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.
Pak die snol!
Osdorp Posse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
dus hol, want ik heb hier mijn buik van vol.
Ze hebben jou kracht in hun macht
had je dat gedacht je smacht
naar een nacht of acht
met je lul in haar schacht
maar je wacht en tracht
maar ze lacht en zegt alleen slaap zacht
Gooi haar in een gracht en wat een pracht,
ze wordt geprakt door de schoep van een jacht,
ja gewoon geslacht, om het leven gebracht.
Je moet alles voor d'r doen, ze wil alleen je poen,
maar je krijgt nog geen zoen, oen.
Ze zijn niet gek met hun grote bek,
ze smeekt in je nek tot je lul er van lekt.
Je ziet het vaak, meestal laat op straat,
zo'n lekker wijf die met een sukkel gaat.
Maar: luister naar mijn raad en wordt niet kwaad
en bega geen daad en voel geen haat als je met d'r praat
maar gooi d'r op straat met d'r geile naad
Wedden dat ze gaat, dat ze jou verlaat,
hierbij heeft je portemonnee veel baat.
Jullie verliefdheid is zo verrot,
want kut is alleen maar vlees en bot
Hoewel, met haar kut is zoveel geteeld,
je schuurt met je lul tussen plaggen van eelt.
Zo'n gebruikte snol met haar gebruikte hol,
met haar domme rol maakt ze je dol
Ze wil alles maar geef d'r geen drol,
want dan word ze dol en dat houdt ze vol dus...
Pak die snol, spuit haar vol, neuk die trol haar buikje vol
Pak die snol, spuit haar vol, neuk die trol haar buikje vol
Zolang je verdiende waren jullie vrienden,
ze heb je gepijpt voor je laatste tientje.
Ik zeg het maar want het is waar,
geen gemaar want ik ben nog niet klaar met haar.
Waar? daar ! De snol van het jaar,
haar kut is gaar en haar kittelaar heeft een blaar.
Word wakker, meid van profijt:
je staat bij verschillende mannen in het krijt
Dus op je rug en benen wijd,
want je had nooit tijd en ook geen spijt
Je hebt mij niet om m'n stoerheid benijd,
alleen om m'n poen heb je mij verleid.
Dus om mijn geld, del, je dagen zijn geteld
vandaag of morgen word je vonnis geveld.
In eenzame nachten kun je er op wachten,
schuldeisers zullen jou verkrachten.
Je kan niets beginnen, je kan het niet winnen,
ze slaan je neer en dringen naar binnen.
Vaginaal, oraal, anaal, giraal,
terwijl ik ondertussen een kratje bier haal.
Ze nemen je mee, splijten jou in twee,
je wordt alleen bekend maar ... op TV, BOY!
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The song "Pak die snol!" by Osdorp Posse is a critique on male behavior towards women, particularly on their attitudes towards women as sex objects. The lyrics describe men who pursue women only for their physical attributes and use them solely for sexual pleasure. The song title, "Pak die snol!" which translates to "grab that bitch," sets the tone of the song as derogatory towards women. However, as the lyrics progress, the song highlights the absurdity of this behavior and encourages men to recognize the value and dignity of women beyond their bodies.
The first verse contrasts the term "snol" with the word "lol," meaning that women are not something to be played with or taken lightly. The next line, "hol, want ik heb hier mijn buik van vol" (leave, because I am sick and tired of you) emphasizes that women won't be used for sex without consequences. The next lines depict the power dynamic of a man trying to persuade a woman into sex and the woman refusing, mocking the man until he gives up. The chorus, "Pak die snol, spuit haar vol, neuk die trol haar buikje vol" (grab that bitch, fill her up, fuck that troll's belly full) is a vulgar and offensive way to objectify women.
The second verse advises men not to let women take advantage of them and manipulate them for money. The phrase "je schuurt met je lul tussen plaggen van eelt" (you rub your dick between callous mounds) is a disgusting portrayal of sex with a woman who has slept with many men. The song ends with a warning to women that their actions will have consequences eventually and that they should respect themselves and others.
