One of the group’s trademarks was the experimentation with Dutch lyrics, which resulted the (back then) four piece in being the first ever crew in The Netherlands to release a complete demo in their native language. This turned out to be the start of a new genre they still call ‘Nederhop’ to this day, a term consisting of the words “Nederlandse” (Dutch) and “Hip-Hop”.
The start of Osdorp Posse can be tracked back as far as 1986, when Def P (real name Pascal Griffioen) made his debut on the Dutch hip-hop scene with the group Funky Fresh Force, consisting of him and DJ Dov, who would later become a famous House DJ under the pseudonym DJ The Prophet.
In 1988 Griffioen started experimenting with Dutch lyrics as a joke (translating American rap lyrics from groups such as N.W.A.), and a creative exercise (writing a couple of ‘real’ songs). His nephew Marco (later on taking on the nickname IJsblock – a literal translation of N.W.A.’s infamous Ice Cube) joined in the musical tomfoolery, as they recorded raps on instrumental tracks from their record collection, using nothing but a tape deck and a microphone.
It wasn’t until Marco and Pascal met Robin (now known as Seda) and Arthur (King) that they got down to writing real material that they found suitable for recording. Even though their musical playground that they had by then labelled Osdorp Posse (named after the Amsterdam neighbourhood Osdorp, where they all lived) consisted of a large group of friends with a continuously changing line-up, the core of the Posse was the four guys, and would remain so until twelve years later. With a lot of the co-rappers leaving the group with no interest in taking Osdorp Posse to a next level, the group recorded an infamous demo as a fourpiece. The nameless cassette – which quickly became known as ‘De Rode Demo’ (The Red Demo) – was handed out to friends, and travelled the country, taking the underground alternative music scene by storm through the tape trading circuit.
One of the many people who got hands on De Rode Demo was Saskia Sleger, the owner of the underground dancelabel DJAX. Recognizing the originality as well as the obvious talent, Sleger decided to contact the group and offer them a contract. Hardly believing what just happened to them, the young rappers immediately signed with DJAX, without reading the fine print. Def P later described this move in the band’s biography ‘Tien Jaar OP’ as impulsive and a bit naïve, but it turned out to be a good thing: the start of legendary career.
Now having to actually release cds instead of fooling around with a tapedeck, Pascal, Marco, Robin and Arthur franticly started writing out the material that they had come with before heading to a local studio in 1992, recording the first ever ‘Nederhop’ cd: the poorly produced yet explosive, hardcore and edgy twenty three song classic ‘Osdorp Stijl’ (Osdorp Style).
With an official release in stores, the group started on a journey that moved their live-shows away from the squat- and fret houses, onto the ‘ real’ alternative music scene. The album was an instant underground classic, which not only spawned an entire generation of Dutch Hip-hop acts at the time, but also quickly finding a following within a diverse group of alternative music fans such as punkers, metalheads, rockers and many alike.
The following two releases were plagued by the same production problems as their infamous debut, but through their sheer determination, explosive live shows and hardcore, relentless lyrical attitude became underground hits nevertheless. It wasn’t until they were asked to play the warm-up show at the biggest festival in the Netherlands, Pinkpop, that they got recognition from a larger audience. Their fourth cd entitled ‘Afslag Osdorp’ (Osdorp Exit), was released soon after the legendary festival appearance, and was the groups largest commercial success to that date. Riding the wave of word-to-mouth advertising following Pinkpop and their years on end of touring and self promoting (being ignored by mainstream media and critics), Afslag Osdorp sold thousands of copies; an achievement that was until then unthinkable for a Dutch rap act.
