An Analytical Penetration into Ren’s
“Love Music pt. 4”
by D.B. Myrrha, B.A., M.A.T, O.G., A.B.C., O.P.P.*
*Not a doctor
Random commentary on “Love Music pt. 4”
“[Ren’s] rhyme schemes are so nerd, yet hard.” – @bobbysneed9045 (commenter)
“[This song] makes me want to sombrero it up.” — React Twinss (reactors)
“Puts you in a good mood.” — Johnnie Calloway Sr. (reactor)
“Old school hip-hop with a new school kind of mind.” – Unorthadox Fella (w/ Mr Haz Artist, reactor)
“[Ren is] gonna be laying down the pipe work.” – Jahherbz (reactor)
“A refreshingly entertaining tale about one man and his penis.”
— Mrs. Doc (Disco Doc –Naughty Therapist reacts, reactor)
“What kind of Criminal Minds episode is this?” – Snake Venom (reactor)
“Are we now accomplices for what we just heard?” –Shadow Aeternum (reactor)
“As playful as he is, he’s still barring.” –Dom, That Singer Reactions (reactor)
“Ren can take you into a wormhole of fuckery.” Ray Vibes (reactor)
*
Dedicated to Your Mum,
with love.
*
Forward
The idea for this treatise appeared to the author, a dedicated Renegade, in a dream that her psychoanalyst dismissed as a drug-fueled sex fantasy caused by an overindulgence of bedtime Toblerone.
In preparation for the writing of this intensive analysis, the author relied heavily on her own superior intellect and perverse humor, as well as the input of sixty sexy music reactors (listed in the appendix) and many fellow Renegades.
It is impossible to include every reaction, every interpretation, or every footnote (read: any footnotes), as the author has only so much brainspace, and this paper is already hella long. She also has ADHaichD and is on a caffeine aided hyperfocus which has limited endurance. Please forgive if some ideas seem ruthlessly plagiarized; it is not the author’s intention. There may also be American spelling, punctuation errors, and/or typos.
It must also be noted that the author has attempted to include as many interpretations and ideas as possible and may be quite off base in some of them. Take it as the result of Ren’s appreciation that individuals may interpret his songs in myriad ways.
Scientific, societal, and historical information may have been gleaned from such lofty academic sites as The Google, The Wikipedia, or The Urban Dictionary. Don’t come at the author, man. Feel free to search the Google on your own damn time.
Lastly, the content within this dissertation assumes that the reader has listened to the song “Love Music pt. 4” and has seen the accompanying music/lyric video. If you haven’t, the author wonders why the fuck you haven’t done so yet. Go. Get! Do we have to tie you up and make you watch? (For convenience, the video is embedded at the bottom of this post.)
P.S. This tome contains massive tangents, filthy language, and references to sex acts Ren may or may not have performed on your mum. Finger lick this chicken at your own discretion. It also contains big words. Eat a dictionary, you fuckwits.
Introduction
“Love Music pt. 4” is the latest installment in Ren’s “Love Music” series, which was created over the period of at least a decade. “Love Music pt.1” was released as a promo by Ren’s early band Trick the Fox as early as 2013, before the E.P. of the same name was released on Bandcamp, where it is still available for a criminally low price. The second installment, creatively entitled “Love Music pt. 2” can be found on Ren’s 2016 album, Freckled Angels. Continuing the trend, “Love Music pt. 3” was created, along with its accompanying lyric video, during Britain’s Covid-19 lockdown of 2020. Finally, three years later, Ren has finally released his long-awaited pt. 4.
This song shows that Ren is a true student-cum-master of hip-hop, as well as British humor. Pt. 4 is low-brow and nasty, typical of the “taking the piss” behavior prevalent amongst youth in the United Kingdom. Even though three men in a tub might get it, some people (i.e. Americans) might not.
In addition, those who are new to Ren and do not know his personality (as evidenced through his earlier music and social media) may think that Ren is a disgusting pervert who should never be around babies lest he sign their faces and lock their mums in his basement. Any calls for cancellation will be rebuffed vehemently by Renegades, who are vindictive as fuck, so watch out, you have been duly warned.
“Love Music pt. 4” is, as the OTB Brothers pointed out, a “goofy brain dump.” It should be approached with a degenerate mind and a desire to dance, regardless of ability, to a real banger.
In the body of this paper, we will be laying down the lyrics section by section for analysis. This will allow us to take in the content fully and go deep before moving on to the next.
Blowing Chernobyl @RenMakesBars
Intro (spoken)
Uhhh…Love Music part 4.
I feel like sometimes, some ideas are just a little bit overdone, do you know what I mean?
Don’t even know what to rap about anymore.
Feel like I’m just getting older and more cynical.
We’re all gonna die anyway, uh, fuck it.
1-2-3-Unh!
In his spoken intro, Ren sounds tired and blasé, almost bored. He seems to approach the song as some sort of obligation he owes to the exhaustingly enthusiastic fans who have made him internet famous. What an asshole. He wrote this song well after most of the tracks on his Sick Boi album, and at first it feels like a beleaguered add-on. Is this going to be the same old thing? How many times can one do this before it gets redundant?
Eager listeners wondered if pt. 4 would carry the same vibe as pts. 1-3: cheerily optimistic, with a ska sensibility and a joy that comes from listening to and creating music. However, he seems much less buoyant in his intro, noting that some things are overdone, much like a tv series that goes on for nine seasons (Knox Hill mentions “the Office effect”) or the tendency of other musicians to show no versatility in their music. Instead of just refusing to go on, however, he says, “Fuck it, why not?”
At first, the listener might feel that this song has a whole different vibe, not as upbeat or positive as previous offerings. Ren’s words leave the listener wondering what’s coming next. Will he be rapping about his love for music? Or will he cynically rap about nothing?
The video clip from the intro shows two cacti that look as if they are showing signs of disdain. The cactus on the right is obviously displaying the middle finger, while the one on the left vaguely resembles the V-for-Up-Yours sign (if one happens to have an extra finger.)
At the very end of the section, Ren segues into the verses of the song with a shout out to James Brown. Brown was known for counting off into his songs, for example, in the songs “Funky Drummer”, “Make it Funky”, “Refuse to Lose”, “Let Yourself Go”, “Super Bad”, “The Boss”, “Hot Pants”, and “Cold Sweat”. This song might best refer to “Hot Pants,” as that particular count ends in “unh” and, as Ren will soon expose, “hot pants” is a fitting theme.
