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.
Zinloos Gebeld
Osdorp Posse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(irritante ringtone) Waar ben je nou?
(irritante ringtone) Waar zit je nu?
Sodemieter op, ik zat waar ik wou!
Mobiele telefoons! Wat een pleurisdingen!
Ik weet nou niet eens waar ik met zeuren moet beginnen!
Kijk maar, iedereen die heeft ze blijkbaar
Maar is het echt dringend, dan hoor je veel:
OHij staat nu uit, stuur maar een voicemail¹
SMS, MMS, mailen, wappen, woppen
Ik krijg bij voorbaat stress van die hele kleine knoppen
Zakenlui, yuppen, bejaarden en kleuters
Iedereen doet mee aan het slappe geleuter
Het kost veel poen, maar ze vinden het nodig
al zijn negen van de tien gesprekken overbodig
Hoor eens voor de gein in tram, bus of trein
hoe al die randdebielen hardop in gesprek zijn
Juist als je denkt: 'Dat moet toch genant zijn?',
denken ze zelf dat ze interessant zijn
Tuurlijk gek, verhef je stem nog een beetje,
want iedereen wil horen wat je eet straks, weet je!
'Ik kom er aan hoor, ja elk moment!'
Hee, wacht dan met lullen tot je daar gewoon bent!
Zeker in de bioscoop of in het theater
zit niemand te wachten op jouw lauwe spraakwater
Hier dus een bericht, zodat je effe weet:
Zet 'm op z'n trilstand en douw 'm in je reet!
Zinloos gebeld, weer zinloos gebeld
Er wordt meer geluld, maar minder gemeld
Het kost je je privacy en ook nog je geld
Maar dat is jou natuurlijk al lang verteld!
De vetste ringtones! Teerrring wat stoer!
Zo val je nog meer op met je slap geouwehoer!
Wauw, is dat ding ook nog je zakagenda?
Voor al je notities en je contactenbende?
Handig! Vooral als je dat ding weer vergeet
en dan blijkt dat je eigenlijk niks meer weet
Elk jaar een nieuwe met de nieuwste snufjes
Want anders loop je achter, is dat niet dufjes?
Lullen in je auto met extra beltegoed
Lul jij tegen een muur oké? Dan ga ik wel te voet
Koop een nieuwe simkaart, dan heb je weer voorraad
Lekker niets zeggen, terwijl je bek doorpraat
Waar is het logische fatsoen gebleven?
Dat iemand zei: 'Ik zie jou om half zeven'
En vijf voor half zeven echt voor je staat
Niet dat vijf over half je mobieltje gaat
van 'Hee, het wordt iets later!' Wat de fok!
Dat had ik al geraden toen ik keek op de klok!
'Maar ik kom er nu echt aan' Te laat man, pech
Je neemt je moer maar in de zeik, want ik ben weg
Je kan tegenwoordig niet eens normaal praten
omdat ze hun mobieltje dan steeds aan laten
En tijdens zo¹n gesprek gaat een telefoontje voor
'Sorry, even tussen door' Nou, sorry dat ik stoor!
Zinloos gebeld, weer zinloos gebeld
Er wordt meer geluld, maar minder gemeld
Het kost je je privacy en ook nog je geld
Maar dat is jou natuurlijk al lang verteld!
The lyrics of Osdorp Posse's song "Zinloos Gebeld" delve into the frustrations and annoyances related to mobile phones and the constant connectivity they bring. The song starts with the irritation of phone calls interrupting and invading personal space, as the singer dismisses the caller by asserting their right to be where they want to be. This sets the tone for a critique on the pervasive nature of cell phones and the way they have permeated modern society.
The lyrics highlight the paradox of mobile phones, portraying them as both essential for staying connected and yet often causing unnecessary disruptions and stress. The song criticizes the societal pressure to always be reachable and the superficiality of many phone conversations that are deemed important but end up being trivial and inconsequential. The use of various communication methods such as SMS, MMS, and emails is also pointed out, emphasizing the overwhelming feeling that arises from the constant bombardment of messages and notifications.