Later that year, with their popularity growing to a new height, Osdorp Posse played one of the most legendary and afterwards most talked about performances on the Dutch alternative music scene at the Lowlands Festival. Something that was euphemistically called a programming mistake, the group was set to play the smallest tent (Charlie) in the afternoon. Even though the Amsterdam crew warned the festival organisation about the possible consequences, the foursome’s advice to move their show to a bigger tent fell was ignored, resulting in half the festival attendees trying to fit in the small, claustrophobic space in anticipation of what was then one of the biggest things in Dutch music: Osdorp Posse. After the first couple of notes were played, the frantic crowd started to mosh, pogo and crowdsurf with such an enthusiasm that they nearly destroyed the entire tent. Def P later explained he had no idea how dangerous the situation was, that eventually led to an early ending of the gig when the crowd rushed to the stage, crushing the structure. No one got seriously hurt, yet everyone had witnessed and taken part in a legendary festival moment, talked about to this day.
In 1996 the group received the prestigious ‘ Pop Prijs’ (Pop Prize), as a recognition of their pioneering role in the Dutch hip-hop scene. That year also marked another legendary festival performance; the Dynamo Open Air festival – at that time the most important Heavy Metal event in the world – playing as the first and only hip-hop crew ever in front of more then a 100.000 longhaired metalheads, a large portion of whom were stoned Germans (enjoying the music all the same). The following year, ‘ Osdorp’ returned to Pinkpop, this time playing not once but twice: first on the small stage, returning on the final day at the main stage in front of 60.000 people.
After the commercial and artistic successes of albums such as ‘Briljant, Hard en Geslepen’ (Brilliant, Hard and Polished) – recorded with death metal band Nembrionic, and the chart success ‘Geendagsvlieg’ (literally: No day fly, as a play on words to the term ‘one day fly’, emphasizing their timelessness) the Posse left their long time label Djax to start up their own label called RAMP Records (consisting of the first letters in their names: Robin, Arthur, Marco, Pascal). In 2000, the group’s first release on their own turf called ‘ Kernramp’ (Nuclear Disaster) became their biggest commercial success, and remains so to this day. For the first time in their 12 year long career, Osdorp Posse even landed on the Dutch TOP 40 charts with their single ‘ Origineel Amsterdams’, which eventually ploughed into the top 10.
The release of their eighth album also marked the first change in line-up the group had seen since the early demo days: DJ ‘Deegmeester’ Daan – who already joined the band on stage for quite a while – became the fifth member of Osdorp Posse. That year they returned to Lowlands Festival as a five-piece, this time on a bigger stage. Once again controversy was part of the group’s performance, with Def P openly protesting against the nationwide crowd surf ban (as a result to the Roskilde tragedy earlier that year).
Around that time the music industry started crashing down. With programmes such as Napster and Kazaa providing fans with free – yet illegal – music, Osdorp Posse’s new label had a hard time lifting off. Every release after ‘ Kernramp’, such as ‘ Tegenstrijd” (meaning both Counter Battle, and Contradiction in Dutch) and Hollandse Hardcore Hip-Hop Helden all saw decreasing sales figures. At the same time, the genre the group created – Nederhop – had become a mainstream phenomena with acts such as Extince, Def Rhymz, and new school artists and groups like Raymster and Opgezwolle taking over the Dutch hiphop scene. Osdorp Posse, never being a favourite of the mainstream media – could only witness their own decline.
Around 2004, the group had plummeted back into the underground scene, once again playing the smaller venues. The groups hardcore following had eye for their later releases with bands such as Laberinto and Blind Justice, but stayed true to their heroes all the same.
Near the end of 2008, the group has announced to call it quits. After a release party of their final effort entitled ‘2 Decennia’ (Two Decades), Osdorp Posse embarked on a farewell tour, taking them to all the places they played, rocked the mike at, and witnessed their fanatic following go crazy to their hardcore style of performing.
The group’s swansong took place on their own turf, in the Amsterdam club De Melkweg in September of 2009, leaving a legacy that can not be ignored or forgotten: the invention and perfection of Nederhop.