Hook/Chorus
Oh yeah, put the rap game in a chokehold,
Sometimes I might get a bit loco,
Feeing kinda sick in the coco,
And I don’t really feel right.
Oh yeah, feeling kinda anti-social,
I think I’m gonna blow Chernobyl,
Going off the grid and I’m postal,
And I don’t really feel right.
If you are a complete idiot when it comes to rap structure as we previously were, you may wonder, “What is the difference between a hook and a chorus?” Well, according to people who understand rapping stuff, a hook could be either a set of several lines or a very short phrase, while a chorus is the former (a set of several lines that ygo together.) In this song, reactors have referred to both terms equally, so we will assume that it could be either. In short, every chorus can be a hook, but not every hook is a chorus.
Within the very first notes, we immediately notice a change in rhythm; from the ska-like beat of the first three “Love Musics” to one several reactors have referred to as “Spanish,” “mariachi,” a “Latino vibe,” “salsa,” or a “Tony Hawk Pro Skate vibe” (thank you, SuperDeezy of Bloodline Reacts.) This last one might not be an impossibility, knowing Ren’s love for Tony Hawk. The tune is reminiscent of something Ricky Martin may have performed in the 1990s: another potential throwback by Ren. Black Pegasus compares the energy to No Doubt, another popular ‘90s band.
The lyrics, however, diverge sharply from these influences listed above, as they directly reference the very non-mariachi song “In Da Club” by rapper 50 Cent (2003). In his song, 50 says, “But holla, in New York them n*****s’ll tell ya I’m loco/And the plan is to put the rap game in a chokehold.” Nice callback, and from the very first lines of the song it is clear that Ren is ready to take on the big dogs.
The fun increases as the chorus kicks in harder. Throwing in some different tonalities makes the music sound new and interesting. As reactor Chris Leipe notes, there is a tight vs. loose structure of voices while the main voice remains saturated. Ren’s voice is never monotone in his music, which makes it distinctive across his genre-bending catalog of tracks.
The lyrics begin with a flex. Ren has changed the game of rap, mocking modern “mumble rappers” and bringing back the classic vibe over a new, fresh beat. His “not a throwback” (“Power”) sing/rap, which he alludes to in “Love Music pt. 2”, is a direct challenge to the current game of rap.
In the second and third lines, Ren returns to his long-time theme of mental health. In addition to the direct reference to his twisted brain function (a bit loco/ sick in the coco), our Sick Boi foreshadows a dip into crazy content; a throbbing lyrical experiment with vulgarity and shocking lyrics that stand firmly in contrast with his previous emotion-laden music and known personality. Ren has been playing with his naughty content in previous tunes, but he’s about to go hard and fast, “living la vida loca,” which is our warning to lay back and enjoy it or get out.
The next bit of lyrics expresses a slightly darker vibe. Anyone who is neurodivergent can likely tell you that at times we feel odd and anti-social. Ren has commented in the past on his introversion and tendency to isolate when he feels mentally overwhelmed. It is a natural reaction for artists to feel that way with the intense attention of fans and followers and to wish for a respite from adulation. This is especially true for natural introverts. This also might partially explain Ren’s grumpy-ass disposition at the beginning of the song. When the brain-weasels take over, ADHD-bipolar-therapist’s-wet-dreams such as ourselves often don’t “feel right.” Whether it is depression, overwhelm, or anxiety, there is a weird feeling that we endure. “Not feeling right” might refer to our mental state or social interactions. It might also refer to not being “right in the head,” as in feeling or being violent or perverse.
Chernobyl, mentioned in the third line, was a nuclear reactor located in the Ukraine which suffered a nuclear meltdown on 26 April, 1986. The result was the devastation of the surrounding area and the people who lived there. It is still toxic to this day. “Blowing Chernobyl” here has several possible interpretations. The first of these might refer to an emotional/mental breakdown. Having a meltdown usually refers to becoming overwhelmed by emotions, while “going nuclear” usually refers to mounting frustration or anger. Some reactors (the first being Knox Hill, I believe) thought that it might be a shout out to the YouTube reactors who have supported Ren in his rising popularity, and whom Ren helped “blow up” by allowing them to use his music freely (and therefore monetize their channels.) Of course, “blowing his reactors” could ostensibly have an alternate meaning, and I don’t think Ren is willing to go that far. We watched over 60 reactors in preparation for this article, and that’s a lot of fellatio.
When Ren says he is “going off the grid and… postal” he points out, once more, that he is creating music outside the realm of other rappers: “going off the grid.” The postal system, in a literal sense, is built on a grid, and going off this grid makes it difficult for others to exert influence. In his music, Ren exhibits that he is influenced by any number of other artists, but none completely determine his sound. It could also tap back to the desire for isolation from the crowd.
[Ed. Note: Renegade Tracy Galloway points out that Ren, currently in Canada, is “off the grid,” in a sense, especially as he receives his mail through a P.O. Box and not residentially. Good catch!]
“Going postal” is a colloquialism which means “going insane,” usually suggesting the use of violence. Specifically, it refers to a series of violent workplace incidents perpetrated by disgruntled postal workers. In the U.S. alone, there were 31 such incidents between 1970 and 2022. Once again, America first!
These self-reflections, “loco”, “anti-social,” “postal” et. cetera, stand in direct contrast to the bouncy, upbeat music. The video is presented in a friendly ’90s pastel color palette, with punchy fonts and illustrations. This scheme, like the music, puts the listener in a good mood and seems contradictory to the mood Ren first sets.
As we move into the two lengthy verses, we will explore the verses section by section. Each part will consist of a specific scheme or set of bars with a specific flow. Most sections will consist of four bars, as is common in rap music. The musical flow may not change much between all the sections, but changes will be heard through the rhythmic differences in verse.
Verse 1
Bar1
Testing, testing, mic check please,
And I’m back for part 4 ‘coz I killed part 3. And you still know me, I’m the same OG,
But I’ve been low key, ADHD.
The first verse, like the chorus, begins with a nod to classic rap. After a mic check (which directly mirrors the mic check at the beginning of “Love Music pt. 2”) and a little flex regarding the genius of fan favorite “Love Music pt. 3,” Ren references the song “Forgot About Dre” by Dr. Dre featuring Eminem. Eventually, as we know, every rapper with a peachy complexion must inevitably be compared, favorably or unfavorably, to Eminem, the OG white rapper. In the song, Dre says, “Y’all know me, still the same OG/But I been low-key.”
