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.
Zo ging het
Osdorp Posse Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pop viel door de mand, en rappers waren machtig
De Hip-Hopscene in Nederland werd langzaam groter
Rauw en ondergronds, niemand die dat verklootte!
Want rap was puur, de fans idealistisch
En pop was te inhoudsloos en te simplistisch
Je was creator, anders was je een kloon
En je hield het niet echt, nee zo was het gewoon!
Tot BAM!, opeens de Hollydayrap uitkwam
De scene voelde zich gepikeerd en kwaad
En Miker G en Sven konden niet meer over straat
Want werd er in die tijd nog met Hip-Hop geneukt
dan werd je bij een optreden in elkaar gebeukt
Niet dat ik dat goed praat, maar luister maat:
Wie spotte met Hip-Hop, die spotte met de straat!
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
Maar het hek was van de dam, en de kogel door de kerk
De rotte appel kwam en het gif deed zijn werk
Steeds meer jongens waagden zich aan fake crap
Tot aan dealtjes met Mc Donalds voor een Milkshakerap!
Toen Hip-house en poprap de charts in renden
kon je zien hoe de scene er dan maar aan wende
van: 'Yo man, je kan er wel over zeuren,
maar we maken wel geld, en we openen deuren!'
En zo veranderde de mentaliteit
Je werd een held met hits, al breng je de wackste schijt
Dus als P-Diddy-Dap weer een hit of twee heb
denk ik: 'Wat is het verschil met de Hollydayrap?'
Het is het zelfde trucje in een andere tijd
Maar Miker G was de lul en P Diddy de schijt
Noem het jammer, noem het lullig of wreed
Maar de tijd die leert ons wat de tijd al weet
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
En nou nog het schandaaltje van de Nederhopstrop
Of moet ik zeggen: Nederlandstalige Hip-Hop?
Boeit niet man, dit is hoe het begon:
De O.P. kwam, en keek niet om, maar overwon
Hard als de tering en daar deed je het maar mee
We vochten voor waardering en we streden voor airplay
En dat ging zo nog jaar na jaar door
Want de radio gaf geen moer om onze hardcore
Wel, we kwamen er op eigen kracht
En we werkten hard, zelfs dag en nacht
En toen ze niet meer om onze shit heen konden
had de radio ineens hun eigen hit gevonden
Ze werden overladen met vele promo's
van commerciële bobo¹s en Topnotch-homo's
Iedereen sprong nu in dat gat in de markt
En Nederhop kwam binnen als een hartinfarct
Wie deed hier het werk, en wie krijgt de credits?
Niemand die het merkt, men zwijgt en zegt niks
Maar wie het laatst lacht, die lacht het langst
We kwamen uit op Ramp met Origineel Amsterdams
En dat is één hitfeit in vijftien jaar tijd
Dus reden voor een feestje? Fok die schijt!
Het wordt nu tijd dat nieuwe kids begrijpen:
We willen best hits, maar gaan er niemand voor pijpen!
En fok je hitformule, ook wij kunnen dat
Dat bewees ik met de Beatbusters en Bubbelbad
Een gelukte parodie waar de ironie van afdroop
En had het publiek de grap door? Nope!
Zelfs fans vroegen mij met een stalen smoel:
'Hee, jij zou toch nooit beginnen met die commerciële boel?'
Bek houwe! En check de feiten kloot!
De Osdorp Posse, hardcore tot de dood!!!
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
Zo ging het, zo was het
Zo is het, maar hoe blijft het?
The song "Zo ging het" by Osdorp Posse reflects on the evolution of the hip-hop scene in the Netherlands during the 1980s and beyond. The lyrics reminisce about the authentic and underground nature of hip-hop at the time, contrasting it with the rise of pop music, which was seen as superficial and simplistic. The song emphasizes the ideals of being a true creator and staying true to oneself in the hip-hop scene.
The lyrics also highlight the pivotal moment when Hollydayrap (a Dutch rap group) emerged, causing controversy and division within the hip-hop community. Miker G and Sven, members of Osdorp Posse, found themselves unable to walk the streets due to the hostile atmosphere created by the clash between the different factions in the scene.
The song further criticizes the shift towards commercialization and fake rap, where artists started making deals with fast-food chains like McDonald's to promote their music. It questions the difference between Hollydayrap and current artists like P-Diddy, suggesting that they employ the same tricks to achieve success.
The lyrics also touch on the lack of recognition and airplay for Dutch hip-hop on mainstream radio stations, despite the hard work and dedication of artists in the scene. The song expresses frustration with the industry's focus on commercial success rather than artistic integrity.
Overall, "Zo ging het" serves as a reflection on the changes and challenges faced by the hip-hop scene in the Netherlands, highlighting issues such as commercialization, authenticity, and the struggle for recognition.
Line by Line Meaning
Wie herinnert zich nog de ware jaren '80?
Who remembers the true '80s?
Pop viel door de mand, en rappers waren machtig
Pop music was exposed, and rappers were powerful
De Hip-Hopscene in Nederland werd langzaam groter
The Hip-Hop scene in the Netherlands was slowly growing
Rauw en ondergronds, niemand die dat verklootte!
Raw and underground, no one messed that up!
Want rap was puur, de fans idealistisch
Because rap was pure, the fans were idealistic
En pop was te inhoudsloos en te simplistisch
And pop was too empty and simplistic
Je was creator, anders was je een kloon
You were a creator, otherwise you were a clone
En je hield het niet echt, nee zo was het gewoon!
And you didn't keep it real, no that's how it was!
