Osdorp Posse was a five-piece hardcore rap crew from the Dutch capitol Amst… Read Full Bio ↴Osdorp Posse was a five-piece hardcore rap crew from the Dutch capitol Amsterdam, consisting of four mcโs: Def P (main rapper), Seda (rapper & beatcreator), IJsblok (rapper & manager) and King (rap, also known as โ Koningโ in the early days), and one DJ: Deegmeester Daan, who joined the group in 2000. They were known for their hardcore attitude, in your face lyrics, and explosive live shows.
One of the groupโs 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 โNederhopโ to this day, a term consisting of the words โNederlandseโ (Dutch) and โHip-Hopโ.
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 โrealโ songs). His nephew Marco (later on taking on the nickname IJsblock โ a literal translation of N.W.A.โs 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 wasnโt 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 โ which quickly became known as โDe Rode Demoโ (The Red Demo) โ 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 bandโs biography โTien Jaar OPโ as impulsive and a bit naรฏve, 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 โNederhopโ cd: the poorly produced yet explosive, hardcore and edgy twenty three song classic โOsdorp Stijlโ (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 โ realโ 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 wasnโt 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 โAfslag Osdorpโ (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 foursomeโs 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 โ Pop Prijsโ (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 โ at that time the most important Heavy Metal event in the world โ 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, โ Osdorpโ 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 โBriljant, Hard en Geslepenโ (Brilliant, Hard and Polished) โ recorded with death metal band Nembrionic, and the chart success โGeendagsvliegโ (literally: No day fly, as a play on words to the term โone day flyโ, 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 groupโs first release on their own turf called โ Kernrampโ (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 โ Origineel Amsterdamsโ, 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 โDeegmeesterโ Daan โ who already joined the band on stage for quite a while โ 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 groupโs 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 โ yet illegal โ music, Osdorp Posseโs new label had a hard time lifting off. Every release after โ Kernrampโ, such as โ Tegenstrijdโ (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 โ Nederhop โ 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 โ 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 โ2 Decenniaโ (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 groupโs 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.
One of the groupโs 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 โNederhopโ to this day, a term consisting of the words โNederlandseโ (Dutch) and โHip-Hopโ.
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 โrealโ songs). His nephew Marco (later on taking on the nickname IJsblock โ a literal translation of N.W.A.โs 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 wasnโt 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 โ which quickly became known as โDe Rode Demoโ (The Red Demo) โ 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 bandโs biography โTien Jaar OPโ as impulsive and a bit naรฏve, 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 โNederhopโ cd: the poorly produced yet explosive, hardcore and edgy twenty three song classic โOsdorp Stijlโ (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 โ realโ 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 wasnโt 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 โAfslag Osdorpโ (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 foursomeโs 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 โ Pop Prijsโ (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 โ at that time the most important Heavy Metal event in the world โ 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, โ Osdorpโ 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 โBriljant, Hard en Geslepenโ (Brilliant, Hard and Polished) โ recorded with death metal band Nembrionic, and the chart success โGeendagsvliegโ (literally: No day fly, as a play on words to the term โone day flyโ, 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 groupโs first release on their own turf called โ Kernrampโ (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 โ Origineel Amsterdamsโ, 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 โDeegmeesterโ Daan โ who already joined the band on stage for quite a while โ 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 groupโs 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 โ yet illegal โ music, Osdorp Posseโs new label had a hard time lifting off. Every release after โ Kernrampโ, such as โ Tegenstrijdโ (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 โ Nederhop โ 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 โ 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 โ2 Decenniaโ (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 groupโs 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.
Pro-black of anti-wit?
Osdorp Posse Lyrics
Jump to: Overall Meaning ↴
GODVERDOMME, ik ben humeurig,
sommige rappers maken mij zelfs treurig.
Zij die zogenaaamd tegen racisme strijden,
maar zelf steeds weer die grens overschrijden
Tussen pro-black en anti-wit,
iets waar voor mij een groot verschil in zit.
Als je pro-black bent dan geef ik je gelijk,
maar ben je anti-wit haal ik je naam door het slijk.
Zie je niet dat niemand om je flauwekul geeft
Dat je zelf alles doet waarvan je mij de schuld geeft
Discriminatie en vooroordelen
Dingen die jou zogenaamd veel kunnen schelen
Nooit hoor ik jou positieve teksten maken,
je enige intentie is om blanken af te kraken.
Jij verschuilt onder de term pro-black,
jouw racistische grote bek.
Je generaliseert en kraakt blanken af,
maar niet de juisten, daarvoor ben je te laf.
Want je zegt niets over de echte racisten,
met witte puntmutsen of zware kisten.
Nee, je dist ons in het algemeen,
zeer nutteloos, dom en ook gemeen.
Want veel blanken tegen wie jij het hebt,
zijn tegen racisme en houden van rap
Je rapt alleen voor broeders, je moest je schamen,
want racisme stoppen wij alleen maar samen.
Je radicale shit is te extreem,
je bent niet pro-black, je bent een probleem.
Stop die dezastreuse leuzen,
denk eens na, en maak de keuze.
Of bewijs dat je een domme met pit bent,
en zeg het dan direkt als je anti-wit bent.
Zie deze tekst maar niet als een ruzie,
maar als een goeie basis voor een discussie.
Damn, ik dacht dat iedereen gelijk was. Maar nee, nee, nee,
wacht even. De mensen die denken dat dit niet zo is, zijn
net iets minder. Ze zeggen wel dat blind zijn een handicap
is, maar iemand die een ander op zijn huidskleur beoordeelt,
zou er alleen maar op vooruit gaan.