This is not the first time Ren has played homage to Dre, most recently using one of his musical themes in the live version of “Murderer.” The fact that Ren “killed pt. 3,” is what caused many fans to clamor for a fourth installment of the series. It was lauded for its upbeat ska-influenced music, fabulous punny bars, fast rapping, and the delightful visuals in the accompanying video. He killed it like a cannibal king.
In the last two bars, Ren starts in on the internal rhyme which is one of his trademark skills. Here the middle words rhyme with the end words: me/O.G./ low key/ADHD. Choosing to use internal rhyme ramps up the rhythm and gets the listeners straight up bopping with a “real vibe.”
While a few detractor-reactors jumped in to claim that Ren is not an “O.G.”, we (while acknowledging Ren is certainly not one in the classic sense, like Dre or Tupac) know that these bars are, first and foremost, a flex. Also, rabid fans know that Ren has been creating raps since his early teens, and thus is more O.G. (Original Gill) than these prickly pricks realize.
He has, however, been low key, as many people never heard of Ren before “Hi Ren” started to blow up like Vesuvius (which somehow made a guest appearance in the video during the Chernobyl bar.)
Everyone knows that Ren has ADHD, or rather “ADHaichD.” We must wonder, is the pronunciation of the letter H a British thing, a specifically Welsh thing, or just a weird intonation used to confuse us? Regardless, it’s how we’re saying it from now on. Ren’s ADHaichD might explain the flips between serious and silly/perverse we will find within the upcoming verses.
Bar 2
‘Coz I get distracted
as the world collapses,
From the wars we wage
to the Covid vaccine,
“The wars we wage”, both external and internal, are also a recurring theme, mentioned in “Pocket Full of Pain” (We’d rather tap on our iPhones than stop a war from happening”), “Animal Flow” (I’m ready for war), “Crucify Your Culture” (It justifies the wars that rain destruction upon people), “Dear God” (Why do people kill each other in your name), and “Ready For You” (The biggest war we wage/ is the war we wage in our own brain.) Most of these wars are external, caused by greed, tyranny, and the desire for power.
The reference to the Covid-19 vaccine is a controversial and potentially polarizing lyric. Several people stopped for a second to ask themselves if perhaps it was an anti-vax statement. The Covid-19 pandemic was certainly devastating to many, with physical illness, the very real risk of death, forced isolation, the shutdown of the economy, and mandates for travel, masking, and vaccination. These issues separated many into extreme political divisions that Ren works so hard these days to heal by example.
Covid-19 had a lasting effect on society and struck Britain hard over a period of two and a half years. The U.K. was a pivotal point for infection, as it was one of the connecting hubs between Asia and the Americas. Widespread Covid vaccinations helped mandates come to an eventual end, but many felt they were an infringement on personal rights. In Britain, Covid vaccine hesitancy rates were about 4%, but in the United States, rates were as high as 27% in certain areas, and even in the least hesitant states, the rate was about 2% higher than in the U.K. It seems natural, therefore, that U.S. listeners might have a stronger and more focused reaction to this bar. To this date, Ren has not made a public statement as to his opinion on the Covid vaccine. He is often careful to remain politically neutral in public, except when he isn’t (i.e. on the topics of government corruption, late-stage capitalism, and general humanism.)
Ren, like most Millennials, was born in an age of burgeoning environmental awareness (“I was born in an age where the ozone’s cracking.”) This was only one of the issues that has a long-lasting effect on an entire generation.
The ozone layer, a region of the Earth’s stratosphere which absorbs UV radiation from the sun, was discovered in 1913. In 1976, scientific research revealed that the ozone layer was being depleted, mostly through the use of chlorofluorocarbons, like those found in aerosols.
Public awareness of the ozone depletion came to light in the 1990s, when Ren was a child (the hole in the ozone layer was likely doubled from all the Aqua Net hairspray used in the ‘80s.) The fear that we would destroy our planet was rampant at the time and the ozone was only one of the many crises Millennials would suffer from birth. While ozone depletion was reduced (if not stopped) through the banning of HFCs, other concerns took its place: environmental destruction, depletion of natural resources, war, violence, pandemics, recession, and crippling debt that led to financial insecurity, etc. Millennials were left with a sense of existential dread, with the “world collapsing” at their feet. It’s no wonder, then, that a whole generation wished to isolate and get “off the stage.”
First kept from performing by his health issues, later by quarantine, and recently by his exile in Canada for treatment of his auto-immune disorders, Ren has been limited in his opportunities to perform publicly. While the last several months have produced several releases, many were written in the previous year or so, before he began treatment. Thus, he has “been away from rapping.” Rumor has it that “Love Music pt. 4” was written after a hiatus, so this line might be more accurate than it appears at first glance.
In this verse, Ren’s rhyme scheme is more irregular than in the previous verse, but it is still present. The end rhymes: distracted/ collapses/ cracking/ rapping, all lean on the internal /a/ sound, rather than a perfectly matching ending. This is called “near rhyme” or “slant rhyme,” and uses assonance, a repeating vowel sound, to create the cadence. He uses a form of internal rhyme, but instead of rhyming the middle word with the ending word, he rhymes three middle words with one another (wage/ age/ stage.) Here he uses perfect rhyme, where the word endings (-age) match perfectly in spelling and sound. Ren’s “but” acts as a segue into the next section.
Bar 3
I’m back on my feet,
Back on the track, I’m attacking the beat,
Back with a baseball bat, flow sweet,
Rat-a-tat-tat, I’m a rap athlete.
Ren is back on the beat, but not without a little back-up. Although the background music is already bangin’, the addition of a sample from Rob Base and DJ EZ Rock’s 1988 classic “It Takes Two” adds an extra layer of nostalgic fire.
Note the triple repetition of the word back in this verse, a word that will also be repeated lyrically in later verses. The first line is only 4 syllables, a half-line, which, rhythmically shortened, welcomes Ren’s little “but” from the previous line. Both internal and end rhymes are used here, although the former (back, track, attack, bat, rat-a-tat-tat, rap) are separate from the latter, and utilize near-rhyme/assonance. The end rhymes, however (feet, beat, sweet, athlete) are exact rhymes. Neat! This verse also has a subtle flow change. Ren, of course, is known for flipping the flow several times within his verses. These switches help keep the listeners on their toes.
Now, as he tells us, he is back on his feet. Currently he is feeling better, is quite fit, has loads of followers on social media, and has nearly completed his second album. Ren acknowledges that the Sick Boi releases have brought increased attention to his music and have led him to a place where, as a performer in the public eye, he is receiving both accolades and modest financial gains. “Back on one’s feet” is a phrase often linked to financial stability, which is nice to have, even if you don’t want to be a rich boi.