Niet jaloers
Osdorp Posse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
gebeurtenissen, ontwikkelingen, gedachtes en vooral gevoelens die mensen meemaken. Elke plaats en tijdsperiode heeft daarom zijn eigen muzikale inhoud, stijl en karakter. Denk maar eens aan de tekst- geluids- en arrangementsverschillen van hoe de maatschappij gereflecteerd werd in de typische muziek van de jaren '50, '60, '70 of '80. Elk decennium had zijn eigen inhoud, stijl en karakter. De jaren 90 daarentegen waren schrikbarend inhoudsloos, stijlloos en karakterloos. Het afgelopen decennium stond bol van de hersenloze trends en fantasieloze herhalingen. De muziek is industrie geworden dus iedereen draait er maar in mee...
En het maakt niemand hier wat uit, want Nederland gaat uit zijn dak.
Overal in de wereld is oorlog en ellende, maar Nederland gaat uit zijn dak.
Iedereen geeft zich over aan de simpele beats want Nederland is uit zijn
dak. Bijna iedereen slikt wat ie voorgeschoteld krijgt, want Nederland is
uit zijn dak. De nieuwste massale hype is desinteresse
De nieuwste massale hype is desinteresse
De nieuwste massale hype is desinteresse
MAAR WIJ KOMEN MET DIE BEATS DIE JE WAKKER HOUDEN!
MAAR WIJ KOMEN MET DIE BEATS DIE JE WAKKER HOUDEN!
MAAR WIJ KOMEN MET DIE BEATS DIE JE WAKKER HOUDEN!
OM DE ONGEWENSTE WAARHEID IN JE BAKKES TE DOUWEN!
Noem mij eens één bekende band die openlijk en eerlijk zegt:
De smaak van Nederland is slecht, wie houd het eerlijk puur en echt?
Wie speelt het hele spel niet mee, komt nooit in quizzen op T.V.?
En ziet zijn eigen fans niet slechts als kuddes platenkopend vee?
De meeste bands moeten zich schamen, want ze zeggen ja en amen
tegen bullshit en reclame. Het wordt tijd voor eens wat namen:
Neem die Westbroek nou, z'n nummers zijn zo slap als lauwe pis
Die sukkel krijgt alleen maar airplay omdat hij ook D.J. is
Of neem die inhoudsloze Venga Boys, ze scoren hit na hit
met tweedehands simpele s*** waar die van Diepen achter zit
En hoor Guus Meeuwis, of Volumia of Is Ook Schitterend
Muziek voor kakkers, ballen, lullo's in een plastic glittertent
Dat een artiest zijn eigen nummers schrijft dat is voor mij een eis
Maar vraag dat niet aan die Borsato en ook niet aan Rob de Nijs
Dus rot op met je Corrie Konings- Benny Nijman repertoir
en f*** die Hannie of die nephousehitjes krijg de tering maar!
Maar...
We zijn niet jaloers, we zijn niet jaloers
Want dat misgunnende geouwehoer is zo platvloers
We zijn niet jaloers, we zijn niet jaloers
We hebben wind tegen maar zitten op een betere koers!
f*** al die R&B fakers die over ware liefde zeiken
terwijl ze ondertussen stoer en kwaad de camera inkijken
Da¹s zo slap als Vader Abraham, die noemt zichzelf een vakman
maar de meeste nummers die hij schrijft daar krijg ik dunne kak van!
Ik kots op die top 40-rappers en al die jongensgroepjes
zoals die B.E.D. en Velvet opgemaakte poederdoetjes
Voor al die Hero-soapacteurs die ook eens willen scoren:
Ga nou eerst acteren leren voor je kutmuziek laat h***n!
