenge
A resurfaced video of legendary lyricist Javed Akhtar adds depth to the idea that writing gibberish is far harder than it seems. In a now-viral clip from his appearance on the Cyrus Says show, Akhtar recalled being asked to deliberately write nonsensical lyrics for a film.
“If you are asked to write meaningless, it’s a challenge. If you ask somebody to stand up here and speak for 2 minutes, there shouldn’t be any sense — although many times it happens — but it does not happen on a conscious level. The moment you are aware that you have to speak gibberish, you start speaking sense.”
The request came from director Farah Khan during the making of a song from 'Om Shanti Om', who told him, “Javed uncle, I want a song in which any line does not have meaning because the whole situation is absurd.” The film’s protagonist was wheelchair-bound, and the absurdity was part of the narrative.
Akhtar added with a laugh, “I realised for the first time that to write gibberish is very difficult. I’m happy that it was fairly meaningless.”
His words highlight an important truth: creating nonsense with purpose takes craftsmanship.
Singer Madhushree, the melodious voice behind gems like Kabhi Neem Neem and Kanha So Jaa Zara, offered her own perspective on the trend.
“This kind of wacky or nonsensical song is totally based on situation and specially created for characters like Mehmood ji, Johnny Walker. That’s part of what makes music so magical and such massive hits. It’s just pure fun and pulls people in. And the beautiful part is the singers sang in different ways to justify the character — like ‘Sar Jo Tera Takraye’ or ‘Main Kaala Hoon Toh Kya Hua Dilwala Hoon.’ It’s funny, and also good for the changes in films.”
Her insight reflects the intentionality behind the madness — these weren’t random word salads, but deliberate creations aimed at comic relief or emotional pauses.
The Mid-2000s Boom
By the mid-2000s, the trend had fully matured. From “Kurta Fadke” in Anjaam to the explosive “Fevicol Se”, “Munni Badnaam Hui”, and “Sheila Ki Jawani”, lyrics often made little logical sense but generated massive pop-cultural traction.
Singer-composer Adnan Sami, known for soulful tracks like “Tera Chehra” and “Kabhi Toh Nazar Milao”, had also weighed in on this shift in an earlier conversation.
“I completely value the use of meaningful lyrics and the ability to tell a story, but sometimes when I am composing music and doing my music, words don't make any sense to me either. I don't know why this is happening, but one has to remember we cannot deny it is worthy. We cannot say it is unacceptable. The numbers reflect that it is being accepted. I might personally not relate to it, but the fact is that it is there," Adnan said to IANS.
His words underline the reality of evolving audience tastes — composers may not always align with the lyrical direction, but they respect the democratic nature of popular music.
When Nonsense Became Narrative
Beyond the hooks and beats, there’s a story in how these songs evolved. What started with the quirky charm of Johnny Walker's “Sar Jo Tera Takraye” slowly morphed into Govinda’s riotous dance tracks and later became the DNA of item numbers and wedding bangers.
From “Latka Dikha Diya Tumne” and “Laila Main Laila” to “Tattad Tattad”, “Pungi Baja Ke”, “Swag Se Swagat”, and even “Zingaat” — the formula was clear: create a catchy line, loop it, add vibrant choreography and visual flair, and watch the masses fall in love.
Even regional cinema took this trend global — Tamil and Telugu bangers like “Appadi Podu”, “Why This Kolaveri Di”, and “Rowdy Baby” brought this energy to new heights.These songs work because they combine several irresistible elements. First, they have catchy hooks — nonsense phrases like “Jumme Ki Raat Hai” or “Lungi Dance” are easy to remember and hum along with, where rhythm and beat take precedence over lyrical meaning. Then there's the danceability factor — these tracks are made for movement, not contemplation. They thrive in weddings, discos, and college fests with their high-tempo energy that gets everyone on their feet. Add to that the pop culture quotient — unforgettable visuals like Govinda’s OTT expressions, Katrina’s dazzling presence, or Ranveer Singh’s uncontainable flair — and the songs turn into iconic moments. Lastly, they enjoy mass appeal. These tracks transcend language, class, and geography, tapping into a universal desire to let go and dance. They are made for the “sab kuch chhod do aur naach lo” moment — and that’s why they click.
Video
Today, these wacky songs are more than just playlist staples — they’re part of our cultural memory. They remind us that music doesn’t always need deep meaning to strike a chord. Sometimes, it just needs fun, madness, and a phrase that gets stuck in your head long after the speakers go silent.
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