Ze zeggen: wie wil er nou geen vrede? Maar als iedereen dat
echt had gewild, zou die er dan niet allang zijn geweest?
Het wordt tijd dat zowel zwart als wit met hun eigen rassenhaat
geconfronteerd wordt
sommige rappers maken mij zelfs treurig.
Zij die zogenaaamd tegen racisme strijden,
maar zelf steeds weer die grens overschrijden
Tussen pro-black en anti-wit,
iets waar voor mij een groot verschil in zit.
Als je pro-black bent dan geef ik je gelijk,
maar ben je anti-wit haal ik je naam door het slijk.
Zie je niet dat niemand om je flauwekul geeft
Dat je zelf alles doet waarvan je mij de schuld geeft
Discriminatie en vooroordelen
Dingen die jou zogenaamd veel kunnen schelen
Nooit hoor ik jou positieve teksten maken,
je enige intentie is om blanken af te kraken.
Jij verschuilt onder de term pro-black,
jouw racistische grote bek.
Je generaliseert en kraakt blanken af,
maar niet de juisten, daarvoor ben je te laf.
Want je zegt niets over de echte racisten,
met witte puntmutsen of zware kisten.
Nee, je dist ons in het algemeen,
zeer nutteloos, dom en ook gemeen.
Want veel blanken tegen wie jij het hebt,
zijn tegen racisme en houden van rap
Je rapt alleen voor broeders, je moest je schamen,
want racisme stoppen wij alleen maar samen.
Je radicale shit is te extreem,
je bent niet pro-black, je bent een probleem.
Stop die dezastreuse leuzen,
denk eens na, en maak de keuze.
Of bewijs dat je een domme met pit bent,
en zeg het dan direkt als je anti-wit bent.
Zie deze tekst maar niet als een ruzie,
maar als een goeie basis voor een discussie.
Damn, ik dacht dat iedereen gelijk was. Maar nee, nee, nee,
wacht even. De mensen die denken dat dit niet zo is, zijn
net iets minder. Ze zeggen wel dat blind zijn een handicap
is, maar iemand die een ander op zijn huidskleur beoordeelt,
zou er alleen maar op vooruit gaan.
Ze zeggen: wie wil er nou geen vrede? Maar als iedereen dat
echt had gewild, zou die er dan niet allang zijn geweest?
Het wordt tijd dat zowel zwart als wit met hun eigen rassenhaat
geconfronteerd wordt
The lyrics of Osdorp Posse's song "Pro-black of anti-wit" address the complex issue of racism, specifically the distinction between being pro-black and anti-white. The artist expresses frustration at some rappers who claim to fight against racism but end up perpetuating divisive attitudes by crossing the line between these two stances. The differentiation between being pro-black (supporting Black empowerment and equality) and anti-white (attacking or discriminating against white people) is emphasized as crucial by the artist. They assert that while they can agree with being pro-black, being anti-white is unacceptable and will lead to criticism.
The artist calls out those who engage in divisive behavior by pointing out that their focus on attacking others based on race is ultimately unproductive and hypocritical. They highlight the damaging impact of discrimination and prejudice and question the sincerity of individuals who claim to care about these issues while spreading negativity towards a certain group. The critique extends to the lack of positive messages and the tendency to generalize and disparage white people under the guise of being pro-black, which the artist sees as a form of racism in itself.
The artist exposes the cowardice of those who target all white individuals with their attacks, avoiding confronting true racists who engage in overt discrimination. By failing to differentiate and targeting an entire group, they miss the opportunity to engage with those who are against racism and have a shared love for rap music. The lyrics challenge these individuals to reflect on their actions and choices, urging them to consider the impact of their radical and divisive rhetoric and suggesting that true progress against racism can only be achieved through unity and mutual understanding.
In the final section of the lyrics, the artist reflects on the need for both Black and white communities to confront their own prejudices and biases. They question the intentions behind claims of equality and peace, suggesting that true harmony has yet to be achieved due to persistent racial animosity. The artist calls for a candid discussion on race relations, advocating for self-reflection and a willingness to challenge ingrained prejudices on both sides. The lyrics ultimately serve as a call for unity, understanding, and the acknowledgment of the need to address racial tensions in society for genuine progress to be made.
Lyrics ยฉ O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
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@primityfusnegatyfus320
Als je deze muziek luistert verdien je sowieso een klap met een tas, hehe.
@onlyogsmoke
Ai is cool kom voorhout dan
@gmcube311
Goed dat je instaat voor kinderen slaan. Laat staan als een man dit had gedaan. Dan had je wel anders gemekkert kk sukkeltje
@denjyy
@OnlyOGSmoke gelijk huilen zeb
@morrishuijgen7658
Op z'n tijd luistert ik dit soort muziek en het is echt niet slecht
@MHzappy
โ@@denjyydrm deze kleine jongens moeten rustig doen๐
@kaihuizing5970
''หขแตแตแตแตหกแตสฒแตหข''
@royneyhoff3513
"Ik ga je Stoten He"
Ok Stoer Van Je, Maar Als Je Straf Krijgt Ga Je Huilen Bij Mama
@robinceuleers5595
Geweldige comment ๐๐
@muda0202
Broer jouw kkr hoere leven zag je niet dat die vrouw zonder reden met die ding tegen zn hooft stoot ร kkr 11 jarige