''Altogether Ooky'' - The Bloodhound Gang



Before I get into this, I want to say that I fucken love The Bloodhound Gang. Like, I love them so much that I find it personally offensive when people only know them because of “The Bad Touch.” Not only do they have a long list of really great songs, (their album, “Hooray for Boobies,” is fire) but they’re a pretty damn unique act. They’ve done hip-hop, punk, pop, alternative, hardcore, and will probably have done a bunch more by the time I finish typing this sentence. Vocalist Jimmy Pop raps and sings, and does the former better than most mainstream rappers. Plus, Pop and bassist Evil Jared Hasselhoff were in episodes of Viva La Bam. That’s an instant win for me.
Another thing I like about them is that while most of their songs are funny sex songs, the lyrics are actually pretty damn good. In their song “Yummy Down On This,” which is an ode to mouth sex, Pop spits the following…


“Told to hold the pickle,
Then you went and blew it,
Gherkin off and the Special Sauce comes included, But you knew it did,
So concentrate like Tropicana,
To eat a Chiquita you need to grow the banana,
So can ya bob like Dylan on my peter like Criss,
Till it's chubby like Checker,
C'mon baby do the twist,
It's all in the wrist like table tennis,
So beat me like Betty Crocker cake mix”


Even if you don’t like immature humor, you have to appreciate how clever this band’s word play is. Though it could just be me being a sucker for punny jokes.
Really, the only thing I don’t like about The Bloodhound Gang is their use of gross-out humor. There’s a reason why I prefer the censored version of the “Bad Touch” Musik Video. But in every single other category, from raps to dick jokes, they kick major freaking ass.


So, why am I spending so much time putting over this gang of bloodhounds? Sadly, because I want you to really understand how hard it is for me to criticize something this band has done. And holy shiza, do I have a lot of criticism for “Altogether Ooky.”


The band’s 2010 single, “Altogether Ooky,” is a good-sounding song. Though Pop usually raps, this one is him singing the entire time in a way that harmonizes nicely with the instrumentals. The song is kind of calm, but still has enough of a kick to make me nod my spirit head along while I listen to it. It’s got some soul, though not like in a jazz way because fuck jazz. Also, the title is a reference to The Addams Family. Also, awesome.
The lyrics in the chorus tell the story of a relationship gone wrong in a way that is really fucken clever.


“I'm gonna come to your house on the back of a horse with,
A bunch of villagers carrying torches,
Most of whom dislike monsters like you, girl”


Toll. It’s the age-old story of a crazy-ass girl, whom the singer is calling a monster is a way that I find so creative. The first two lines are setting up the accusation that the girl is a crazy bitch, but the reveal is saved for the third line, which is when the listener then appreciates the remarks about needing Frankensteinisch villagers.


So with a good sound, a good chorus, and a title that reminds me of my first crush, Wednesday Addams, what’s the problem here? Well, have you ever seen someone set something up so god damn perfectly, only to totally mess it up?


“Why would I wanna stay friends?
Rather get raped by clowns again”


And herein lies the problem. “Altogether Ooky” is what I call a “semi-serious song.” It’s not super serious, it’s not a played-straight suicide song or anything like that, but the subject matter is more serious than something like “Yummy Down On This.” This is a relationship song about how a girl that the guy once liked has now become an evil monster. Yet the song is peppered with surrealistic jokes which just doesn’t work. He’s all serious one moment, and getting raped by clowns the next moment. And yeah, I get that sometimes that can work. Comedy is generally about setting up an idea, and then subverting it in a shocking way. So why doesn’t that work here? Quite simply, the chorus is too good. Between the lyrics and the tone in Pop’s voice, they do too good a job of painting a picture of the böses Mädchen tormenting the guy. So when the guy is also weird, it destroys the story that the listener has become invested in.
The song actually starts off with some jokes that do work at first.


“Caught you,
Sniffing my boxers,
Who the fuck does that,
At Red Lobster?”


So far, so good. The story is about a crazy chick.


“Creepy,
Like when Tom Cruise laughs,
That's how your finger,
Felt in my ass”


Still no problems. The story is progressing, and so far the jokes have fit.
However, then we go into the chorus, and suddenly those jokes no longer work. The first verse is about a crazy kinky girl who is freaking out the guy. But the chorus tells the story of an heartless bitch. And because the chorus is so much better than the preceding verse, this is the story that is now in the listener’s head. And then, things get bad…


“The way
Your kisses tasted
Skeeve me the hell out
Like shitting naked”


I want to hear the story about what happened with this relationship, I’m invested, but the joke here just takes us out of it. Maybe if the band was to add humor in a way that, wait, I’m sorry… shitting naked? Really?! How dafuq does that skeeve you out? I mean, yeah, crap is gross, but how else do you shit? Granted, I’m a spirit from another dimension, maybe I’m not totally familiar with human bathroom activity, but is there really another way to defecate? Shouldn’t you be used to it by now? Is he talking about wearing a shirt? Is the idea of dropping a deuce sans shirt the part that skeeves him out? *sighs* God dammit, Jimmy Pop.
Sowieso, the next line in the song is the part about getting raped by clowns which is just… ugh. Look, I can kind of forgive the two opening jokes. It doesn’t make sense that he’s listing those as reasons for why the girl is a monster, but whatever, a person can be both evil and kinky. Ich bin Exhibit A. And maybe Pop is so vanilla that he does consider boxer-sniffing and anal penetration to be evil. But the line about clown rape just takes the listener too far out of the story. We’re now in a surreal territory. One where, apparently, Bozo and Pennywise make niggas their bitches.
The song then ends in a way that, despite all the jokes, does fit really well.


