gender reassignment lyrics

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Forced Gender Reassignment

• Cattle Decapitation

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Forced Gender Reassignment Lyrics as written by Derek Paul Engemann David Mcgraw

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It\'s more like gender reassignment surgery for transgender people, and how religions think being transgender is unnatural. Lots of things are unnatural, yet transgenderism is the only one of these that religious people claim to care about.

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Probably about a criminal or innocent prisoner suffering?

hey cd members,change your genders with your wives at first as you are so conscious about overpopulation. then change others

This song sounds like my brother and how he is abnormal in terms of gender; he actually tried to remove his own male parts before because he doesnt like being a boy.

to me this song is about how gay kids and gender-non-conforming kids are forced/brainwashed into transitioning. having to go through a horrendous surgery so they can "feel" right or they can be "straight" to fit into society's standards. i don't know why most people see this as a pro-trans song. i think this is really about criticizing it, the process, and lack of gatekeeping.

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@Kittysuit i don't know, maybe it was the video depicting Westboro Baptist Church members being abducted and forced. maybe its the lyrics talking about "fear breeding contempt" and being forced into a body with circuity you cant control. Maybe it is the lines about christian indoctrination. <br /> Maybe your media literacy is awful. Lack of gatekeeping, are you serious? Maybe you need to have "forced gender dysphoria" as the song suggests, so you can know what it's like.

@Kittysuit What does this verse suggest?<br /> <br /> "Unnatural and unclean!<br /> Lord, please forgive them as this is not what they mean<br /> Are you there and are you listening?<br /> Why would you even let this happen to me!"<br /> <br /> Whose point of view is it?<br />

@decessa this is a website where i can talk about my interpretation of a song. if you interpret it differently, that is fine too. you don't have to be so aggressive about it. it is very clear that a lot of gay and gender-non-conforming kids think that being trans is the only way to be seen as "normal'. this belief was/is definitely forced upon (and in some countries is still forced upon) these types of children. i didn't even attack transgender peeps as a whole, but you literally seem to interpret my comment that way. total brainrot lol.

@R1GHTH4NDRUL3 this is a child praying and clearly in distress and confused as to what is happening to him. "unnatural and unclean" refers to how back in the day they called queer people exactly that. he says to God that they "don't mean that" because he doesn't want to be gay, since according to his belief, gay people go to hell. the child continues the prayer asking why this is happening to him and in turn denying his homosexuality, because if he is really gay he will be converted into a woman which is what the next part is about "Shut up and take it - Just accept your new life - Look at it this way, you'll make a dashing wife".

@Kittysuit now where did you get the idea that a child is the character in this song? I think that's a major reach.

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Cattle Decapitation - Forced Gender Reassignment Lyrics

Artist: Cattle Decapitation

Album: Monolith of Inhumanity

Fear breeds contempt in the hear of a man One has to question this common trait - Why do we hate what we don't understand? Forced into a body and damned with intelligence Shoved into a soul, wired with circuitry you cannot control A tradition so ancient that evolution will circumvent Hell-bent on ideals instilled since birth A price on life - the fleshes worth Somewhere in this organism's development A separate path taken - possible defect awakened Some feel it was simply a choice and use morality To strengthen their voice For this rather Christian indoctrination We have such sights to show you The gimp shall get to know you motherfucking biblically It's bound in human leather Desensitized, its sanity weathered To the wall your arms and legs are tethered Say hello to your new gender First we start with your private parts Snip cremaster -your testes fall apart Pain makes you faint as I slit your taint While you're unconscious I just wait.... ...Now you're awake, just in time as I make this incision The next step in your sex revision A slice up the shaft and around the corona Unsheathed penile muscle exposing the urethra Welcome to forced gender dysphoria How does it feel to be a woman now and not a man? "Unnatural and unclean! Lord, please forgive them as this is not what they mean Are you there and are you listening? Why would you even let this happen to me!" Shut up and take it Just accept your new life Look at it this way... you'll make a dashing wife As for your new husband... We had to perform a hysterectomy BUT, we managed to save your penis... ...and stapled it to her pubis In order to elude tissue rejection For 7 days she must avoid erections Since we grafted glands to make a clitoris These operations are always hit or miss An evolution of the self-destructing human parasite A revolution - an advancement of human technology A dissection - of the birth-given sexual organs A solution - to the world's overpopulation Now for the fun part - I introduce this: My new Cradle of Judas - Perineal puncturing device also juices the fruit of the human As force is applied, grinding and winding intestines and Inside around it like a drill bit - turns anatomy into a visceral Swill grating, excavating and making its way through the Body like a bore - finding its way out the Mouth announcing the gore