Furthermore, the lyrics touch upon the social implications of mobile phones, depicting scenarios where people engage in loud and uninteresting conversations in public spaces, oblivious to the discomfort they may be causing to those around them. The song mocks the self-importance individuals attribute to their phone conversations and the illusion of being perceived as interesting or significant by others. The singer sarcastically encourages individuals to continue sharing mundane details of their lives, highlighting the absurdity of such behavior.
The chorus of the song, with the repeated phrase "Zinloos gebeld, weer zinloos gebeld" (Called for no reason, called for no reason again), emphasizes the recurring and futile nature of many phone calls, where more is said but less is actually communicated. The lyrics also touch upon the financial and privacy implications of mobile phone usage, suggesting that the costs, both monetary and personal, are often overlooked or disregarded in the pursuit of constant connectivity. Overall, the song serves as a satirical commentary on the over-reliance on mobile phones and the lack of meaningful communication in an increasingly digital and disconnected world.
Line by Line Meaning
irritante ringtone) Waar zit je nu?
Annoying ringtone) Where are you now?
irritante ringtone) Waar ben je nou?
Annoying ringtone) Where have you been?
irritante ringtone) Waar zit je nu?
Annoying ringtone) Where are you now?
Sodemieter op, ik zat waar ik wou!
Get lost, I was where I wanted to be!
Mobiele telefoons! Wat een pleurisdingen!
Mobile phones! What annoying things!
Ik weet nou niet eens waar ik met zeuren moet beginnen!
I don't even know where to begin complaining now!
Kijk maar, iedereen die heeft ze blijkbaar
Look, apparently everyone has them
Want men is belangrijk, en dus bereikbaar
Because people are important, and therefore reachable
Maar is het echt dringend, dan hoor je veel:
But if it's really urgent, you hear a lot:
OHij staat nu uit, stuur maar een voicemail¹
Oh, it's turned off now, send a voicemail instead
SMS, MMS, mailen, wappen, woppen
SMS, MMS, emailing, chatting, messaging
Ik krijg bij voorbaat stress van die hele kleine knoppen
I get stressed out just thinking about those tiny buttons
Zakenlui, yuppen, bejaarden en kleuters
Businessmen, yuppies, elderly, and kids
Iedereen doet mee aan het slappe geleuter
Everyone participates in the pointless chatter
Het kost veel poen, maar ze vinden het nodig
It costs a lot of money, but they find it necessary
al zijn negen van de tien gesprekken overbodig
Even if nine out of ten conversations are unnecessary
Hoor eens voor de gein in tram, bus of trein
Just listen for fun on the tram, bus, or train
hoe al die randdebielen hardop in gesprek zijn
How all those idiots are loudly talking
Juist als je denkt: 'Dat moet toch genant zijn?'
Just when you think, 'That must be embarrassing?'
denken ze zelf dat ze interessant zijn
They think they're interesting themselves
Tuurlijk gek, verhef je stem nog een beetje,
Of course, go ahead and raise your voice a bit
want iedereen wil horen wat je eet straks, weet je!
Because everyone wants to hear what you're eating later, you know!
'Ik kom er aan hoor, ja elk moment!'
'I'm on my way, any moment now!'
Hee, wacht dan met lullen tot je daar gewoon bent!
Hey, wait to chat until you actually arrive there!
Zeker in de bioscoop of in het theater
Especially in the cinema or theater
zit niemand te wachten op jouw lauwe spraakwater
No one is waiting for your lukewarm small talk
Hier dus een bericht, zodat je effe weet:
So here's a message, just so you know:
Zet 'm op z'n trilstand en douw 'm in je reet!
Put it on vibrate and shove it up your ***!
Zinloos gebeld, weer zinloos gebeld
Called needlessly, once again called needlessly
Er wordt meer geluld, maar minder gemeld
More blabbering, but less information shared
Het kost je je privacy en ook nog je geld
It costs you your privacy and also your money
Maar dat is jou natuurlijk al lang verteld!
But of course, you've already been told that!
Lyrics © O/B/O APRA AMCOS
Written by: DJ Daan, Def P, Seda
Lyrics Licensed & Provided by LyricFind