“I rub the lotion on the skin
Or else I get the hose again
I rub the lotion on the skin
Or else I get the hose again
I rub the lotion on the skin
Or else I get the hose again…”


Pop paraphrases Buffalo Bill’s creepy lines from the hit thriller “Silence of the Lambs,” and it absolutely works. The guy feels like the victim of a deranged serial killer. See, this is why the mistakes in this song piss me off so much. The song does so much right, and then so much wrong. Clown rape wrong.


So, are there any serious or semi-serious songs that have jokes which work really well? Yes. Guess which band comes to mind the second I start thinking of examples?


Bloodhound Gang’s “Magna Cum Nada” is all about feeling pathetic and useless to the point where Pop sings “Have you seen my will to live? Because I seem to have lost it!” Yet the title itself is a pun in the tradition of a Greek frat club, saying something along the lines of “never going to cum.” The song is filled with jokes which don’t distract from the overall anger felt in the tone. That’s something “Altogether Ooky” failed at.


Then there’s “Take the Long Way Home,” which is just lyrical brilliance to me. The song is about the utter pointlessness of this existence told in a way that can be pretty dark at times.


“But we've all got to Wang Chung with the Grim Reaper,
Whether you're Einstein,
Whether you're Beaker,
Death is certain so it's definitely worth flirtin',
Don't expect a bright light, no, just curtains,
Life is like a penis most people don't know it,
But most people suck so they usually blow it”


Again, a song filled with jokes and clever word play that don’t at all distract from the topic. I especially like this part…


“Are you Evil Knievel jumping a train?
Or running with scissors like Frasier Crane?
Have really good times doing really bad things,
'Cause the show ain't over 'til the fat lady sings,
Like Elton John with his candle in the wind,
It's hard to blow out a flame as big as him”


A “Cheers” reference and calling Elton John a flamer. Maybe that could have saved “Altogeher Ooky.”


Anyway, I’ve ranted about the lyrics long enough. On to das Video!
This Video is a total comedy, which only adds to this disappointment of what the song could have been. However, I realize that I’ve bitched relentlessly about the lyrics enough for one review, so I’m just going to judge the Video without taking the song into consideration now. Mind you, the song is a part of the Musik Video, so I can’t really say this is a good Video even if it’s funny. But at least this way I get to STFU about the lyrics already.


So the Video opens with The Bloodhound Gang at a nursing home. Pop opens his mouth to show that he has fangs, and the Musik starts playing, which is a nice touch. The rest of the Video alternates between the band performing in the nursing home, and a vampire (played by Jimmy Pop) trying to live his undead life but failing at every turn. The first time we see Count Pop, he’s unable to sleep because he can’t get comfortable in his coffin. We then see him at work, sitting at a desk covered in mountains of papers. He sighs as he flips through a photo album, looking at pictures of his parents, as well as past victims. Clearly, he wishes he was out vampiring instead of working at a typically boring job.




The Video goes on to show him (figuratively) sucking at many different aspects of life. One of his misadventures is going to a dentist named Dr. Acular. Which is a clever pun but… um… is the dentist a vampire? He doesn’t have fangs. Is the joke that the vampire had to see a dentist that had a name that made him feel comfortable? Anywho, the vampire is afraid to open his mouth, and after some prodding, he kills the dentist via fangbite, and then flies away via bat wings.




Later we see him get punked out by some Trick or Treating kids, break a rubix cube because he couldn’t solve it, and unsuccessfully try to pick up bitches at a bar. He even tries to bite one Frau on the neck, but sees that she’s wearing a cross earing, and runs away in terror. I guess Richard Pryor was right. Most of these gags are mildly amusing, but not very funny. Two parts that did make me chuckle was the part where he’s thumbing through the photo album because there’s a picture of Nosferatu labeled “Dad,” and a part where he appears to be masturbating behind his work desk, (while “I rub the lotion” is being sang) but he’s actually fashioning a stake that he uses to break that friggin rubix cube.
Towards the end of the Video, Nosferatu Jr. finds himself sitting outside, looking beaten down by his eternal yet pathetic existence. He shrugs with a “Yeah, what the Hell?” look on his face, and then starts rollerskating. As random-assed as that scene is, I liked it. The whole Video was showing this guy to be such a loser, but then we see that he’s good at something. The Video is basically the story of a dude who doesn’t fit in. He could give in to depression, but he never does. He just keeps trying, and eventually, he finds something he can do well. And yeah, it’s really random, but it works. We seem him sulking for a second, so it’s not like this scene doesn’t acknowledge all the preceding scenes. And it’s pretty common for people to have unexpected hobbies which helps them cope with hardships.
Meanwhile, in the room where The Bloodhound Gang is playing, Jimmy Pop stands up and leaves the room with the hot nurse who was tending to them. The rest of the band dies because of this, leading me to believe Pop is a selfish summamabitch.




I found this to be another joke that kinda fell flat, but not in a terrible way. It was kind of funny seeing Pop dancing with the nurse in the background while his fellow bloodhounds lie dead.
The “Altogether Ooky” Video gets a solid and mildly respectable “It’s aight” from me. The best part is without a doubt the song which, lyrical problems aside, is still a good song. And while the Video wasn’t super entertaining, it had some good moments. It’s really just something to watch when listening to the song, as opposed to a great piece of Kunst in itself.