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Forced Gender Reassignment

Cattle decapitation.

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Cattle Decapitation is an American deathgrind band from San Diego, California, formed in 1996. more »

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Written by: DAVID MCGRAW, DEREK PAUL ENGEMANN, JOSH ELMORE, TRAVIS RYAN

Lyrics © BMG Rights Management

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• #1 The Carbon Stampede
• #2 Dead Set on Suicide
• #3 A Living, Breathing Piece of Defecating Meat
• #4 Forced Gender Reassignment
• #5 Gristle Licker
• #6 Projectile Ovulation
• #7 Lifestalker
• #8 Do Not Resuscitate
• #9 Your Disposal
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Cattle Decapitation’s “Forced Gender Reassignment” Hailed As One Of The Most Controversial Music Videos

Deathgrind masters Cattle Decapitation have landed at #1 on WatchMojo.com’s “Another Top 10 Controversial Music Videos” list for their now infamous “Forced Gender Reassignment” clip, which was directed by Mitch Massie. We premiered the video in 2012 and it has since become an internet sensation, attaining an almost “2 Girls 1 Cup” aura where viewers are challenged to see how long they can last before turning away in horror/disgust/revulsion/whatever.

What’s interesting to note is that this list tackles primarily mainstream artists, such as Miley Cyrus , Madonna , Erykah Badu , as well as others. Even the harder artists in this list, Tool , Korn , and Rammstein , are incredibly popular, so their placement amongst the “mainstream” makes sense. But Cattle Decapitation is not a part of the mainstream, nor have they ever been. To see them on this list is incredibly surprising and refreshing. However, it’s also troubling.

You see, it’s refreshing because the mainstream should never forget that there is a world of music that they coast over. Society shoves mass manufactured garbage into our faces, endlessly regurgitating the same simple chord structures time and time again, changing the synth pad so that we think what we’re hearing is new. And yet people keep eating it up because that’s all they recognize in the world around them. But if they were to brave the darkness and open themselves up to new possibilities, they can leave the comforts of the world they know and explore the seedy, honest, emotional underbelly that has such riches.

So seeing Cattle Decapitation in a list like this is great because people are forced to confront the fact that there is a world of music that they don’t venture into, either because of complacency or because of cowardice. And who knows? Maybe one or two people who viewed this list without knowing of the band decided to delve a bit deeper and hear some more that they have to offer. A few new fans? Awesome!

So why, you may ask, is it also troubling? Because the metal world is constantly facing stigmas. We’re angry. We’re devil worshippers. We’re idiotic knuckleheads. We’re uneducated. We’re homophobic. We’re racist. So on and so forth, over and over and over and over…

Let’s be honest, the video is f*cked up. It really is. When I was offered the opportunity to premiere it, I was hesitant. After all, the video tackles some incredibly touchy subjects AND features terrifying amounts of sexual violence. But the most important thing to remember here is that had it done all of this just for the shock factor I never would’ve shown it. If all the band and director Mitch Massie wanted to do was make people squirm in their seats for their own sadistic pleasure, some other site could’ve had it. I don’t care. I’m not showing mindless smut.