Met je Fluitsma en van Thijn- Bolland en Bolland top 10-produkties
Laat heel Nederland Muziekland h***n hoe Hollands scene mislukt is
Met als hoogtepunt zwaar overschatte plaatjesmakende D.J.'s
die niks maken maar alleen draaien zoals praatjesmakende V.J.'s
f*** die Mental Theo- Charlie Lownoise popie nepfiguren
die hun ziel verkopen en zich voor elk kutprogramma verhuren
Want het enige wat erger is dan gasten die muziek naaien
Dat zijn al die nerds van D.J.'s die die teringbende draaien!
Maar...
We zijn niet jaloers, we zijn niet jaloers
Want dat misgunnende geouwehoer is zo platvloers
We zijn niet jaloers, we zijn niet jaloers
We hebben wind tegen maar zitten op een betere koers!
The lyrics of the song "Niet jaloers" by the Dutch hip-hop group Osdorp Posse reflect on how music has evolved throughout the decades and how the music industry has become more focused on mindless trends and repetitive beats. The lyrics also criticize popular Dutch musicians, their lack of genuine artistry and their willingness to conform to commercialization and marketing.
The song opens by acknowledging that music has always been a reflection of people's experiences, feelings and thoughts. However, the lyrics argue that the 90s have been a particularly vacuous decade in terms of musical content and character. Despite this, the Dutch continue to consume whatever is served to them without any concern for the rest of the world's problems or conflicts.
The song then turns into an attack on Dutch popular music and media, with Osdorp Posse calling out specific artists and bands for their lack of artistic integrity and their willingness to cater to the lowest common denominator. The lyrics criticize Marco Borsato, Guus Meeuwis, Rob de Nijs, and Corrie Konings, among others, for their lack of originality and their reliance on commercialization and marketing tactics. The lyrics also criticize Dutch music industry figures like Fluitsma en van Tijn and Bolland en Bolland, as well as D.J.s and V.J.s for promoting shallow and uninspired music.
Overall, "Niet jaloers" is a bold and direct critique of Dutch popular culture and music at the turn of the millennium, as well as a call for more artistic integrity in the industry.
Line by Line Meaning
Al zolang als muziek bestaat reflecteert het de belangrijkste gebeurtenissen, ontwikkelingen, gedachtes en vooral gevoelens die mensen meemaken.
Music has always reflected the most important events, developments, thoughts, and feelings that people experience.
Elke plaats en tijdsperiode heeft daarom zijn eigen muzikale inhoud, stijl en karakter.
Therefore, each place and time period has its own musical content, style, and character.
De jaren 90 daarentegen waren schrikbarend inhoudsloos, stijlloos en karakterloos.
The 90s, on the other hand, were shocking in their lack of substance, style, and character.
En het maakt niemand hier wat uit, want Nederland gaat uit zijn dak.
And nobody cares because the Netherlands is going crazy.
Overal in de wereld is oorlog en ellende, maar Nederland gaat uit zijn dak.
There is war and misery everywhere in the world, but the Netherlands is going crazy.
Iedereen geeft zich over aan de simpele beats want Nederland is uit zijn dak.
Everyone succumbs to simple beats because the Netherlands is going crazy.
Bijna iedereen slikt wat ie voorgeschoteld krijgt, want Nederland is uit zijn dak.
Almost everyone swallows what they are served because the Netherlands is going crazy.
De nieuwste massale hype is desinteresse
The latest mass hype is disinterest.
MAAR WIJ KOMEN MET DIE BEATS DIE JE WAKKER HOUDEN!
BUT WE COME WITH THOSE BEATS THAT KEEP YOU AWAKE!
OM DE ONGEWENSTE WAARHEID IN JE BAKKES TE DOUWEN!
TO SHOVE THE UNWANTED TRUTH IN YOUR FACE!
Noem mij eens één bekende band die openlijk en eerlijk zegt: De smaak van Nederland is slecht, wie houd het eerlijk puur en echt?
Name one famous band that openly and honestly says: the taste of the Netherlands is bad, who keeps it honest, pure, and real?
De meeste bands moeten zich schamen, want ze zeggen ja en amen tegen bullshit en reclame.