The Bloodhound Gang is probably going to remain one of my favorite bands for the foreseeable future. Though “Altogether Ooky” shows that even great bands aren’t perfect. Also, I wish Viva La Bam went on forever.


Bonus Fact: The Bloodhound Gang filmed this Video in Berlin, and you can see the Brandenburger Tor during the scene where the vampire skates. Considering how common the vampire sub-culture is in Berlin, the locals were probably used to this sight.


“I'm gonna come to your house on the back of a horse with,
A bunch of villagers carrying torches,
Most of whom dislike monsters like you, girl”

''Africa'' - Toto

     
     Every once in a while, I’ll come across a shitty band that has one really good song. And there’s probably no better example of that than Toto. In Toto’s defense, the band was formed in 1977, and bands that consistently produced Musik which didn’t make people want to slit their own throats didn’t really become a thing until the eighties.

     But as terrible as 99% of Toto’s Musik is, I can’t deny how damn good their biggest hit is. Their 1982 mega hit,“Africa,” has such an amazingly catchy beat throughout the verses. The instrumentals include guitars, bass, and drums, as well as mbira done on keyboard and the marimba. This makes the song have a kind of exotic sound, which serves as a theme in the lyrics. If you’ve heard this song, you already know what my favorite part is. Ja, that “dum dum dum dum… dum dum! dum dum…” will never fully leave my mind.

     The topic is also pretty cool. Obviously, the title lets you know that the song is about the dark continent. And with all of the tragedy that Africa has experienced, and continues to experience, there’s a wealth of material when it comes to telling an emotional story about struggle and survival.

     The lyrics were written by vocalist and keyboardist David Paich and drummer Jeff Porcaro. Both men have commented on what the song is about.

     According to Paich:

     “At the beginning of the eighties I watched a late night documentary on TV about all the terrible death and suffering of the people in Africa. It both moved and appalled me, and the pictures just wouldn't leave my head. I tried to imagine how I'd feel about... if I was there, and what I'd do.”

     Porcaro also commented on the lyrics:

“... a white boy is trying to write a song on Africa, but since he's never been there, he can only tell what he's seen on TV or remembers in the past.”

     Huh… that’s kinda strange. The two writers seem to have pretty different ideas about what this song is about.

     So is it about the death and suffering of the Africans? Or is it about a white Westerner trying to write about a place he’s never been to? Maybe the lyrics will clear things up.

“I hear the drums echoing tonight
But she hears only whispers of some quiet conversation
She's coming in twelve-thirty flight
Her moonlit wings reflect the stars that guide me towards salvation”

     Dafuq does that have to do with either topic? What about the chorus?

“It’s gonna take a lot to drag me away from you
There's nothing that a hundred men or more could ever do
I bless the rains down in Africa
Gonna take some time to do the things we never had”

     Okay, so does anyone, who has actually heard this song, really believe it’s about Africa? Seriously, look up the lyrics. This is obviously a song about a guy who wants to fick a girl. So where exactly does Africa come in? Well, hold on to your butts. Because I’m about to explain my theory of what “Africa” is really about. If you’re anything like me, and you should be, this will make you like the song even more.

     “Africa” is actually the story of a man who is feeling a strong sexual desire that he’s never felt before. It’s so strong, that’s it’s consuming his mind, and he’s scared that it’s turning him into a monster.

“I hear the drums echoing tonight
But she hears only whispers of some quiet conversation
She’s coming in twelve-thirty flight
Her moonlit wings reflect the stars that guide me towards salvation”

     The dude is talking with his lady friend on the phone. While she only hears the conversation they’re having, he hears “the drums.” The drums here represent a primal and tribalistic urge within the man to do what comes natural, in a most primitive way. He sees sex with her as being something of a “salvation.”

“I stopped an old man along the way
Hoping to find some old forgotten words or ancient melodies
He turned to me as if to say: 
‘Hurry, boy, it’s waiting there for you’”

     On the way to meeting his sexy Schatzi, he comes across an old man. As an allusion to African culture, the man is presented as a wise shaman who holds ancient secrets. Remember, white people thought black people were magical back then, too. But what he really is, is simply an older gentleman who’s banged more bitches than you can possibly imagine. The guy telling the story asks the man for advice on the timeless art of seduction. The old man can tell, just by looking, that this young man doesn’t need any advice. He knows more than he thinks he does. And so, the old man simply tells the younger dude to go get her.

“The wild dogs cry out in the night
As they grow restless longing for some solitary company”

     “The wild dogs” are the sexual feelings that, the narrator thinks, are out of control. He desperately need to get with this bitch.

“I know that I must do what’s right
Sure as Kilimanjaro rises like Olympus above the Serengeti
I seek to cure what's deep inside, frightened of this thing that I’ve become”

     The man is frightened of his animal he’s become. He’s worried that he doesn’t actually care about anything but sex now. And yet...

“It’s gonna take a lot to drag me away from you
There's nothing that a hundred men or more could ever do
I bless the rains down in Africa
Gonna take some time to do the things we never had”

     So the first two lines can mean one of two things. First, he’s continuing the theme of desperately needing to fuck her, and nothing is going to get in his way. Or, maybe he actually loves her, and he’s referring to how nothing can come between their romance.