But it’s not mindless smut. It’s not a video that wants to shock just for the sake of being shocking. It has a message. It has a point. And it’s damn effective to those who are ready to face the horrors and give it a clinical, almost academic view.

But when the mainstream see a video like “Forced Gender Reassignment” and hear it labeled as “the most controversial video”, it gives them ammunition to denigrate us, the metal community. To quote Tommy Lee Jones’ character K from Men In Black , “ People are dumb, panicky dangerous animals and you know it. ” The vast majority of people will see these clips from “Forced Gender Reassignment” and refuse to look further. Or they’ll use it as a means to explain why violent acts occur. It’s been done before .

Why? Because they’ll be looking in all the wrong places. They’ll focus on the gore and not the message. They’ll see the violence and not read the lyrics (because 99.999% of them won’t be able to understand Travis Ryan’s vocals). They will completely miss that this song is a wake up call. It’s meant to inspire changing your perception and opening yourself to a new view. Just look at these lyrics from the song itself:

“ Fear breeds contempt in the heart of a man One has to question this common trait – Why do we hate what we don’t understand? ”

Basically, what I’m trying to say is that people will focus on all the wrong aspects, just like they’ve always done with metal. And that’s why this is troubling. It’s not the band’s fault. It’s not the director’s fault. It’s the fault of people who refuse to take the time to look just that little bit deeper. I’m not asking them to like it and, to be honest, I don’t expect them to. But it’d be damn nice if they’d at least appreciate it.

Here’s the list for you to check out.

Managing editor/music guy/social media fella of Bloody-Disgusting

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‘Reeker’ – Revisting the Forgotten 2005 Slasher Movie and Its Prequel

There is no forgetting the putrid and almost sickly sweet smell of human death once it has become an olfactory memory. Those unfamiliar with this hyper-specific stench should count themselves lucky. However, that odor of mortality is all the characters of Reeker have to keep themselves safe. Danger lurks wherever that fetor goes. Dave Payne ’s 2005 horror film introduced a unique villain named after his most notable attribute, yet by the time that cadaverous stink has been inhaled by potential victims, the chance for escape may have already expired.

Following a silly but grisly cold-open — a random family becomes a roadside picnic for The Reeker, who remains unseen early on — director and writer Payne sets up what looks to be a garden-variety slasher: one by one, young folks are murdered in gruesome fashion, somewhere out in the middle of nowhere. No doubt that pitch sounds familiar. As straightforward as the film starts out, though, the malodorous antagonist is revealed to be only a part of the bigger picture. The story ultimately subverted expectations and reimagined a fairly common plot twist from back in the day.

The Sixth Sense can be thanked for the resurgence of the “dead all along” twist. M. Night Shyamalan picked an oldie but a goodie — 1962’s Carnival of Souls is considered to be the first film to use this technique — for his breakthrough film’s iconic ending. “It was all a dream” and “unreliable narrator” both get a lot of mileage as well, if not more so, yet revealing a character has been dead all this time has its own special shock factor. In the case of Reeker , learning Jack ( Devon Gummersall ), Gretchen ( Tina Illman ), Nelson ( Derek Richardson ), Trip ( Scott Whyte ) and Cookie ( Arielle Kebbel ) were involved in a life-threatening car accident prior to ever reaching their destination does not come as a huge surprise; Payne dropped enough hints along the way. What helps this practice of a now-tropey twist stand out is the delivery.

Image: Scott Whyte’s character succumbs to death in Reeker .

Although Reeker does not quite pull the rug out from under observant viewers, it makes up for its foreseeable outcome by enriching the death motif and leaning hard into the story’s limbo element. For the first two acts, Payne supplied a seemingly clear-cut slasher scenario with a supernatural veneer, then he firmly directed the audience to the film’s alleged aha moment: the aptly named Halfway Motel was, in fact, a waiting room for all the characters involved in nearby car accidents, and The Reeker served as an analog for Death (with a touch of Charon thrown in). The Reeker’s brutal kills also mirrored the real-world inflictions these motorists sustained in their roadway wrecks. Another director might downplay this certain state of flux just to avoid early detection, but Payne hides it in plain sight. A bold move for a story banking on its big reveal.