One of the richest things about our boi is his use of metaphor. As he gets back on his feet, he is back on track. Feet, of course, being a common method of getting around a track. As he attacks the beat, he takes on his familiar role of murderer. After all, we already know he killed pt. 3. This murderer vibe continues with his wielding of the baseball bat, as seen in both “Money Game pt. 1” and “Illest of Our Time”.
We must admit that we are a little surprised that Ren didn’t elect to use a cricket bat, as that seems a more suitable weapon for maximum damage, but then, people in the U.S. are sorely ignorant of cricket and one wouldn’t want to alienate 332,278,200 potential fans, so a baseball bat is a more logical and strategic choice. We see you, Ren. Smart boi.
He then quickly refers to his “sweet flow,” which as we know consists of varied cadences coupled with smooth transitions. Then, he’s back to murdering the aforementioned flow with a Dr. Dre “rat-a-tat-tat” circa 1992. Turning the track, he returns to the original theme as a “rap athlete.” Even his flow is fit.
Bar 4
I’m the don-diggy-don when I burn like the sun,
Fee-fi-fo-fum, jack my beanstalk off in your mum,
Just for fun, with her knickers half on,
Give her won-ton soup ‘cause she wants some cum.
This tasty quatrain is the first of several naughty bits we find in the song, and to some Ren fans, it is as shocking as a finger in the anus. Here Ren switches to a new flow, and from his usual flex to a new style of lyrics. This time each line uses matching internal and external near rhymes (don/ sun/ fum/ mum/ fun/ on/ won–ton/ cum.)
Ren supposedly worried that these lines might alienate some of his followers quicker than playing a Tom Jones song on Twitch; however, this doesn’t seem to have been the case so far. Out of all the reactions we viewed in our research, only four or five found the vulgarity offensive and reacted negatively to the song. Crude humor used to jokingly mock others, sometimes known as “taking the piss,” is a common act among friends, or “mates”, in the United Kingdom. In the following stanzas, Ren channels his thirteen-year-old self and has fun (hitting below-the-belt) with his verses. His “sick boi” persona now takes a turn for the perverse.
“Don-diggy-don” is a variation of words Ren has used before as a form of lyrical filler (e.g “Don-don-diggity, I’m don-don-diligent” in “Right Here, Right Now”.) Knowing Ren’s love for reggae, this could be a nod to reggae musician Diggy Don, but it also may be a simple fun word flip. Ren referred to himself as a “don”, or powerful gangster, in “Losing It.” Here again, he is a don, so powerful that he burns like the sun (to hell with the ozone layer!) Another fine flex.
The words “Fee-fi-fo-fum,” appear twice in Ren’s Fisher rap retake, “Losin’ It.” Here it is the lead into his next bar, “Jack my beanstalk off in your mum,” a play on the familiar children’s fairy tale Jack and the Beanstalk. “Fee-fi-fo-fum” is the Giant’s grand ejaculation, uttered when he smells Jack coming up the enormous beanstalk. Ren also refers to his “beanstalk” as “massive” in “Illest of Our Time,” which shows that he has an inflated ego when it comes to his penis. This image is then aimed towards the next line, a classic “your mum” joke. Jokes referring to sexual acts with another person’s mother have been popular forms of piss-taking since at least 3500 BCE when the Babylonians scrawled them on stone tablets. Shakespeare also made his share of “Yo Mama” jokes, and we all know who the modern- day Shakespeare is, do we not?
“Jack my beanstalk off” not only includes a clever literary pun, but also elicits a visceral image of a huge, erect, tender, and juicy stalk, as well as an unfortunate image of Ren plowing your mum’s fields. (Although it might also make Ren’s fans who are mums juicy and tender too, to be honest.)
The fact that he does it “just for fun” with her “knickers half on” indicates a quick hook-up. Nothing serious, he’s not going to be your next step-dad or anything. All said and done, it’s a joke. Much like your mum.
The last bar in the quatrain is possibly the most confusing to the casual listener. What does won-ton soup have to do with ejaculate? We had some initial thoughts. These included the benign theory that the woman wanted cum, but was taken out for Chinese food instead. We don’t know many men who would prefer that option, though, so it was rejected. The second option was that the cum was chunky, like won-ton soup. Not only is this image disgusting, but it’s alarming. If anyone reading this has chunky cum, they might want to see a doctor. (Not Disco Doc, though. He’s not that kind of doctor.) After some intensive research on Urban Dictionary, we discovered a third option. We read that “wanton soup” is a euphemism for a woman’s fragrant genitalia, partially due to its shape. Therefore, by injecting his special sauce into this delightful recipe, Ren creates a new dish not found on any Chinese menu. This is slightly disturbing to think about when we realize that in “Illest”, Ren claims to have won-ton soup for brains. At this point we know he’s sort of a perv, though, so it’s not really a surprise.
Moving on, (thank the Powers that Be), we gratefully return to the chorus. Verse two, we will find, is more than twice as long as verse one, and contains a lot more to digest. The won-ton soup is simply the appetizer.
Verse 2
Bar 1
I’m a reprobate,
I’m in a public park while I masturbate,
And I don’t put out ‘til the second date,
By that I mean put her in my basement…wait!
Just when we thought things couldn’t get any worse. Juxtaposed with a picture of a slide, the lyrics “I’m a reprobate/I’m in a public park while I masturbate” appear. The visual is disturbing, and caused many reactors to wince, gape, and comment, “You can’t do that!” “That’s illegal!” “You wildin’ Bro!” or “Hello, 9-1-1” (that’s 9-9-9 for you Brits.)
Once again, Ren starts with a truncated first line of only 5 syllables. The perfect end rhymes are offered as rhyming triple syllables: reprobate, masturbate, second date, basement- wait. This allows the poetry to, once again, take on a different cadence, without internal rhyme.
According to the dictionary, a reprobate is “an unprincipled person (often used humorously or affectionately.)” or, as commenter @jasonremy1627 said, “a fancy word that means ‘sick mofo’.”
While many listeners might assume that masturbating in a public park means exposing oneself to children, we can also take this as a reference to the many celebrities caught masturbating in public, including one we will anonymously refer to as “Schmorge Trikel” from the 80’s band “Spam.” Although he was caught fondling his fellow in a park, he politely did so in the bathroom, away from innocent eyes (excluding the innocent eyes of the undercover cop.) He was fined $810 USD and had to perform 80 hours of community service.