     Which one is it? I think the answer is in the very next line. “I bless the rains down in Africa.” It seems so out of place. He’s telling this whole story about his desire and this woman, and then out of nowhere, he starts talking about Africa. Obviously, “blessing the rains in Africa” is a metaphor for what they’re doing here.

     The first humans emerged from Africa. It’s the birthplace of humanity. However, if we’re talking about individual humans, the birthplace of a human is out of a woman’s vagina. That’s right. In this context, “Africa” is a metaphor for a woman’s vag. And when the man says “I bless the rains down in Africa,” he’s talking about eating her soaking wet Muschi. It’s because of this line, that we know how the story ends. The man doesn’t become a heartless sexfiend, rather he falls in love with the woman. He’s not just fucking her, and then leaving. He’s pleasuring her in a way that only gets her off, because that’s important to him. He blesses her. Right in the cooter.

     Still not convinced? Well, remember the part where the old man says “Hurry, boy, it’s waiting there for you” early in the song? Towards the end of the song, after the second chorus, the vocalist sings “Hurry, boy, SHE’S waiting there for you.” The man no longer see this woman as an “it” but has humanized her as a “she.”
     Kinda gay, but still a powerful story.

     So that’s my theory. It sounds cray cray, but it makes far more sense than the explanations by the band members. Plus, I’ve yet to hear a better argument for what “I bless the rains down in Africa” could actually be referring to.

     One does have to wonder why Toto had to lie about what this song is really about. It could just be an inside joke. Each writer gives a different version of what the song is about, much like how in “The Dark Knight,” The Joker gives different explanations for how he got his scars. But they also may have kept the real meaning hidden due to the view that many people had of female sexuality when the song came out. In the Western world, the thought of focusing on getting a woman off was seen as kind of strange until the sexual revolution of the sixties.

     Sex was something that men enjoyed, and women did for men. This is probably why scientists did such a half-assed job researching female sexuality, causing people to believe ridiculous things about a woman’s anatomy, such as only hermaphrodites possessing a clitorious. It wasn’t even until the year 2005 that the clit was fully mapped.

     Today, a lot of people still think that a loose puss puss means that a girl had lots of sex. Myths like this just show how unimportant people considered/consider female sexuality to be. Perhaps this is the reason Toto decided to be cryptic about what it really means to bless those African rains. It’s bad enough every other song they made sucked. They didn’t also want people thinking they were a bunch of bitch-ass girly men who licked clit.

     So, there you have it. The true meaning of “Africa” by Toto. See you next time, dear readers.


     Oh, that’s right. I’m supposed to review the Video too.

     Sadly, this Video is more typical of what you’d expect from Toto. The quality sucks, though this came out way back in the ancient days of 1982. So I didn’t really expect it to have Lady Gaga level quality. However, it’s also plagued with boredom. Which is another thing that was common in the eighties, but I can only look the other way so many times.

     So the Video takes place in a library, where the members of Toto are doing some reading. Paich begins looking off into the distance, and singing, as the song starts. Which is actually a pretty cool way to start the song. Throughout the Video, the camera cuts to a black female librarian, obviously symbolic of the continent which we now know represents female genitalia. 


     While the eighties had its problems, this was probably a positive sign of the times. Use a black person as a reference to Africa today, and you’d probably be shouted down by while guilt liberals and angry black racists for “cultural appropriation” or some shit.

     The camera then cuts to a shot of a spinning globe, followed by the black librarian stamping a passport. Now that I think this song isn’t about Africa at all, I kinda see things like this as Toto trolling. Which is kinda awesome. The Video continues by alternating between shots of Paich singing, and the band playing, which isn’t bad. When the chorus hits, Toto is now tiny, and performing on top of a stack of books which is… ugh. Who came up with this? Who thought shrinking the band down so small that they can play on a book was an epic way to transition into the chorus? And seriously, this part should have been epic. While not a badass metal song, “Africa” still does have a chorus that sounds super emotional. There’s a powerful longing in the vocals that requires, I don’t know, a venue that’s like the opposite of a stack of books.

     As the Video goes on, we start to see part of the library transformed into a jungle, and a spear-chucking African is now approaching, as Paich continues looking for books. If this Video came out today, Al Sharpton would have came his pants with the force of a thousand suns because he’d have something new to bitch about. So the spear-chucker chucks a spear, startling Frau Black Librarian, and knocking over a stack of books. Because Africans care not for your fancy white man book-learnin’. This leads to a lamp falling on a book, setting it on fire.

     And, well, that’s about it. Paich find a book with the title “Africa” on it, and smiles to himself. The other book that was set on fire continues burning. And we don’t see the African guy again. I feel like this was a good set-up to something that never happened.


     So how bad is this Video really? Well, I’ve seen worse. It’s not so much that it’s awful, more that it’s just meh. Most of the Video is Paich looking for books, the band performing all tiny, shots of the librarian, and the implication that the library is turning into Africa. Nothing that exciting happens. It looks like the band really just wanted to do the bare minimum for this song. Like they said, “We want to be in a library, we want to perform on books, and we want like one or two mildly interesting things to happen.” The big culmination of the Video is a book being set on fire. Granted, that could be an awesome payoff depending on the context. But in this context, we know nothing about the book, other than it seems to be about Africa because when it opens, there’s a picture of a tribesman in it. I can’t even say this is a metaphor regarding Africa, because there are too many other African things going on here, so one book can’t act as the symbol of the continent.