Most bands should be ashamed because they say yes and amen to bullshit and advertising.
Het wordt tijd voor eens wat namen: Neem die Westbroek nou, z'n nummers zijn zo slap als lauwe pis
It's time for some names: like Westbroek, his songs are as weak as warm piss.
Die sukkel krijgt alleen maar airplay omdat hij ook D.J. is
That fool only gets airplay because he is a DJ as well.
Of neem die inhoudsloze Venga Boys, ze scoren hit na hit met tweedehands simpele s*** waar die van Diepen achter zit
Or take those contentless Venga Boys, they score hit after hit with second-hand simple crap behind which van Diepen is.
En hoor Guus Meeuwis, of Volumia of Is Ook Schitterend Muziek voor kakkers, ballen, lullo's in een plastic glittertent
And listen to Guus Meeuwis, or Volumia, or Is Ook Schitterend, music for snobs, jocks, jerks in a plastic glitter tent.
Dat een artiest zijn eigen nummers schrijft dat is voor mij een eis Maar vraag dat niet aan die Borsato en ook niet aan Rob de Nijs
For me, it's a requirement that an artist writes their own songs, but don't ask that of Borsato or Rob de Nijs.
Dus rot op met je Corrie Konings- Benny Nijman repertoir en f*** die Hannie of die nephousehitjes krijg de tering maar!
So get lost with your Corrie Konings- Benny Nijman repertoire and fuck that Hannie or those fake house hits, go to hell!
We zijn niet jaloers, we zijn niet jaloers Want dat misgunnende geouwehoer is zo platvloers We hebben wind tegen maar zitten op een betere koers!
We're not jealous, we're not jealous because that envious bullshit is so crass. We have headwinds, but we're on a better course!
f*** al die R&B fakers die over ware liefde zeiken terwijl ze ondertussen stoer en kwaad de camera inkijken
Fuck all those R&B fakers who whine about true love while looking cool and angry at the camera.
Da’s zo slap als Vader Abraham, die noemt zichzelf een vakman maar de meeste nummers die hij schrijft daar krijg ik dunne kak van!
That's as weak as Father Abraham, who calls himself a craftsman but most of the songs he writes make me shit thin.
Ik kots op die top 40-rappers en al die jongensgroepjes zoals die B.E.D. en Velvet opgemaakte poederdoetjes
I vomit on those top 40 rappers and all those boy bands like B.E.D. and Velvet made-up powder boxes.
Voor al die Hero-soapacteurs die ook eens willen scoren: Ga nou eerst acteren leren voor je kutmuziek laat h***n!
For all those soap actors who also want to score, first learn how to act before letting your shitty music be heard!
Met je Fluitsma en van Thijn- Bolland en Bolland top 10-produkties Laat heel Nederland Muziekland h***n hoe Hollands scene mislukt is
With your Fluitsma and van Thijn- Bolland and Bolland top 10 productions, let the whole of the Netherlands' musicland know how the Dutch scene has failed.
Met als hoogtepunt zwaar overschatte plaatjesmakende D.J.'s die niks maken maar alleen draaien zoals praatjesmakende V.J.'s
With the pinnacle being heavily overrated record-making DJs who don't make anything but just spin like talkative VJs.
f*** die Mental Theo- Charlie Lownoise popie nepfiguren die hun ziel verkopen en zich voor elk kutprogramma verhuren
Fuck those Mental Theo- Charlie Lownoise popular fake figures who sell their soul and rent themselves out for every shitty program.
Want het enige wat erger is dan gasten die muziek naaien Dat zijn al die nerds van D.J.'s die die teringbende draaien!
Because the only thing worse than guys who fuck music is all those nerds of DJs who spin that shitshow!
Lyrics © O/B/O APRA AMCOS
Written by: D.J. Daan de Deegmeester, Def P, Seda
Lyrics Licensed & Provided by LyricFind