Ren tries to save his reputation in the next line when he assures us that he doesn’t put out until the second date. We are given a half-second reprieve before he admits that the woman he is courting is now imprisoned in his basement. Surely any devoted follower of Ren will be 99.999% certain that he does not have a woman locked in his basement, especially as he lives in a flat. Rather, listeners will recognize that this sick wordplay is a nod to the outrageous violent and sexual lyrics espoused by Eminem and other “horrorcore” rappers. Eminem’s “Slim Shady” character is brought to mind through these lyrics, used mainly for shock value, and not as true confession (we are 99.999% sure.) We do know that Ren was born outrageous, as he explicitly informed us in “Murderer.”
In at least one reaction, Eminem’s album Relapse (2009) was mentioned by name. The song “Same Song & Dance” from that album features an abductor/serial killer and includes the line “Come with me to Brighton/I’ll relieve your tension” which is exactly what Ren offered to do for your mum. She just wanted a bit of fun, and now she’s locked in the basement.
In this nod to horrorcore, Ren incorporates violent, transgressive lyrics which seem gruesome, the product of a sick and deviant mind. These types of lyrics, however, are not uncommon to rap, and while they might be unsettling to some, they are not exclusive to this song, in which Ren diverges from his usual cheeky content into something a bit darker. While some were offended by this, others took it as tongue-in-cheek fun, reflecting and possibly mocking the style of earlier “menace rappers” who rhyme for shock value and to get attention.
Bar 2
Giggity, giggity, it’s polygamy rap,
Give her the lickity flickity while I’m beating her back,
She gets giggly, wiggly when I go in to tap,
And I’m the god of fertility when I do it like that.
Getting creative, Ren doubles up the internal rhymes here with double triple syllables. Slanted end rhymes round out the rhythm. Ren is a syllabic god, and he’s not going to let us forget it.
Ren watches a fuck-ton of television, and often refers to pop-culture favorites. Here he refers to the American cartoon “The Family Guy,” and the well-known character Glenn Quagmire, who is a certified pervert that has had a significant influence on Ren’s puerile mind. Quagmire is known for being hypersexual with a long list of extreme fetishes. “Giggity” is his catch phrase.
“Polygamy rap” is an interesting term, which may refer to the idea that Ren actually has several women in his basement. The styles of music in his catalog are wildly varied, which makes him polyjamorous. He refuses to be married to one genre, instead accepting many into his sphere of influence and expression.
“Lickity flickety while I’m beating her back” is another bar that confused many people. Possibly because “lickety flickety” seems to refer to oral sex, while “beating her back” could be assumed to be sex from behind. This would indicate that Ren is not only quite talented, but hyperflexible. There are a few ways, however, that this sexual escapade could be possible. The first would be performing cunnilingus while in a position where he could slap her posterior concurrently. Another would be having intercourse in a rear position while digitally manipulating the clitoris with saliva-moistened fingers. The third option would be “beating her back” from an advancing movement while performing oral sex. In any case, we hope he is not wearing boxing gloves as pictured in the video. Regardless, when he goes in to tap, she’ll likely “tap out”, or submit. Ren refers to fisticuffs in in several songs, including “Ahiahiahohah”, “Hold On”, “Ready For You”, “16 Bar Challenge”, “Money Game pt.2, “Bittersweet Symphony (Retake)”, “What You Want”, and “Murderer”. Observing Ren’s mastery of boxing in the “Murderer” video, however, assures us that he masters beats better than beatings (unless perhaps it’s beating the meat.) Whatever it means, Ren is definitely going to town on this woman’s box. Basement-woman or one of her sister-wives is obviously having a good time, as she is “giggly wiggly.” As we all know, Ren never fails to satisfy (musically, of course.)
Not only is Ren flexing like mad by calling himself “the god of fertility,” but he is insinuating that his won-ton soup special sauce is powerful enough to impregnate his entire horde of women. It could also refer to his ability to produce a multitude of flows and provide songs across several genres; however, on the surface, it’s a play on Ren’s undeniable sexual sexy sexiness. (Cassa-never? Our fine ass.)
Side Note: the Greek god of fertility, Priapus, was known for his massive (unh). A common sacrifice to Priapus was an ass. A coincidence? Giggity giggity.
Bar 3
Peter Piper picked a peck of pickled peppers,
I picked up the letters of the alphabet
And pulled them apart and put them back together,
Finger-licking chicken, I’m dipping
Flipping the architecture
Do it better, rap professor,
Kill a track then resurrect the…
In a poetic sense, these lines can be seen in two ways: four extended lines, or eight short lines. Here we break it into eight lines, but either way, the rhythm has been disrupted. First by the shape and format of the lines, and then by an increased pace, which will soon build into the fast flow in the next stanza.
The rhyme begins with a tongue twister (an example of Ren’s silver/golden tongue); one of the best known examples of alliteration in the English language, and the terror of tongue-tied tots everywhere. He smoothly mirrors this in the next line by “pick[ing]” up the letters of the alphabet and manipulating them masterfully into magnificent metaphors. Ren is often lauded for his brilliant lyricism and his excellent enunciation, which he will exhibit in the next lines to follow: “Finger-licking chicken,” (Shout out to the Colonel) “I’m dipping, flipping the architecture.”
The rhyme scheme in this part of the verse is beautiful. In either configuration, there is a nice mix of internal and end rhyme with peppers/ letters/ together/ architecture/ better/ professor and the transitional last words, resurrect the. The rhyme is not always exact, yet it moves smoothly throughout. Another group of words provide two sets of rhymes, yet five words in perfect assonance. Lickin’ and chicken rhyme, as do dippin and flippin. However, when the vowel sound /i/ is focused on, the assonance is started off by the word picked, which is a delicious lyrical touch.
Another proficient turn is how he breaks up the words dipping and flipping, with the first word referring to the chicken, and the second to the architecture, or the alphabet that he is pulling apart and turning on its head. The alphabet is, of course, the building blocks of language, and Ren designs his bars by pulling the alphabet apart and reconfiguring it in various forms. Anyone who knows Ren’s work knows he is a lyrical mastermind whose command of language is exemplary. He is the “rap professor” who does it better than any other in his craft. This might be a flex, but is it bragging if it’s true? He kills his tracks, a verbal murderer.
Bar 4
Tip of the top
of the hip and the hop
and I’m ripping a drop
when I dip in the spot
and I’m dripping in relevance
I am a veteran
better than most
of the pick of the crop.
