Bsrhrki

The English translation of a hymn by Prahlada in Srimad -Bhagavatam (7/9/40) reads as

My dear Lord, O infallible one, my position is like that of a person who has many wives, all trying to attract him in their own way. For example, the tongue is attracted to palatable dishes, the genitals to sex with an attractive woman, and the sense of touch to contact with soft things. The belly, although filled, still wants to eat more, and the ear, not attempting to hear about You, is generally attracted to cinema songs. The sense of smell is attracted to yet another side, the restless eyes are attracted to scenes of sense gratification, and the active senses are attracted elsewhere. In this way I am certainly embarrassed.

Did cinema-songs exist at the time of Hiranykasipu and Prahlada? Any evidence other parts of Bhagavatam or any scripture?

Reference : https://prabhupadabooks.com/sb/7/9?d=1

The verse is not talking about cinema songs. Here is the original Sanskrit:

jihvaikato ’cyuta vikarṣati māvitṛptā śiśno ’nyatas tvag-udaraṁ śravaṇaṁ kutaścit |
ghrāṇo ’nyataś capala-dṛk kva ca karma-śaktir bahvyaḥ sapatnya iva geha-patiṁ lunanti ||

Prahlada is talking about how the different sense-organs are pulling him in different directions, towards different kinds of sensory pleasures. And of the sense-organs he mentions is the Shravana or ear. Srila Prabhupada is just supplying cinema music as an example of the sort of sensory pleasure that the ear pulls people towards. Neither cinema, nor music of any other kind, is mentioned by Prahlada, but presumably music is the sort of thing that the ear is pulling him towards.

NO.

The 'Cinema-Song' is just an unwanted addition by the translator.

The original sloka is:

jihvaikato ’cyuta vikarṣati māvitṛptā
śiśno ’nyatas tvag-udaraṁ śravaṇaṁ kutaścit
ghrāṇo ’nyataś capala-dṛk kva ca karma-śaktir
bahvyaḥ sapatnya iva geha-patiṁ lunanti

SYNONYMS

jihvā—the tongue; ekataḥ—to one side; acyuta—O my infallible Lord; vikarṣati—attracts; mā—me; avitṛptā—not being satisfied; śiśnaḥ—the genitals; anyataḥ—to another side; tvak—the skin; udaram—the belly ; śravaṇam—the ears; kutaścit—anywhere; ghrāṇaḥ—the nose; anyataḥ—to still another side; capala-dṛk—the restless eyesight; kva ca—somewhere; karma-śaktiḥ—the active senses; bahvyaḥ—many; sa-patnyaḥ—co-wives; iva—like; geha-patim—a householder; lunanti—annihilate.

So here only ears are referred to [which are attracted to sensual music]. Cinema-Song is just unimaginable as there was no cinema at that time when our scriptures were compiled.

According to the English translation of the Srimad-Bhagavatam by Gita Press Gorakhpur, Srimad-Bhagavatam 7.9.40 translates as follows:

Not fully gratified, the palate pulls me, O immortal Lord, in one direction (towards dainties); the generative organ drags me in another direction (towards sexual gratification); the tactile sense, the (empty) stomach and sense of hearing pull me in other directions (viz. towards objects that are pleasant to touch, substantial food and the melodious sound or voice respectively); the olfactory sense drags me in a quite different direction (towards sweet-smelling flowers, scents and so on); while the eyes, which are (very) restless, and the faculties (organs) of action pull me in yet another direction (viz. towards things of beauty and objects to be attained through the various organs of action). (All) these tear me (even) as a number of co-wives wrench a householder (each to her bedroom).

Spiritual sensations are vague and weak compared to more dominant and powerful sensations of body.. the eye, ear, touch hence they mislead. This is Prahlada's basic lamentation in his helplessness. And it is a fact of human existence of all time..

For example Adi Shankara's Nirvana Shatakam reflects that Spirit onto himself, forming the essence of Advaitha in his view. He asks not to go astray led by powerful and compelling senses for gratification of taste,external beauty or sensuality but to stay on with the Spirit that eternally can sustain anyone in a state of Ananda.