On a design note, merging 35mm and digital did wonders for The Reeker’s surreal depiction; in retrospect, these now-dated visual effects add to that unearthly quality. The characters’ fetid foe is trapped between two worlds as he convulses all over the screen, jabs and eviscerates with whatever tool is appropriate, and then vanishes into a puff of smoke. This cross between a sadistic welder, zombie and generic glitch entity is not all that imposing — for everything this film does do well, it lacks in major scares — however, The Reeker is rather uncomfortable to watch at times. For audiences, this blink-and-miss-it Grim Reaper proxy is often too much to take in during the few seconds he is corporeal. Whereas for the characters, they can never comprehend The Reeker’s rationale, or in some instances, the realization comes as an afterthought.

As unconventional as Reeker can be when propped up against other slashers from the 2000s, it slightly succumbs to tradition when deciding the fates of its main characters. In Payne’s film, those who partake in sex and drugs tend to die. This moralism in the horror genre, while neither official nor consistent, is shown enough to be accepted as fact. The lone survivors in Reeker just so happen to be the nice but jaded blind guy, Jack, and the one character who had a vocal issue with there being MDMA in her car, Gretchen. The pair never hooked up with anyone or each other, either. As for horny and high Cookie and Nelson, they each perished in due time. Jokester Trip also passed over to the hereafter, however, the motivation for his demise is trickier to nail down because he went from jerk to hero in his final minutes. In addition, Trip’s shady drug dealer ( Eric Mabius ) was spared and even turned out to be a good samaritan. The Reeker’s other victims, including an RV driver played by Michael Ironside , have nothing prickly about themselves that would feed into the so-called moral morass of horror.

Image: In the prequel No Man’s Land: The Rise of Reeker , both The Reeker and his two victims get caught in an explosion.

No Man’s Land: The Rise of Reeker ( Reeker 2: No Man’s Land in other parts) served as a prequel to the first film, but it was also able to stand on its own story-wise. As the title suggests, this entry explained how The Reeker came to be and how he operated in that halfway realm between life and death. In place of the younger cast was a range of adults, including Maya ( Mircea Monroe ), a struggling food server wishing to be free of her layabout ex-boyfriend Alex ( Stephen Martines ) and his partner in crime ( Desmond Askew ), and the local sheriff ( Robert Pine ) hoping to retire and pass the badge on to his estranged son ( Michael Muhney ). These characters and others were, more or less, strangers to one another, so they had to contend with that tension on top of the otherworldly threat at hand.

Anyone who had seen the first Reeker knew how this follow-up would play out, and in many respects, No Man’s Land is a retread. That being said, there is a little more meat to the prequel’s characters; Maya and Alex’s quarrelsome relationship culminates in an affecting moment which better illustrates the series’ notion of second chances, something only touched on in the prior film, and the sheriff and son’s subplot is also somewhat fulfilling. The interactions this time around are more amusing and appreciated than the antics of bubble-headed coeds. And as indicated during Muhney’s character’s weird gallows confession — he is a secret dolphin voyeur — Payne was funny when he wanted to be. Surely the mention of the Council for the Ethical Use of Cell Phones at Gas Pumps during the film’s closing credits was done in jest.

With its high concept, the Reeker franchise could only go on for so long without eventually repeating itself. So finishing as a duology was for the best. The prequel already came close to being a rehash had it not improved on the original’s shortcomings (middle-act pacing, characters, production values), albeit marginally. Even so, these two films, which in hindsight were written off too quickly, make for an entertaining double-feature. No, they are not as smart as they would like to be, but they do put a different spin on a time-worn formula. And after watching plenty of unambitious and nondescript slasher films from the same era, the Reeker series is a breath of fresh air.