In section d, Ren gives us the fire of his signature double-time fast rapping. This scheme is a rhythmic call-back to the song “Life is Funny,” where he fast raps the lyrics:
Tick and the tock
and the tick and the tock
Of the clock it is ticking
It’s ticking a lot
I delivered a shock
Like an insulin shot
And I’m back on the block
And attacking them hot.
In the current song, this is yet another flex, letting the listener know that he’s the new hot artist, the best of the best in his field, and perhaps, with the lyrics “I’m ripping a drop when I dip in the spot” reminding us that he is also the self-proclaimed master of sex (which cannot be truly confirmed until he actually has sex with all million-plus of his followers. THIS IS A CHALLENGE, REN!)
The rhyme schemes within this stanza are varied in yet another way, with the words “tip and top” which have the same final letter but different vowel sounds. This is what is called “sight rhyme.” There are the expected perfect or near-perfect rhymes: tip/ hip/ dip/ rip (ping)/ drip(ping) and top/ hop/ drop/ crop. There is also a lovely slant rhyme with relevance/veteran, the last of which he goes on to rhyme perfectly with better than.
Bar 5
I mutilate a broken break, communicate with stupid pace.
When I do it like that with the flow then you know,
That I’m colder than cold, I’m sub-zero.
Got that Yeezus flow, make your penis grow,
‘Oh Jesus, bro, why you stoop so low?
In a switch from the usual structure of a stanza, this section consists of five rather than four or eight lines. This leads us to wonder if the first line is a transitional one. This would make sense, as while it leads into the next, it does not seem to match the lyrical progression of the next cadence. Break/pace, while a nice slant, does not match any of the following rhymes. Of course, our murderer could just be bragging again about the pace he exhibited in the previous section. The flow then flips again, suggesting this is indeed a transitional phrase.
We return, at this juncture, to internal/external rhyme schemes: flow/ know/ cold(er)/ cold/ zero/ flow/ grow/ bro /low. He also rhymes Yeezus with penis which is quite fitting, as we know Kanye West, while being an excellent rapper, is also a giant dick. (Although maybe not as giant as our boi’s Toblerone, if what he says is true.)
When he mutilates a broken break, there’s no worries, he’s the architect of the alphabet, and anything he tears down, he can twist, manipulate, and put back together.
With his insistence that he is cold, even “colder than cold,” he claims not only to be a kick-ass rapper, but unaffected by silly things like disses or other people’s dumb opinions. In fact, he’s so fucking cold that he is “sub-zero.”
Sub-zero is a character from Mortal Kombat who has control over ice. Ice is hard, which is another reference to being sub-zero/cold as ice. The term “hard” is a slang word meaning “intense” or “wild.” It is often used in rap, where performers are said to “go hard” on verses or bars. It can also refer to being edgy. Ren is sure hard a lot, as evidenced by his lyrics in this song.
For the three people who don’t know, Mortal Kombat is a video game first popularized in the 1990s, which goes to prove that Ren, while cutting-edge, is stuck in the era of his childhood and/or has too much fucking time on his hands.
In the next lines, Ren compares his flow to that of Kanye “Yeezus” West (who released an album called Yeezus in 2013), the rapper with the biggest god-complex in the universe. Ren was accused of having a god-complex by his alternate self in “Hi, Ren.” Here, he suggests that his “Yeezus flow” is so hard that it can engorge the listener’s penis (or metaphorical penis, if the listener is a woman.) There is another connotation presented with the next line, where his mate asks him why he “stoop[s] so low.” (This mate also exclaims “Jesus, bro”—another reference to the god-complex.) Perhaps Ren is insinuating that his friend’s penis needs to grow because it is quite small. More taking the piss (no pun intended.)
Bar 6
Well, maybe I’m a little bit immature,
I use jokes just to cope ‘coz I’m insecure,
C’est la vie, what will be , what has been before,
Will repeat and repeat on beat, Oh Lord.
After all this flexing and ruthless defamation, Ren seems almost contrite. He makes a personal admission which seems to soften the aggression in his previous verses. He admits that he is immature (he warned us that he would immature with age in “Love Music pt.2” and in “Ahiahihohah” he cops to an “attitude like [he’s] 16”) and that he uses jokes because he’s insecure and needs them to cope when he doesn’t “feel right.” This exposes Ren’s true personality and harkens back to his more emotionally vulnerable music. It also helps assure the listener that he might not be a sex-offending killer in real life.
It was enlightening to see how many reactors were nodding their heads during Ren’s confessional. It seems to be a nearly universal coping mechanism, and it was refreshing for us to see so many (almost exclusively men) admit it. This is further proof that Ren is modeling behavior that is unraveling toxic masculinity and allowing people the opportunity to be vulnerable. Go, Ren!
This also reiterates that he is not taking this song too seriously, and that the hyper-masculine posturing is all for “gits-and-shiggles,” as my mum responded when I asked her why she got freaky with Ren.
This idea is reinforced when he claims, “c’est la vie” (“that’s life” en Franҫais) and “what will be, will be” (“Que sera, sera” in Spanish.) When he says all will repeat “on beat” he seems to recognize that certain lines, rhythms, references, and metaphors are eternal, or at least recurring in his music, including the fact that he apparently loves music (a theme repeated at least three, possibly four times.)
Bar 7
(I’m sorry)
Halle Berry-lujiah
Halle Berry do ya wanna show your hooters?
Lick my monster balls and start a rumor.
You can give me head like my name is Henry Tudor.
This delightful stanza begins (or perhaps the last ends) with an apology. We put it here because he tends to apologize before he slaps someone with a particularly hard personal. Here the focus is on actress Halle Berry, whom he’s about to expose as he lays down some brilliant but filthy lyrics.
The poetic rhythm here is fun and bouncy, a lot like boobs or a nice round pair of basketballs. Near rhymes include Berry-lujiyah, do ya, hooters, rumor, and Tudor. The first three lines contain six syllables each, which are more percussive than four or eight. The last two lines have an irregular set of syllables, but they smoothly move the energy forward to an potent climax.
“Halle Berry-lujiah” celebrates the fact that this gorgeous woman exists on Earth and asserts that her very name elicits a cry of praise. He very politely inquires if he could get a glimpse of her breasts by asking, “Do you wanna show your hooters?” Berry first complied with this request in the movie “Swordfish” in 2001. This film was a lead-up to her following film, “Monster’s Ball,” (also 2001) in which she showed a lot more than her hooters. Ren also flashes us a double in the next line, where he generously invites the actress to “lick his monster balls.” Of course, this a reference to both the film and his bulbous testicles (can’t have a massive banger and tiny beans). Of course, this act will likely start a rumor, such as the one that spread after “Monster’s Ball” that Ms. Berry had actual penetrative sex with Billy Bob Thornton on screen. There are conflicting opinions on the veracity of this rumor. At least one reactor pointed out that despite the scene’s verisimilitude, it was not all that erotic in nature. “It was not a great sex scene, but it was definitely a sex scene.”
