Jebes tebe i tvog oca
Kranksvester · Other Songs - Kranksvester
ne moze vidjet me zivog
jer tucam mu kcer
mrzi me ko da sam pukovnik (armije)
ko da sam puc'o na Dubrovnik
Tvoj otac je jebeni ludjak
bojim se da jednom ne otruje mi rucak
za stolom me udari sakom
i u pire mi smrvi staklo
Necu bit dobar za njegovu dusicu
jer jednom sam srao po Busicu
Pavelicu, Juri i Bobanu
tad sam se dodatno zamjerio cobanu
Oprostite na svemu gospodine
vasa sisata kcer voli me
kresnut cu opet jer vec sam je kresno
iako nisam orijentiran desno
Reci da odjebe, prestane te zvat
ko posesivni kreten
ne moze izdrzat, zove te na mobitel
svaki put zvoni kad ti dupe dodirnem
Javi se na mobitel, daj ga meni
da ga saljem u tri pizde materine
matori jazavac, ocito mu smetam
otac ti je lud, gluposti lupeta
Vise nisi klinka, stalno ti sere
ko kurva se sminkas
sere sto ne ucis, sere ti sto skitas
sere kad si solo i kad nadjes si tipa
Pusti ga da drobi, idemo ga kaznit
goli u tvojoj sobi
jebat se da cuje, al' nece moc uc
zakljucana vrata, a ja proguto sam kljuc
Boluje od PTSP-a, stari urla
ne prestajem jebat
cujem rafale, psuje ko seljak
meci lete, vicem hell yeah
Starom ne odgovara
za decka imas cobana
reci mu da prestane
i najede se govana
Volim te
i za tebe ucinio bih sve
njegov buduci zet
Jebes tebe i tvog oca
The song frames an affair as a confrontation with a disapproving father. The narrator recounts arguments, insults and a dinner-table threat, then boasts that the woman continues to choose him. The title’s provocation gives the track an antagonistic surface, but the verses also reveal how the narrator uses politics and family conflict to cast himself as a rebellious outsider.
That self-portrait is not neutral. He describes the woman largely as proof of his sexual success, while the father becomes a caricature of conservative opposition. The mention of wartime figures and Dubrovnik ties the family dispute to Croatia’s contested political memory, but the lyric does not provide enough context to adjudicate those references. Its aggressive jokes risk flattening real historical trauma into a prop for the narrator’s feud.
The release trail offers a firmer point of reference than a chart narrative: It appears on *Krankšvester II*, an album dated 2012-11-16. This placement is firmer context than a speculative claim about the chart history of the song. I could not verify a dependable chart position or an independent review of this specific recording, so its wider reception remains unquantified rather than something to infer from its lyrics.
Kranksvester’s explicit hip-hop persona often builds comedy through taboo, transgression and the deliberately obnoxious narrator. Here, those devices expose an important question: is the song mocking the man’s entitlement, or asking the audience to celebrate it? No independent review of this specific track was located. The narrator’s swagger may be meant as caricature, but the woman’s agency and the historical references deserve more than being used as ammunition in a quarrel between men.