Horror contemplates in great detail how young people handle inordinate situations and all of life’s unexpected challenges. While the genre forces characters of every age to face their fears, it is especially interested in how youths might fare in life-or-death scenarios.

The column   Young Blood  is dedicated to horror stories for and about teenagers, as well as other young folks on the brink of terror.

Image: The namesake of Reeker appears out in the open.

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Screening At Cannes: ‘Horizon,’ ‘Substance,’ and ‘Emilia Pérez’

A touched kevin costner let loose with waterworks at the premiere of 'horizon' and demi moore bared it all in the body horror satire 'substance.' but both movies were upstaged by a musical about gender reassignment surgery starring selena gomez and zoe saldaña..

Kevin Costner may have injected some Wild West machismo into the Cannes Film Festival this past weekend, but his olde tyme epic Horizon was no match for Demi Moore baring it all in an explicit body horror satire that reduced the venerable Brat Pack beauty to a shuddering pile of viscera. Upstaging them both: an electrifyingly audacious musical about the ruthless millionaire leader of a Mexican cartel who stages his own death to get a sex change. Sorry, cowboy: as far as Cannes is concerned, the future is female.

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Don’t think that the French completely shunned their favorite frontiersman. Costner’s Horizon: An American Saga—Chapter 1 , the first installment in his four-part passion project, rode into town on Sunday night to a warm Riviera welcome. Dapper in his three-piece tuxedo at the film’s premiere, the lanky star of Yellowstone was sporting a bushy salt-and-pepper moustache/soul patch combo more befitting a haggard gunslinger than a SoCal movie star.

The sustained cheers when he entered the Lumière Theater nearly pushed him to tears. And by the time the three-hour film finished its run, as the audience rewarded him with even more applause, a deeply touched Costner let loose with waterworks that bordered on an ugly cry. 

It was certainly an expression of gratitude, but maybe also more than a little bit of exhaustion mixed with relief that his high-stakes cinematic gamble found an appreciative home in the auteur-friendly festival. Having reportedly shelled out nearly $98 million of his own fortune to bankroll the first three films, the Oscar-winning writer-director of Dances with Wolves is feeling the pinch. 

“I don’t need four homes,” quipped Costner ruefully at the press conference. “I’ll risk those homes to make my movies. I want to leave them to my children, but my children will have to live their own lives.” He’s been vocal about finding investors for his tetralogy, going yacht to yacht here in Cannes trying to raise the finishing funds. “I use to get no money to do this,” he added, talking about his film career. “Then I got paid a lot of money to do this. Now I need to pay my own money to do this.”

Time will tell if the big risk will lead to even bigger rewards. Based on this first film, it could be a long wagon ride to success. Chapter 1 is a 180-minute collection of promising but slight character introductions, a string of inciting incidents and episodic flare-ups that don’t yet amount to a story.  Costner himself doesn’t even show up until the one-hour mark.

But its canvas is wide, starting in 1859 and encompassing the Montana territory, the Wyoming territory, Western Kansas, the Santa Fe trail, and above all Arizona’s San Pedro Valley, where 150,000 acres of property deeds are being offered up for an area called Horizon. “Premium Virgin Land!” flyers announce—although they don’t mention the buyer-beware Apaches who don’t take so kindly to the “white-eyes” and their so-called Manifest Destiny. 

The quasi-starry cast includes Luke Wilson, Sienna Miller, Jenna Malone, Michael Rooker, Danny Huston, and—after a brief climactic highlight reel of Things to Come—a quick glimpse of…Giovanni Ribisi? Most of the other players are not so recognizable, and don’t quite exude the kind of star power that is guaranteed to bring audiences back. Is this how the West was won? 