Those not conversant with British history or period dramas were definitely lost at the following statement that the actress was welcome to “give me head like my name was Henry Tudor.” Others realized that Henry Tudor was a king of England, but confusion still ensued as there is more than one Henry Tudor, as English royalty are not very creative with names. With the help of Renegade Elizabeth Osborne Fischer, an extensive list of entendres has been compiled relating to this bar.
The Tudors were kings of England in the late fifteenth and early sixteenth centuries. The first king of this line, Henry VII, was Welsh, and we know how proud Ren is of his Welsh heritage. This might not be the best role model to have, though, as Henry was not a nice man. Like Ren in “Illest of Our Time,” Henry killed a king (Richard III) at Bosworth Field in Leicestershire and took his crown. Richard was buried near the location of his demise. In 2012-13, the body of Richard III was exhumed and identified after it was found buried under a car park. We have not been apprised of this location’s proximity to a Primark, or if an angry attendant was involved.
Henry VII’s son was predictably also named Henry. Junior, or Henry VIII as he is called in history books, is well-known for having six wives. He completely restructured the church to achieve this, as the Catholic Church didn’t approve of divorce and Henry disagreed with its stance. He was labeled a heretic, of course. Ren took on that label in both the song “Heretic” and in “Illest.”
Henry decapitated two of these wives, Anne Boleyn (in 1536) and Catherine Howard (in 1542) for being saucy minxes whose X chromosomes could not magically produce male heirs. Henry was a bloody arsehole. This connection is the most likely point of reference in “Love Music pt. 4”, as the video exhibits two robust eggplants, which correspond to the two “heads” Henry was “given.” Of course, it is more accurate to say that Henry took these heads non-consensually.
A few more tenuous connections can be seen to the Tudors as well. First, the nursery rhyme “Mary, Mary, quite contrary,” used in the song “Animal Flow,” is often connected to Mary I, the daughter of Henry VIII. However, it is also sometimes said to refer to Mary Stuart, Queen of Scots, who was herself a cousin of the other Mary and her contemporary in the 16th century. While Mary I died of an illness, Mary Queen of Scots was beheaded in the family tradition.
A little-known fact is that, in the earliest days of Ren’s musical career, he recorded drum and bass tracks under the name WUHU. Renegade Liam Duggan points out that, on the extended version of “All Alone,” Ren used the name Henry Tudor. It is not known how successful this made him with the ladies, though, as he later openly bemoaned his lack of success with women on the track “Girls.”
Another Renegade, Anthony Hawkes, mentions that “Henry Tudor” sounds a lot like “Henry chewed her” and suggests that it might have a sexual connotation. To us, however, that sounds more like Henry is either a cannibal king or, if it is sexual, the worst and most sadistic cunnilinguist ever. No thanks, Henry.
Bar 8
Boo-yah, back on the beat,
Kill a Backstreet Boy with the back of my feet,
She text back your boy for some meet and greet,
In the back seat, boy, I’ll be slapping her cheeks.
Verse 2 , Bar 8 shows Ren’s versatility as he exhibits the many ways he can flip the word “back” into a variety of meanings. We saw his affinity for the word back in verse 1, but now he returns to it with even more enthusiasm. “Back on the beat”, “Backstreet Boy”, “back of my feet”, “back your boy”, and “back seat, boy” offers syllabic symmetry with several different uses of the word back Add in Boo-yah, and slapping, and Ren gives us a nice assonance as well. Much appreciated. The internal/end rhymes include beat/ Backstreet/ feet/ meet and greet/ and cheeks, while the /ee/ also offers a sweet sight rhyme.
Back on the murderer tip, Ren claims he can kill a “Backstreet Boy” with the “back of my feet.” Besides being a direct jab at the ’90s boy band the Backstreet Boys (whom Ren also referred to in “Losing It”), a “backstreet boy” can refer to a troublemaker (usually a vagrant) who roams the street, ready to steal whatever he can. As a murderer, Ren would have no compunction about killing anyone he sees on the corner of his town. Killing with the back of the feet might connote stomping rather than kicking, or it might just mean it wouldn’t take much effort, as a backwards kick would not have as much impact as a direct kick with the toe. These boys go down easy.
(As a side note, it should be mentioned that Eminem also took a swipe at ’90s boy band ‘NSync in his music.)
Ren has no compunction about slipping his mighty eggplant to his mate’s girl. After all, she texted him back (though that suggests he made the first move) for some “meet and greet.” In the innocent sense, a “meet and greet” is time spent together, often with a well-known celebrity: a chance to get to know someone. Here, Ren is throwing us a double, greeting the girl (obviously a fan) with his meat. Soon, he will be slapping her cheeks; either a reference to the clapping sound made by vigorous intercourse (often from behind) or perhaps delivering her a spanking for being a very naughty girl. For what it’s worth, sex in the backseat of a motor vehicle is not easy to manage, and can be somewhat uncomfortable, especially for tall people. Maybe now that Ren is back on his feet, he can afford more comfortable accommodations. Get a room, bruv!
Bar 9
Kill ‘em when the bass line go,
Kill ‘em with the suicide flow,
Kill ‘em with a four by four,
Killing ‘em wherever I go.
Our murderer has returned with a deathly flip in flow. The repetitive use of “kill(ing) ‘em” at the beginning of each line, followed by the emphasis on the triple downbeats in each line and triple syllables at the end of each line offers streamlined symmetry. The alliteration in the middle (when/with/with/where) adds to the visual and aural progression of the quatrain.
Musically, the sound has shifted to take on a more Jamaican/reggae feel, closer to the ska-influenced sound of the first three “Love Musics”, and reminiscent of “Murderer.” Ren is lyrically and metaphorically killing the beat, again.
The bass lines stand out clearly in several sections of this song and add to its groovy danceability. Musician-reactors have pointed out that guitar and bass lines in Ren’s songs are usually created directly by him rather than supplied through samples. As Ren is a multi-instrumentalist and produces his own work, he shows his mastery by providing layers of original music. Not only does Ren have killer bars, but his instrumentation and production is lethal.
