2.3 - Breath and Driving Genki
Warning! The following section contains exercises that could cause breathlessness, dizziness and severe embarrassment. The reader proceeds at their own risk.
Prerequisite reading and exercises: 1.4 (on centring, posture and breath), 1.6 (on vibrations and oscillations), 2.1 (autoception), 2.2.1 (sensing your own and others' genki)
What a difference a few months' effort makes. How is the world looking to you right now? I'd wager by the time you're ready to perform the exercises in this section your day-to-day experience would have a new vibrancy to it, a greater depth of empathy induced within you for those you meet. Fascinating isn't it, to witness waves of trepidation or excitement travelling through a crowd when we attend as one to events? How a single, charismatic person can literally brighten the day of all they meet, or cast a deep malaise over half the city should their mood be foul enough.
Though we can be moved by the emotions of others through ki, us ki-users have no need to constantly wear our hearts on our sleeves. With the subtlest and most delicate of manipulations we can mask our love or our fear, incite those feelings in others and barefaced lie to even the best of ki-readers. If you too are to do so, you need to unhitch genki from its natural rhythm, adding a manipulable filter between mind and ki.
As we have discussed, genki follows any kind of flow through the body to seek where its intents and observations are needed. The one continuous flow we have control over is the breath, and through manipulation of the breath we can bend ki to our will, then slowly peel back the breath's necessity and move onto more advanced techniques.
To learn effectively in this section there are again real prerequisites. Before proceeding you must be able to:
- Attend to the flow of your own genki along with your breath
- Easily distinguish your own genki from that of those around you
- Have a high level of autoceptive precision and discernment to ensure you are reading flow correctly and not inventing your success or failure to do so
If you have skipped any of the previous exercises that enhance the above abilities you will flounder. Whilst I understand your impatience I again implore you to review previous sections. You will reach your favoured techniques far faster by following my instruction, I promise you.
The link between breath and inner strength will not be a revolutionary concept to most. Think on how we use the breath to align, brace, and mentally prepare ourselves before running a race or lifting a heavy weight. Breath brings in oxygen which in turn allows us to utilise glucose acquired from food, fuelling our muscles to cope with the strain. Along with the elevated muscular activity is an increased need for genki to monitor performance, and both types of energy work in tandem to bolster our strength.
Exhaling while performing the most difficult part of an exercise protects us from the harmful effects of e.g. high blood pressure, but this action also encourages the maintenance of genki flow. Conversely, holding and straining the breath can cause physical damage and fatigue us with a lack of oxygen, and if repeated in quick succession the ability of genki to monitor and guide the behaviour of cells will also falter. When next lightly exercising note the difference between inhale, exhale and holding the breath, paying close attention to where genki is flowing to or struggling to reach. When genki flows well, so do you.
For those that have practised martial arts (or even attended a performance), you will know of the importance of breath there too - particularly how the use of voice enables the practitioner to perform extraordinary feats of endurance or pain suppression. These often guttural yells are known as "kiai". You can try kiai yourself - notice the change in tension and readiness in the body when first breathing out quickly, then adding voice. The voice provides resistance, tightening the core, and acts as a beat on which to coordinate your actions. When you've found the perfect sound for your action (as bizarre as it may sound), kiai can encourage more genki to be released from the centre and even raise your yuuki. The simple and raw power of both breath and voice is not to be underestimated.
We will be using kiai fully at a later stage, but for now hold off. I do not wish you to shout yourself hoarse when you cannot yet manipulate your ki in a calm fashion. Still, please come to terms with the idea of shouting. Depending on the techniques you favour, you may end up making an embarrassing amount of noise in future.
2.3.1 Steadying the breath
All of these exercises will require you to comfortably perform a steady breath. This gives rise to an equally steady natural flow of genki which we can then begin to untangle. Let's recap what should be second nature now from section 1.4.
Stand tall in front of a mirror, or if standing isn't possible, find a comfortable position that will allow you to breathe freely. Centre yourself - in particular keep your head high and shoulders upright.
Take that first deep breath in. Was it abdominal or clavicalar in nature? If your shoulders rose first it was the latter - tsk tsk! Remember we want the movement of the breath to first reach right down into the abdomen to help whip our centre into motion. By this point those square breaths we used in 1.4 (inhale, hold, exhale, hold) to begin to sense the flow of genki from the centre should be more of a hindrance. If you breathe in a slow but comfortable rhythm, the sensation of your own genki flow will be apparent without the need to add pauses in such an excessive fashion.
Breathe steadily, keeping the flow of air as consistent as possible. You can check this by placing a finger in front of your mouth as if you were shushing someone, with your lips lightly pursed if necessary. Exhale slowly but not unreasonably so - keep the breath gentle on the finger yes, but do not breathe so slowly as to pass out! Remember not to slam-shut your throat between inhale and exhale, either. If at any point you're holding your breath this should be purely the diaphragm's doing and not through blocking the back of the throat with your tongue. That builds unnecessary pressure and causes a spluttering in breath when restarting. A rattle from a lack of air can occur on the turn from exhale to inhale. You are trying to for the steadiest breath not the longest, so do not try and force the end of the exhale.