     Now, if I was going to examine this story with my knowledge of what the song is really about, (which I will because it’s my blog, and these are the things I do) I’d assume that the African tribesman represents the vocalist’s animalistic sexual feelings, as alluded to in the song. Maybe his chucking the spear is the sexual urges boiling over, causing Paich to question his humanity. Meanwhile, the reason he’s doing all this reading is because he feels lost in regards to how to deal with this woman he’s thinking about. Then Paich finds a book about Africa the continent, which represents him deciding he’s going to eat his Fräulein out because he cares about her getting off. And then that makes the tribesman leave because now Paich is secure that he cares about his lady. But the other book is set on fire because life isn’t all about reading, and a body is a terrible thing to waste, and you know, I have no fucken idea where that fits in.

     If that is what the band was going for, I think it could have done a lot better. The Video didn’t focus on the African leaving or anything like that, we simply don’t see him again. And Paich doesn’t seem to be playing a man that is conflicted at all.

     A deep story in a song is great, but only as long as the song sounds good. Likewise, a deep story in a Video is great, as long as it’s fun to watch.

     Again, this Video really isn’t that bad. It’s just not that good. And a song as great as Toto’s only really great song, “Africa,” just deserves more. The black librarian at least could have busted a cap in the tribesman or something.

     Bonus Fact: CBS once played this song over Nelson Mandela memorial footage. This was either highly offensive or quite complementary, depending on what Mandela's views were regarding clit-licking.

“It’s gonna take a lot to drag me away from you
There's nothing that a hundred men or more could ever do
I bless the rains down in Africa
I bless the rains down in Africa
I bless the rains down in Africa!”

''Let's Get It Crackin’'' - Deuce


     When Los Angeles rap-rock band Hollywood Undead parted ways with singer/rapper Deuce, I was curious as to see if both parties would continue making great Musik. Actually, I was pretty sure they would. But saying I wasn’t sure kinda adds some extra importance to Deuce’s first Musik Video as a solo artist. Would he fade into obscurity without his former friends in Hollywood Undead?! Or would he soar to new and uncharted heights of awesomeness?!!

     “Let’s Get It Crackin’” is the first single off of Deuce’s debut solo album “Nine Lives.” For the most part, there’s not much to say in way of the lyrics, as it’s pretty much your standard boastful rap party song.

“Lets get it crackin, bottles
We back in town, we're so plastered
So meet her in the bathroom
She just turned eighteen, she calls me ‘baby’
’Cause she's been waitin’ all night to rape me”

     In short, Deuce is ready to drink, party, and get raped by a newly legal Schlampe.


     This is kind of a problem I have with rap Musik. So much of it is just the rapper talking about how great he is, and how much he loves partying. To be honest, I do like a lot of “crunk rap” songs, and I don’t mind hearing rappers bragging about how badass their lives are. It’s just that when everyone is doing the same thing, over and over, the topic gets boring, even when the Musik sounds good. Of course, some artists can do the same thing over and over, and still be fucken toll. Yes, I’m talking about The Millionaires.

     Deuce isn’t really a typical rapper, as “Nine Lives” actually does have songs that tackle deeper issues, such as the politically-charged “America,” and as well as “Walk Alone” and “Nobody Likes Me.” However, “Let’s Get It Crackin’” definitely isn’t one of those deeper songs.

     Despite the lyrics being pretty standard, the song still sounds very good. Which is more than I can say for a lot of rappers. Yeah, there’s a reason why the motherfuckers never loved you, Drake. “Let’s Get It Crackin’” has some nice rock riffs, especially in the chorus. As a huge fan of rap-rock, this certainly put a smile across my spirit face. Plus, even though Deuce is spitting average rap lyrics, they’re still pretty nice.

“All the girlies with the pretty little panties
Turn around, let me smack both them ass cheeks
Throw your cups up if you'll get nasty”

     At least the imagery is good. Nothing unpleasant about spanking chicks who wear pretty little panties. And I love how the song starts. Deuce is all like, “Release the kraken!!!!” It’s pretty badass.

     So the song manages to stand out due to its sound, despite its typical lyrics. But there’s another feature this song has that definitely makes it special. And that thing is a flaming flamer by the name of Jeffree Star.


     Star is featured on this track, and drops the same style of rap that Deuce does. Of course, Star being a man rapping about fucking men, kiiiiinda of adds something very untypical to these otherwise typical lyrics. Also, Star is verrückt. Here’s a chunk of his verse...

“Smackin fags is what I do 
You wanna be me? Ha! What's new?
Spit or lube? You better choose
Bitch, what's a condom? No excuse
My vagina is a petting zoo, only let in ten inch dudes
Just got raped by Drake, baby, why'd you fucked up my hair do?!
It's J-E-F-F-R-E-E STAR
I play the boys like a fucken guitar
Lick my ass and surgery scars
I always smash midgets and fucken retards”

     I love this. Like, I love it so much that I wish “gay rap” was its own genre. Star rapping about having gay sex with the same type of fucked up debauchery that other rappers use when describing straight sex just gives Star this hardcore aura of libertine hedonism that few artists are able to achieve. The bad news is that Jeffree Star’s own Musik isn’t that great. Some of his/hers/its songs are pretty good, but he only really kicks ass when he raps, which he only seems to do when he’s featured on someone else’s track. We really need to start a petition to get that nigga to record a rap album.

     There is some irony in having Star gay it up so gayly on a Deuce song, though. After all, in the song "The One," Deuce goes...