Cannes loves audacity, and viewers were far more eager to fall for a feral fairy tale like Coralie Fargeat ’s genre-bending The Substance . A go-for-broke Demi Moore stars as faded movie star Elizabeth Sparkle, once adored and now running on fumes as an outdated fitness guru in Boomer-era spandex outfits. Her sleazy network honcho (a loudmouth Dennis Quaid, leaning hard into every fisheye lens camera shot) wants to dump her for fresh meat. Enter a cryptic biotech fix called The Solution.

“Have you ever dreamt of a better version of yourself?” intones an intro video on a mysterious USB-stick secretly slipped into her coat pocket. She definitely wants what it’s selling: a new you that’s younger, more beautiful, more perfect. Her body, just split into two completely separate beings. But here’s the Grimm-quality twist: each new person can only be alive for a week at a time. No exceptions. And the while one person thrives, the other falls into a dormant state. 

Injections follow; Elizabeth, naked and afraid, hits the bathroom floor. Her eyeballs bubble into doubles, her back bursts along the spinal line, and out crawls an equally nude Margaret Qualley. The new entity, who calls herself Sue, is a natural, launching a shiny new exercise show and becoming a ratings phenom. But success goes to her head, which means that Sue needs to extract more fluids from Elizabeth’s unconscious carcass in order to thrive. And as each one notices how the other impinges on their happiness, sparks fly and resentments—not to mention open wounds—fester. Brace for some seriously distorted body parts, cracked bones, decrepit appendages, and a breast popping out of an eye socket. Qualley even extracts a chicken leg from her belly button. 

“You can’t escape from yourself,” the biotech firm tells Elizabeth. “You. Are. One.” As a candy-colored metaphor for human duality, as a cartoonish update of The Picture of Dorian Gray , or as a Cronenbergian successor for parables about sins of the flesh, The Substance is a staggering adrenaline shot into the heart of moviegoers. And Moore is the reason it’s all such serious fun, delivering an impressively calibrated performance that balances broad histrionics with tender vulnerability. 

The most unlikely success of the fest, though, is Emilia Pérez , the latest film from Palme d’Or winner Jacques Audiard and another in his studies of fringe people in unimaginable situations who expand their capacities for empathy, betrayal, sacrifice, and cathartic self-actualization. With stunning works like the The Beat that My Heart Skipped, A Prophet, and Rust and Bone , Audiard has spun some boldly original yarns. 

Yet nothing compares to the astonishing audacity of his latest, a Mexico-set melodrama in which a put-upon lawyer Rita Moro Castro (Zoe Saldaña) unexpectedly gets involved with a vicious crime lord Juan Del Monte (Karla Sofía Gascón) and helps him fake his death and go through gender reassignment surgery to become the titular woman he’s dreamt of being since childhood. And they all keep breaking into song.

“Mammoplasty! Vaginoplasty! Rhinoplasty!” doctors croon as a gaggle of bandaged chorines swan around in a dance number worthy of Busby Berkeley (Damien Jalet choreographed all the numbers). The whole endeavor is a go-for-broke gambit that mixes Almodóvarian longing with spit-rap ballads worthy of Lin-Manuel Miranda. (French chanteuse Camille and composer-partner Clément Ducol wrote the music and lyrics.) Virtuosic camerawork, spontaneous dancing and fluid production design all combine to make for bedazzling dance numbers.

But the unexpected emotions are what make the film so haunting—especially when it focuses on Emilia’s desire to mother the children she left behind with now-widowed wife Jessi ( Selena Gomez ). And, trying to absolve herself of the guilt for her violent past, Emilia starts a foundation to help people find and recover their “disappeared” loved ones who suffered at the hands of Latin America’s sicarios and cartels. 

Crime never pays, as the shuddering climax proves, even as it shows that altering your body doesn’t always exorcise inner demons. But it’s a start. “Changing the body changes society,” Rita sings at one point to a skeptical plastic surgeon. “Changing society changes the soul. Changing the soul changes us all.” 

• SEE ALSO : Will Keen On Playing Vladimir Putin On Broadway in ‘Patriots’

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