De scene was hardcore in Amsterdam
The scene was hardcore in Amsterdam
Tot BAM!, opeens de Hollydayrap uitkwam
Until BAM!, suddenly the Hollydayrap came out
De scene voelde zich gepikeerd en kwaad
The scene felt offended and angry
En Miker G en Sven konden niet meer over straat
And Miker G and Sven couldn't go out in public anymore
Want werd er in die tijd nog met Hip-Hop geneukt
Because if you messed with Hip-Hop at that time
dan werd je bij een optreden in elkaar gebeukt
you would get beaten up at a performance
Niet dat ik dat goed praat, maar luister maat:
Not that I endorse that, but listen buddy:
Wie spotte met Hip-Hop, die spotte met de straat!
Who made fun of Hip-Hop, made fun of the streets!
Zo ging het, zo was het
That's how it went, that's how it was
Zo is het, maar hoe blijft het?
That's how it is, but how will it remain?
Maar het hek was van de dam, en de kogel door de kerk
But things went out of control, and the decision was made
De rotte appel kwam en het gif deed zijn werk
The bad apple came and the poison did its job
Steeds meer jongens waagden zich aan fake crap
More and more guys started doing fake crap
Tot aan dealtjes met Mc Donalds voor een Milkshakerap!
Even deals with McDonald's for a Milkshakerap!
Toen Hip-house en poprap de charts in renden
When Hip-house and pop rap stormed the charts
kon je zien hoe de scene er dan maar aan wende
you could see how the scene just got used to it
van: 'Yo man, je kan er wel over zeuren,
like: 'Yo man, you can complain about it
maar we maken wel geld, en we openen deuren!'
but we're making money, and we're opening doors!'
En zo veranderde de mentaliteit
And so the mentality changed
Je werd een held met hits, al breng je de wackste schijt
You became a hero with hits, even if you release the weakest crap
Dus als P-Diddy-Dap weer een hit of twee heb
So when P-Diddy-Dap has another hit or two
denk ik: 'Wat is het verschil met de Hollydayrap?'
I think: 'What's the difference with the Hollydayrap?'
Het is het zelfde trucje in een andere tijd
It's the same trick in a different time
Maar Miker G was de lul en P Diddy de schijt
But Miker G got screwed over and P Diddy had the shit
Noem het jammer, noem het lullig of wreed
Call it unfortunate, call it shitty or cruel
Maar de tijd die leert ons wat de tijd al weet
But time teaches us what time already knows
En nou nog het schandaaltje van de Nederhopstrop
And now the scandal of the Dutch Hip-Hop noose
Of moet ik zeggen: Nederlandstalige Hip-Hop?
Or should I say: Dutch-language Hip-Hop?
Boeit niet man, dit is hoe het begon:
Doesn't matter man, this is how it started:
De O.P. kwam, en keek niet om, maar overwon
The O.P. came, didn't look back, but conquered
Hard als de tering en daar deed je het maar mee
Hard as hell and you had to deal with it
We vochten voor waardering en we streden voor airplay
We fought for recognition and we struggled for airplay
En dat ging zo nog jaar na jaar door
And that went on year after year
Want de radio gaf geen moer om onze hardcore
Because the radio didn't give a damn about our hardcore
Wel, we kwamen er op eigen kracht
Well, we made it on our own
En we werkten hard, zelfs dag en nacht
And we worked hard, even day and night
En toen ze niet meer om onze shit heen konden
And when they couldn't ignore our shit anymore
had de radio ineens hun eigen hit gevonden
the radio suddenly found their own hit
Ze werden overladen met vele promo's
They were flooded with many promos
van commerciële bobo's en Topnotch-homo's
from commercial bigwigs and Topnotch homos
Iedereen sprong nu in dat gat in de markt
Everyone jumped into that market gap
En Nederhop kwam binnen als een hartinfarct
And Dutch Hip-Hop entered like a heart attack
Wie deed hier het werk, en wie krijgt de credits?
Who did the work here, and who gets the credits?
Niemand die het merkt, men zwijgt en zegt niks
No one notices, they stay silent and say nothing
Maar wie het laatst lacht, die lacht het langst
But he who laughs last, laughs longest
We kwamen uit op Ramp met Origineel Amsterdams
We ended up with the hit 'Ramp met Origineel Amsterdams'
En dat is één hitfeit in vijftien jaar tijd
And that's one hit fact in fifteen years
Dus reden voor een feestje? Fok die schijt!
So reason to celebrate? Fuck that shit!
Het wordt nu tijd dat nieuwe kids begrijpen:
It's time now for new kids to understand:
We willen best hits, maar gaan er niemand voor pijpen!
We're open to hits, but we're not gonna blow anyone for it!
En fok je hitformule, ook wij kunnen dat
And fuck your hit formula, we can do that too
Dat bewees ik met de Beatbusters en Bubbelbad
I proved that with the Beatbusters and Bubbelbad
Een gelukte parodie waar de ironie van afdroop
A successful parody oozing with irony
En had het publiek de grap door? Nope!
And did the audience get the joke? Nope!
Zelfs fans vroegen mij met een stalen smoel:
Even fans asked me with a straight face:
'Hee, jij zou toch nooit beginnen met die commerciële boel?'
'Hey, I thought you would never start with that commercial stuff?'
Bek houwe! En check de feiten kloot!
Shut up! And check the facts, asshole!
De Osdorp Posse, hardcore tot de dood!!!
The Osdorp Posse, hardcore until death!!!
Zo ging het, zo was het
That's how it went, that's how it was
Zo is het, maar hoe blijft het?
That's how it is, but how will it remain?
Lyrics © O/B/O APRA AMCOS
Written by: DJ Daan, Def P, Seda
Lyrics Licensed & Provided by LyricFind