“I see the sickness in the signs
Like the sickness in my mind
Homosexuals and liars”

     I can understand using faggot as an insult without actually being homophobic. But when homosexual is an insult to you, you're probably not a fan of the gays. Still, I really don't think he'd be friends, and work with, Star if he was a homophobe. So these lyrics are anyone's guess.

     Anywho, the song is crunk rap with a little something extra that makes it stand out, and the exact same thing can be said for the Video.
     Before I get into this Video, I should mention that it looks incredibly low budget. I wish this didn’t matter, but it really does. A Video’s concept can be super creative, but if it looks bad, you care about it less.
     So most of the Video is Deuce partying with bitches. Average rap stuff. However, these particular bitches are wearing masks, like big Deuce himself. Some of their masks are of monsters, and there’s that fucken freaky horse mask there which the interwebs loves. Most of the bitches are hot, and some are topless, which is alright. Seriously, I’ve been so jaded by an overabundance of sex in the media, my reaction to hot half-naked bitches dancing around is, “I like that they’re wearing masks. Look, it’s that horse thing!” Plus, some of these girls have the type of boobs that look better in a bra than running free.

     There’s also a random black guy in the Video wearing a mask, chillaxing next to Deuce. I have no idea who this guy is, so I’m forced to assume he’s lending his blackness to the Video to give white rapper Deuce some extra street cred. Which should really no longer be a thing, since all the best rappers are white, anyway. That’s right, I said it. Komm auf mich, bro.

     Sowieso, the Video continues like this until we get to Jeffree Star’s verse, which is accompanied by a scene which is awesome/terrible. I really have such mixed feelings about this scene. During Star’s verse, Deuce is sitting on a throne while some of his bitches fight each other, even drawing delicious blood, for Deuce’s amusement. At one point, one of the girls looks into the camera, raises a middle finger, and cocks her head to the side. It’s awesome. And coming from me that’s a lot, because 80% of the times somebody raises a middle finger, it’s lame. It’s just another one of those things that has been done to death, and people who do it usually look like angry little children who just want to be edgy. However, the look in her eyes, the faint smile, the bruises on her face, Star’s lyrics, and the beat all make it a sweet second-long scene. Speaking of which, I talk way too much about scenes that are only a second long.

     So with all that goodness going on, what was wrong with this scene? First, Jeffree Star isn’t in it. Having him on the track, but not in the Video at all, makes the Video look unimportant. It’s like Star was willing to do a verse for the song, but couldn’t be bothered showing up in the Video. Told you the budget matters.
     Deuce even introduces Star on the track by going “Jeffree…” right before Star starts rapping. Nice in the song, not so much in the Video when he doesn’t show up. What makes it even worse is that during Star’s verse, Deuce is mouthing the words. This would be awful under normal circumstances, but what makes it even worse is that… well… you read Star’s lyrics earlier in this review. Deuce comes off like a Schwuler talking about playing “boys like a fucken guitar.” Yes, Jeffree comes off as badass when he says this line, but that’s because he actually is a Schwuler. Jeffree intentionally talking about playing boys is cool. Deuce simply mouthing Star’s lyrics, thus accidentally coming off as gay, is not cool. It’s kinda gay. And yes, I realize I rap along to these lyrics myself. But one, I’m not doing it in a Musik Video. And two, shut up.

     So after this part, we go back to the same things that were happening before. Deuce is rapping next to an unidentified Negro, naked chicks are running around, some guys are playing instruments in one of the rooms, there’s a lot of feathers flying around, and general craziness is being had.

     As we near the end of the Video, we go into the chorus one last time. As soon as that first line of chorus hits, Deuce pulls out a gun and shoots one of his bitches right in the goddamn head. I’ll give you a moment to let that sink in. Yeah, Star’s rap isn’t the only thing that gives this Video something that sets it apart from other “get the party started” Videos. For some fucken reason, Deuce stars headshot'n all of the girls in the Video. The final scene is Deuce standing in the middle of a bunch of corpses, and him ending the scene by shooting the camera. It’s so stupid, yet so freakin’ great. Why the fick does he kill these girls he’s been partying with? It just feels so out of place. And yet… AND YET! It works. Maybe the reason it’s great is because most rap Videos are so boring. And this Video, being your average “guy raps while surrounded by sluts” Video, seems to fall into that boring rap Video category. So when he did something out of left field like this, he ended up breaking the monotony of what we expect coming from a rap Video. Once again, Deuce manages to set himself apart in a genre that is so cookie-cutter dull.

     So there we have it. Deuce’s first real effort as a solo artist was damn good. The Musik was great, and that goes for the whole “Nine Lives” album. As for the Video, I’d rate it as a strong “pretty fun with an even funner ending.” It’s not a great Video by any means. For the most part, there’s not much going on, other than the same shallow party stuff we’ve seen a thousand times. But the imagery is still pretty fun, it’s enjoyable to watch even while looking low budget, and it’s definitely good as far as rap Videos go. And the ending is stupidly wonderful.

     Bonus Fact: Deuce said this song is about how he parties on tour. I’m forced to assume the Video means when he’s ready to go home, he shoots every girl he’s with.