The line “Kill ‘em with the suicide flow” nods back to the song “Suicide” which, despite its dark subject matter was a real banger. Some suggest that the word flow here also refers to “Animal Flow.”
The tastiest and most complex line in this section is “Kill ‘em with a four by four.” This is, at minimum, a strong quadruple. People are creative, so it might have more interpretations, but for our personal satisfaction, we will focus on the line as having four main meanings.
First, a 4×4 is a piece of wood with a square face measuring 4 inches x 4 inches which makes a formidable weapon. Of course, in Britain, this would measure 10.16cm x 10.16cm, but regardless, it would be easy to commit murder with. Ren already catered to U.S. audiences by substituting a baseball bat for a cricket bat, so what’s one more?
Second, a 4×4 can refer to a bar/line ending in quadruple syllables, as exemplified in the chorus: “in a chokehold”, “a bit loco”, “in the coco”, “anti-social”, “blow Chernobyl”, “and I’m postal.”
Third, it could refer to the tendency to switch the flow up after four bars to keep the listener’s attention.
Fourth, it could refer to 4/4 time, the most common time signature in music.
Ironically, a fifth interpretation could be a quadruple entendre, which the above would be if this present statement didn’t exist, thereby creating a fifth entendre. The last possible meaning would be a 4×4 truck which, while it could certainly kill you, seems to us to be a stretch. Of course, we could just be blind to genius, whereas we could easily succumb to a 4×4 by Chevrolet.
We already know from previous bars that Ren is a mass-murderer, killing us wherever he goes. Killing us with his lyricism, beats, and bars, absolutely dominating the rap scene.
Bar 10
Kill ‘em with the rhythm that I’m kicking with precision,
I’m efficient with my vision, I’m a villain with the flow.
When I kill it, kill it, kill ‘em, I’m killing ‘em with ambition,
Demolition, a magician turning tracks to gold.
Continuing the murder scheme, the words in this stanza are backed up visually in the video by a line of guillotines. This section gives us a second rhythmic throwback to a previous Ren/Trick the Fox track. This time it echoes “Living Room Poetry,” an early offering off the “Love Music” E.P. , also available as a video on YouTube.
Ren gives us a continuing litany of all the ways we will be brutally (if metaphorically) murdered. Through his rhythm, his precision, his vision, and his ambition, comes our demolition.
His imaginative vision, of course, is one of domination of the industry and therefore, his inevitable success. His carefully crafted, deliberate rhythms and cadences show his perfectionism and attention to precision. His multisyllabic rhymes exhibit his sophisticated mastery of the language: his alphabetic architecture. He’s a walking thesaurus, or at least a rhyming dictionary. His ambition and villainy refer specifically to the fierce work ethic and focus that has brought him this far. This ruthless ambition and villainy have been referred to in “Illest” and alluded to elsewhere.
Ren is the magician. His gift is the Midas touch (fortunately recovered since “How to Be Me.”), and it turns all his tracks to gold, returned to again and again by over a million devoted Renegades. Chances are, this independent artist, this “sick boi”, “doing bits by [himself] swimming backstroke…rapping with a slit throat” will find success on his own merits, playing by his own rules.
At this point, it’s only fitting that we return to the chorus, as he has proven once and for all that he indeed has the rap game in a chokehold (which just happens to rhyme with gold: a beautiful, shimmering shade of gold).
In the last chorus, the music becomes reminiscent of a gospel choir, with a multitude of voices and clapping hands leading to an acapella outro. These “Sister Act vibes” invite us into the joyfulness of the music, which is impossible to resist, even if we may be locked in the basement and murdered with a beanstalk. (Renny boy, you’re such a fucking tease.)
Final Thoughts/Conclusion
In the end, we must again ponder the question: what is this song about, and how does it connect to “Love Music” parts one, two, and three? On the surface, this song stands in sharp contrast to the other songs in the series. The rhythms are clearly different. The light-hearted cheekiness of the previous lyrics descends into vulgarian indelicacy, and most curious of all, Ren never explicitly states that he loves music. Yet, while this ribald, undeniably enjoyable composition is seemingly silly on its surface, he regularly references previous well-placed metaphors, images, and lyrics; utilizes classic elements of rap; and pairs an upbeat chorus with slick beats and sophisticated production. These things speak for themselves.
It is obvious to us, the loyal listeners, that “our” Ren is himself a renegade and a renaissance man. By renouncing conventions, he renews and reclaims the qualities of classic rap while blending it with his own innovation. In this song, he shares his vision in a way that both lionizes and humanizes him, reminding us that, in the words of the great Welsh actor Terry Jones (Monty Python), he is “not the Messiah; he is a very naughty boy.”
Through his cheekiness and his skill, Ren invites us, young and old, long-time or newly minted appreciators of hip-hop, into his unique vision. By keeping it fresh, funky, groovy, cheeky, and at least 99.999% honest, Ren renews our faith that he does, indeed, love music.
Until next time,
Oi, Renegades!
copyright 2023 D. B. Myrrha
More RENalyses: The Complete List
Appendix: List of YouTube Reactors Viewed for this thesis:
Knox Hill
That Singer Reactions
Anthony Ray Reacts
Cliff Beats
Black Pegasus
Vibe Reactions
Snake Venom V
The React Twinss
Shadow Aeternum
Jahherbz
Yves Milsap
TheLoneRager
Duane Reacts
Amobytes (currently defunct)
Dicodec
Retro Quin Reacts
Jamel_AKA_Jamal
Loccd Wolf
Uncle Momo
Highly Re Active
Prince Zae
Mr Haz Artist
McFly JP
Just_Si_Reaction
Johnnie Calloway Sr
Sarge Streams
Chris Leipe
Michael Goyette
Akon Zip Zippy TV
John Reaves Live
D Lace
Tretvfrmdabx (Tre TV)
VK Music
Mr. Dust TV
btwice
Ian McGowan
Sohum
Bloodline Reacts
Bklyn_reau
Omeezy tha God
Rika Shae
OTB Bros Reaction
BEL Development
Lee Reacts – Infinite Reaction
Azel Gambino
Beers & Bars
Slashley Reacts
B&E Blogs
Bubber Tiger
Fischtank Reaction
Redheaded Neighbor
Melvin Mayer
Music Recording Network System
Kyker 2 Funny
Tyyy 2 Slimey Reacts
SheaWhatNow
Jay Flex
KSO Big Dipper
Reaction Therapy
Zach Reacts
Rendezvous 
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