Onedari Daisakusen by BABYMETAL Lyrics Meaning – Unveiling the Art of Kawaii Metal
Lyrics
Itsumo ijou ni kigen tori katamomi sukasazu
PAPA daisuki!!
Sakusen-2
Otsukaresama kamisama!! suki na TAIPU wa mochiron
PAPA daisuki!!
Uso demo ii (enryo wa muyou)
Homemakure (gomasuri gomasuri)
Are mo hoshii (mou sukoshi kamase)
Kore mo hoshii
(Tenshi no kao shita akuma no sasayaki)
(Sekkyou suru nara kane wo kure)
(Tenshi no kao shita akuma no sasayaki)
Watashi, PAPA no oyomesan ni naru nda
Lets go! Lets go!
Onedari sakusen
Kawaiku punpun! dada konero!
Saikyou no!! saikou no!!
Tenshi no egao ni damasaresou da
Lets go! Lets go!
Onedari sakusen
MAMA ni naisho de GETTO shichao!
Saikyou no!! saikou no!!
Choudai! choudai!
Onedari sakusen
Onegai!! (saigo no) onegai!! (itsumo no)
Kekkon suru nara yappari (PAPA!!)
Onegai!! (saigo no) onegai!! (itsumo no)
Dadakko kamasu (BLACK!! BABYMETAL)
Onegai!! (saigo no) onegai!! (itsumo no)
Isshou ichido no (saisho de saigo no)
Onegai!! (saigo no) onegai!! (itsumo no)
Koakuma kimeru (BLACK!! BABYMETAL)
Datte onna no ko da mon
Kirakira shiteru no daaisuki!!
Kawaii no daaisuki!!
Oishii mono daaisuki!!
One for the money
Two for the money
Three for the money
Money! Money! Money! Money!
Katte! katte! katte! katte!
Choudai! choudai! choudai! choudai!
Lets go! Lets go!
Onedari sakusen
Kawaiku punpun! dada konero!
Saikyou no!! saikou no!!
Tenshi no egao ni damasaresou da
Lets go! Lets go!
Onedari sakusen
MAMA ni naisho de GETTO shichao!
Saikyou no!! saikou no!!
Choudai! choudai!
Onedari sakusen
Onegai!! (saigo no) onegai!! (itsumo no)
Kekkon suru nara yappari (PAPA!!)
Onegai!! (saigo no) onegai!! (itsumo no)
Dadakko kamasu (BLACK!! BABYMETAL)
Onegai!! (saigo no) onegai!! (itsumo no)
Isshou ichido no (saisho de saigo no)
Onegai!! (saigo no) onegai!! (itsumo no)
Koakuma kimeru (BLACK!! BABYMETAL)
BABYMETAL, a group that brilliantly combines the idiosyncratic worlds of idol J-pop and heavy metal, has taken the global music scene by storm with their audacious sound and captivating performances. One of their tracks that encapsulates this blend perfectly is ‘Onedari Daisakusen’. The song, which translates to ‘Operation Begging’, offers a playful yet profound take on consumer culture, familial relationships, and the innocence of youth.
Peeling back the layers of ‘Onedari Daisakusen’ reveals much more than its sugary veneer suggests. Its lyrics, a mix of spirited childish pleadings and societal commentary, allow the band’s fanbase, known as ‘The One’, to delve into the complexities of modern life, all while head-banging to a relentlessly fierce soundtrack.
The Power Behind The Pout: BABYMETAL’s Onedari Strategy
At first glance, ‘Onedari Daisakusen’ appears to be a charming chant of children coaxing their fathers for monetary rewards. By urging dads to open their wallets for their beloved daughters, the song embodies the innocence of youth exploiting the frailty of parental love. But BABYMETAL takes this seemingly simple plea and turns it into a rocking anthem, amplifying the voice of a younger generation in a society where age often correlates with authority.
The song operates on multiple frequencies – it’s both a playful caricature of materialism and a clever social critique. The members of BABYMETAL, young women themselves, leverage their ‘kawaii’ (cute) aesthetic to deliver biting observations on how affection can be tethered to consumerism, thereby holding up a mirror to the world’s capitalistic tendencies.
Hidden Meanings Unveiled: The Dichotomy of Angels and Demons
One cannot help but pay attention to the recurring imagery of ‘angels with devilish whispers’ throughout the song. This metaphorical portrayal speaks to the human capacity for dual characteristics – being inherently good but capable of manipulative intents. BABYMETAL plays with this notion, embodying the role of cherubic characters with ulterior motives, reflecting the clash between genuine desires and contrived innocence often used for selfish gains.
The juxtaposition of these elements within ‘Onedari Daisakusen’ hints at a deeper understanding of societal constructs, where purity is often a mask worn to navigate systems of power. It also touches upon the duality within ourselves, as we all possess qualities that can be perceived as both benevolent and malevolent, depending on the context.
The Electrifying Chorus: A Call to Arms (or Wallets)
The catchiness of the song’s chorus, where the group repeatedly begs in a harmonious plea, is both infectious and insightful. It underscores how persuasion, especially wrapped in the guise of charm, can be an effective tool in getting what one wants. ‘Onedari sakusen’ thereby becomes a metaphor for the art of negotiation—be it with parents, society, or within ourselves.
This chorus is a masterstroke in BABYMETAL’s songwriting, reinforcing their image as both powerful performers and shrewd commentators of cultural phenomena, particularly the power dynamics at play in familial and consumer relationships.
Memorable Lines: Mirroring the Kaleidoscope of Wants
‘Dadakko kamasu (BLACK!! BABYMETAL)’ stands out, conveying the depths of their strategy. The act of winning over their fathers, or ‘PAPA’, with cuteness while subtlely admitting to their ‘Black BABYMETAL’ guise sheds light on the complexity behind their on-stage personas. They’re not just performing; they’re actively engaging in a narrative where every catchy hook has a reason.
Similarly, the ironic twist of ‘One for the money, Two for the money, Three for the money, Money! Money! Money! Money!’ serves as both a playful jab at material greed and an earworm that ties into the song’s larger theme of the transactional nature of relationships. The repeated cries for material possessions with ‘Katte! Katte! Choudai! Choudai!’ (Buy! Buy! Gimme! Gimme!) melds the bratty with the symbolic, contrasting sweet demands with the reality of consumer culture.
An Ode to Material Girls in a Material World
‘Onedari Daisakusen’ exhibits a transparency in what these idols adore – ‘Kirakira shiteru no daaisuki!!’ (I love sparkling things!!) to ‘Oishii mono daaisuki!!’ (I love delicious things!!), they proclaim. The reverence for all things shiny and savory is indicative of a society that equates happiness with possessions, a poignant reminder of the values we celebrate and the appetites we encourage.
Yet, even in its critique, BABYMETAL’s song maintains a tone of celebration rather than admonition. It’s a playful anthem that embraces the joys of materialism while acknowledging the comic absurdity of our collective obsession with it. The group’s message resonates beyond language barriers – after all, who among us hasn’t indulged in the siren song of one too many shiny gadgets or tasty treats?