“Titties jiggling up in herrr
We're getting freaky, that's fo’ sure
Drinkin’ that ice cold burrr
I was born to rock this world”


''Rosenrot'' - Rammstein


     One of the things I've always loved about Neue Deutsche Härte masters of the story song, Rammstein, is their ability to mix their own unique/warped sense of creativity with traditional German art. Their theatrical concerts feature giant dicks, bloody cannibalism, and massive amounts of fire, but many of their songs are based on old German poetry and stories. In each case, they take a classic German tale, and give it a nice morbid twist.
     Rammstein’s song “Rosenrot” is based on a poem by German romanticist poet Johann Wolfgang von Goethe. The poem is called “Heidenröslein,” and was Goethe’s first attempt at folk poetry. What makes this poem such great source material for a Rammstein song is that, while it paints a pretty image, and starts out innocent enough, what’s going on is actually really dark.

“Sah ein Knab ein Röslein stehn
Röslein auf der Heiden
War so jung und morgenschön
Lief er schnell, es nah zu sehn
Sahs mit vielen Freuden.
Röslein, Röslein. Röslein rot
Röslein auf der Heiden.”

A boy saw a little rose standing,
Little rose on the heath
It was so young and beautiful as the morning
He ran quickly, to see it closely
He saw it happily.
Little rose, little rose, little rose red
Little rose on the heath.

“Knabe sprach: Ich breche dich
Röslein auf der Heiden!
Röslein sprach: Ich steche dich
Daß du ewig denkst an mich
Und ich wills nicht leiden.
Röslein, Röslein. Röslein rot
Röslein auf der Heiden.”

The boy said: I will break you
Little rose on the heath!
The little rose said: I will stab you
So that you forever think of me
And I won’t suffer it.
Little rose, little rose, little rose red
Little rose on the heath.

“Und der wilde Knabe brach
‘s Röslein auf der Heiden
Röslein wehrte sich und stach
Half ihm doch kein Weh und Ach
Mußt es eben leiden.
Röslein, Röslein. Röslein rot
Röslein auf der Heiden.”

And the wild boy broke
The little rose on the heath
The little rose defended itself, and stabbed him
That didn’t help it
And it had to suffer pain.
Little rose, little rose, little rose red
Little rose on the heath.

     Yeah, sometimes my reviews feature full poems. Hochkultur in this bitch. Anyway, I’m almost positive this poem is about rape. It starts off with a boy seeing a beautiful Röslein, which obviously represents a young lady, and decides that he’s going to “break” it. The Röslein threatens to stab him if he touches her, so that he’ll always remember what he tried to do, and what happened. I assume this is the equivalent of a guy forcing a girl to give him oral sex, and the girl biting his dick. I should also mention that Goethe had a fear of syphilis. I feel like this is also a factor here. Sowieso, the boy violently grabs the Röslein, and although she makes good on her promise to stab that nigga, it doesn’t help. She suffers pain and, presumably, dies.

     Essentially, this poem is about humanity confronting forces that are greater, more powerful, and impossible to stand up against. In the ancient Pagan stories of humans vs gods, the gods always win, because the gods represent nature. And while we have been able to dominate nature in many ways, it only takes a good tsunami or hurricane to whoop our ass.

     So now that we know the source material, and because I don’t want my readers to forget what I actually do on this blog, on to Rammstein’s “Rosenrot.”

     “Rosenrot” tells a somewhat similar story as “Heidenröslein,” but with a few changes, and a twist at the end. In this version, a girl is persuading a boy into climbing a mountain to get a pretty rose for her. The opening line is the same as the one in Goethe’s poem, except that it swaps the boy for a girl.

“Sah ein Mädchen ein Röslein stehen
Blühte dort in lichten Höhen
Sprach sie ihren Liebsten an
Ob er es ihr steigen kann”

A girl saw a little rose standing
Blooming in the bright heights
She asked her sweetheart
If he can climb the mountain for her

“Sie will es und so ist es fein
So war es und so wird es immer sein
Sie will es und so ist es Brauch
Was sie will bekommt sie auch”

She wants it, and that’s fine
So has it been, so will it always be
She wants it, and it’s the custom
What she wants, she gets

     It turns out the Mädchen is a bit of a spoiled brat who always gets her way. #bossbitch.
     And so, our pussy-whipped protagonist climbs the mountain in search of the Röslein. However, in the last verse of the song, there's a twist that sets it very much apart from the poem. In this story the boy and the Röslein both suffer and die.

“An seinen Stiefeln bricht ein Stein
Will nicht mehr am Felsen sein
Und ein Schrei tut jedem kund
Beide fallen in den Grund”

A stone breaks under his boot
He doesn’t want to be on the cliff anymore
And a scream makes it known to everyone
That both are falling to the ground

     My favorite line in the whole song is “Will nicht mehr am Felsen sein.” (He doesn’t want to be on the cliff anymore) It’s such a simple, straight-forward line conveying information without getting emotional. Yet in that one line, they’re saying that the boy realizes what a mistake it was to come here. What a mistake it was to listen to that girl. And now it’s too late to do things differently, because he’ll be dead in a few seconds.

     Rammstein retells the story in a way that does justice to the poem, yet still brings something different. The elements of mankind being at the mercy of forces greater than us are still there. However, Rammstein goes a step further. The Röslein is still the weak little creature that can so easily by killed by the boy. Yet after the boy has it, part of the cliff breaks, and the hunter now finds himself at the mercy of a force even greater than himself. It’s the classic cycle of the strong dominating the weak, but then the stronger dominating the strong. Not only that, but remember he’s only doing this because of a girl. Despite being physically stronger, men often find themselves slaves to the whims of a girl who is able to manipulate guys with sexuality. It was also sexuality which got the Röslein Rösraped in Goethe’s poem. It can be said that the boy in that story has turned into a monster due to being unable to control his sexual desire, which causes both him and his victim to suffer. Perhaps sexuality is the greatest force that humans are weak against. Just thinking about this makes me thankful that I’m a spirit from another dimension.