Line by Line Meaning
Een snol is een snol, ik dol niet voor de lol, dus hol, want ik heb hier mijn buik van vol.
The singer is fed up with promiscuous women and will not entertain them for fun. Instead, he advises them to leave him alone.
Ze hebben jou kracht in hun macht had je dat gedacht je smacht naar een nacht of acht met je lul in haar schacht maar je wacht en tracht maar ze lacht en zegt alleen slaap zacht en jij dacht: Had ik haar maar geragd en verkracht, Gooi haar in een gracht en wat een pracht, ze wordt geprakt door de schoep van een jacht, ja gewoon geslacht, om het leven gebracht.
Men are often helpless when it comes to promiscuous women, who may mock them and refuse their advances. In frustration, the singer fantasizes about harming such women.
Je moet alles voor d'r doen, ze wil alleen je poen, maar je krijgt nog geen zoen, oen.
The woman only wants a man's money and nothing else, not even a kiss.
Ze zijn niet gek met hun grote bek, ze smeekt in je nek tot je lul er van lekt.
Promiscuous women are cunning and can make men do what they want, often using seduction and flattery.
Je ziet het vaak, meestal laat op straat, zo'n lekker wijf die met een sukkel gaat.
The artist observes how promiscuous women often end up with mediocre men.
Maar: luister naar mijn raad en wordt niet kwaad en bega geen daad en voel geen haat als je met d'r praat maar gooi d'r op straat met d'r geile naad Wedden dat ze gaat, dat ze jou verlaat, hierbij heeft je portemonnee veel baat.
The singer offers advice to men to avoid promiscuous women and dump them to avoid financial ruin.
Jullie verliefdheid is zo verrot, want kut is alleen maar vlees en bot Hoewel, met haar kut is zoveel geteeld, je schuurt met je lul tussen plaggen van eelt. Zo'n gebruikte snol met haar gebruikte hol, met haar domme rol maakt ze je dol Ze wil alles maar geef d'r geen drol, want dan word ze dol en dat houdt ze vol dus...
The singer criticizes the idea of romantic attachment to promiscuous women, likening their genitalia to mere flesh and bone. He also suggests that such women may become obsessed with men if they are given anything at all.
Pak die snol, spuit haar vol, neuk die trol haar buikje vol Pak die snol, spuit haar vol, neuk die trol haar buikje vol
The chorus condones violence against promiscuous women, encouraging men to use them as vessels for sexual release.
Zolang je verdiende waren jullie vrienden, ze heb je gepijpt voor je laatste tientje. Ik zeg het maar want het is waar, geen gemaar want ik ben nog niet klaar met haar.
The artist reveals how promiscuous women will use men for their money, even going as far as performing sexual acts for mere change.
Waar? daar ! De snol van het jaar, haar kut is gaar en haar kittelaar heeft een blaar.
The artist mocks promiscuous women, particularly one he refers to as 'the promiscuous woman of the year', indicating that her genitals are in poor shape.
Word wakker, meid van profijt: je staat bij verschillende mannen in het krijt Dus op je rug en benen wijd, want je had nooit tijd en ook geen spijt Je hebt mij niet om m'n stoerheid benijd, alleen om m'n poen heb je mij verleid. Dus om mijn geld, del, je dagen zijn geteld vandaag of morgen word je vonnis geveld.
The singer accuses promiscuous women of owing debts to multiple men, and suggests they only seduce for financial gain, promising that they will inevitably get their comeuppance.
In eenzame nachten kun je er op wachten, schuldeisers zullen jou verkrachten. Je kan niets beginnen, je kan het niet winnen, ze slaan je neer en dringen naar binnen. Vaginaal, oraal, anaal, giraal, terwijl ik ondertussen een kratje bier haal. Ze nemen je mee, splijten jou in twee, je wordt alleen bekend maar ... op TV, BOY!
The artist predicts grim consequences for promiscuous women who owe debts to multiple men, suggesting that they will be violently assaulted and possibly even killed. He makes light of the situation, as if it were entertainment to enjoy with a beer.
Contributed by Charlotte V. Suggest a correction in the comments below.