     In addition to the story bringing something fresh to “Heidenröslein,” the Musik is great, which can easily be expected coming from Rammstein. The chorus in this song is crazy catchy, which I know because it’s been playing in my head the entire time I’ve been writing this. Throughout the verses, the guitars build up while vocalist Till Lindemann tells the story, then moves into a nice breakdown when Herr Lindemann sings the chorus.

     However, the same way “Rosenrot” is a retelling of “Heidenröslein,” the video for this one is a retelling of the song.

     The nicely shot video starts with Rammstein, playing travelling religious monks from different orders, entering a Romanian village. As much as I like how this video starts, like a typically cheesy German Heimatfilm, I kinda have a problem with each member being from a different order. Just seems unrealistic that monks of different orders would be travelling from village to village together, since different religious groups tend to hate each other. Anyway, the Rammonks enter the village and find happy Romanians drinking, dancing, feasting, and coming over to greet their holy visitors. A truly ideal village. In what may be foreshadowing, a dead ram is being carried by some villagers, and its head swings right in front of the camera for about a second. Rammstein is invited to party with the villagers, so they sit down to the feast, drinking and chatting with their new friends. However, Till seems to be more interested in a cute little Romanian Mädchen who is giving him the “fuck me” eyes. At this point the chorus hits, and we see Till, with a bit of blood on his face, lying on the floor, singing the song. The shot goes back and forth between that, and all six members of the band sitting in a circle out in the woods, removing their shirts, and flogging themselves with whips. It’s clear now that these monks are Flagellants, which were practitioners of self-mortification. During the 13th and 14th centuries, Flagellants used to go from village to village whipping themselves to atone for their sins. Or because they never found any good Fetisch clubs.

     In the next verse, the shots alternate between Till getting closer to the girl in public while the other monks look on disapprovingly, and him lying underneath her bed. This part is kind of strange. I don’t know if Till is stalking her, or this is just a dream sequence. I’m leaning towards the latter, because in another shot, he’s sleeping in her bed. During the line in the song “Hat das Röslein nur im Sinn, bringt es seiner Liebsten hin” (Only has the little rose in mind, brings it to his sweetheart) we see the girl rubbing a rose across Till’s face. Till wakes up, and the girl puts the stem in his hands and squeezes, causing him pain. A clear reference to the Röslein stabbing the boy in Goethe’s poem.

     We then go back to the chorus, and the girl has now convinced Till to murder her parents. Till is in their house, stabbing them to death as the malicious #bossbitch stands outside watching and grinning. We see another shot of the band whipping their backs raw. This is probably my favorite shot in the video, because it flows perfectly. The whipping is so fast, and it syncs up really well with the Musik. I think if there’s one secret to a good Musik Video, it’s that the actions need to sync up with the Musik. Till is a Masochist in real life, so I’m guessing he enjoyed filming this video.

     Till then comes out of the girl’s house, covered in Blut, and looking all happy. In what is the second best shot in the video, the evil Schlampe betrays him. She points at him, screaming, while the other monks and the villages rush over to Till, and beat him to the ground.



     Meanwhile, in the scene where Till is under the girl’s bed, his fellow monks flip the bed over, and drag him out. I guess symbolizing him fully realizing what has happened.

     In the end of the video, Till is burnt alive at the stake for murder. The villagers, his monk friends, and his ex-girlfriend toss torches onto the fire causing him to burn to death. And so, as Goethe’s Röslein died at the hands of a selfish Junge, Till dies at the hands of a selfish Mädchen.

     Keyboardist Christian “Flake” Lorenz can be seen holding the girl’s hand as Till dies. I suppose she’s fair game now.

     The final shot is the five monks walking away, as smoke from the fire that consumed Till is seen in the background.

     Rammstein really crams a lot into this video. The references to Goethe’s poem, the story acted out as well as the one told in the song, and the Flagellants were a really nice touch. The village also serves as the perfect place to tell this story.

     If I had to pick one thing I didn’t like, besides the monks being from different orders, it was probably the part where Till is under the girl’s bed singing. It just seems kind of confusing to me why he would be there. Maybe he’s under her to symbolize her dominance over him. I know it’s a Musik video, so not everything has to make sense, but I just felt it didn’t work. Especially during the part where the monks pull him out. It was great when they beat him up outside, but then to also show them finding him under the bed just felt like two different things were happening to the same character at the same time in the story. I did really like when Till was in bed with the girl, though. The part where the thorns prick his hands, like in the poem, was a fucken über reference.

     Overall, it’s a good video. Not one of my all-time favorites, but I definitely enjoyed watching it a few times in order to write this review.

     I really hope Rammstein has at least one more album in them. Deutschland braucht es.

     Bonus Fact: The evil bitch in this video was played by a fourteen year old girl. You’re a dirty man, Till. You too, Flake.

“Tiefe Brunnen muss man graben
Wenn man klares Wasser will
Rosenrot, oh, Rosenrot
Tiefe Wasser sind nicht still”

One must dig deep wells
When one wants clear water
Rose red, oh, rose red
Deep waters are not still