[ Figure 1 ]
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When you think you have the breath steady attend to your genki. On the exhale it should naturally be lightly pooling anywhere from just above the heart to the head, but most commonly behind the jugular notch at the base of the throat. To me the pooling feels like an eddy in a stream - those little whirlpools in rivers catching debris formed when the water rushes past a sharp edge. Much like the water, genki swirls a little in this knot before wandering off. On the inhale, the eddy between the clavicles will empty and instead pool at the bottom of your breath, within the pelvis or even at the top of the thighs. Note the natural position of your own pools so you can attend to them when required.
2.3.2 Unsteadying the Breath
Undoing all our hard work may seem counterproductive, but unsteadying the breath in a controlled manner will allow you to practice reigning in the genki as a repeatable exercise. Whilst we will not be performing full kiai, I do want you to involve the voice a little. Engaging the vocal cords provides both a light restriction to the air flow and therefore a change in ki, and an auditory indication of how steady your breath is. Further, the sound will vibrate your centre, encouraging genki flow much like tapping a salt shaker.
[ Figure 2 ]
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First, try a long vowel sound - 'ah' - again going for that unwavering breath light on your finger. You should notice the pool of genki high in your chest deepens as it becomes trapped for longer. If you're picturing that genki as an eddy, the whirlpool will feel larger, deeper, faster or tighter. This will happen naturally, much like the pooling when tensing the body during exercise. Flick between voicing the breath and not and you'll feel the density of genki subtly wax and wane.
Adding consonants will very much highlight this difference. A nasal sound like "ng" will force air through your nose, a further restriction than just tighter vocal chords, and the step-change in pressure will wind that eddy further. It would be easy at this point to keep increasing the air flow (i.e. make a louder sound) to heighten the difference and if that helps you go ahead! But be wary of how and what you're yelling, and try not to pass out. Get back to those light breaths when you can.
The biggest effect comes with plosives. Whilst the change in the eddy from unvoiced to vowel to nasal consonants flows well, a plosive sound, like "ba", "ka," "pa", "da" and "ta" (and indeed North's City's infamous glottal stop, the break of sound instead of the t when they say 'water') all involve arresting airflow completely for a moment, followed by an explosion of air quite readily sensed on the finger. In that moment the eddy of genki builds then sharply relaxes, tightening then unravelling itself abruptly.
By this point observations of your own genki flow on the exhale should come easily. Take stock here and look at how far you've come; a few sections ago I'm guessing you couldn't centre yourself, now you're using your natural breath to move genki around your body and are now reading that very movement! We finally need to take the reins without the breath for assistance, keeping that flow consistent no matter what sound we're making.
2.3.3 Unhitching Genki
Untangling genki flow from the breath (and any further manipulation of ki for that matter) requires two chained ideas - expectation and imagination. First, you must expect your ki to continue to flow in a steady fashion if you modify your breathing pattern, then you must imagine it doing so as you change your breath. This is far stronger a concept that merely 'wanting' or 'wishing' something to happen. You must suspend disbelief, convince yourself - and as consequence your genki - that the behaviour you are willing your ki to follow isn't a fleet of fancy but perfectly normal. By imagining your genki behaving in a particular way you are giving your genki a template for your abstract expectation to follow.
At heart this is not an unfamiliar concept. Wanting to turn the page of a book involves an expectation that you can do so, and some fleeting forethought in your mind's eye to know exactly what you wish to do with your hand. The only difference between pinching your fingers and shifting your genki is how the latter will be akin to willing muscles to twitch in fingers you didn't know you had. This is difficult, but the process will eventually become second nature when using and developing ki techniques.
For now we're focussing on this one simple exercise. Beginning with the simpler vowels then the nasals, first expect your genki's flow to remain stable through the voiced disruption in breath. Then use your memory of its stability from the first exercise to imagine and will your genki so.
I agree, this is far easier said than done. There'll be false starts where the strength of your expectation falters - have some confidence in yourself! The first few times this unhitching works for you you may experience flutter of excitement and nervousness, your genki and mind panicking at the achievement - much like letting go of the pool noodle and realising you don't immediately drown. This switch in emotional state will cause your effort to slip a little and you may feel as though you are regressing. Don't worry, keep working and the double-take will fade. Eventually you'll be able to move onto the abrupt plosives and do the same, that flow maintained and pooling perfectly.
For the very final test here, stop the airflow by holding your breath for a few seconds and still keep drawing that genki upwards as if you were exhaling. At first the genki flow will peeter out as your strength of will fades until you resume the exhale. When you can bridge that gap of a few seconds you know you are doing well.
This is indeed a difficult exercise and not something I can provide any smaller steps to help you puzzle out. One of the reasons I believe children are so adept so early with ki-use is not just due to their sponge-like minds but both the strength of their imagination and ability to suspend disbelief. Some of the most advanced, wild and downright bizarre techniques I have seen were brought into existence by children purely because they assumed anything was possible.
Speaking of the foibles of children: whilst their ability to learn ki-use is unparalleled, so is their impatience.
Pan took to ki-use like the proverbial duck to water. Like all with Saiyan heritage she's a natural mimic (quite literally 'monkey-see, monkey do'). Flight was easy enough, strength came as she willed it, reading the ki of others' as simple as reading the expression on their face. Young Bra too could use ki when she wished, although she was a little more boisterous in her application, often 'accidentally' letting her strength spill over in 'disagreements'.
This may lead you to believe that there was never any trouble in training the girls. And that's where you'd be wrong. Any child with a talent - an early aptitude for a skill of any kind - will fold that talent into their identity. Often then, any perceived failure in that domain scares them. Not winning fights, not hitting milestones as fast as their family did, not meeting Piccoyo's exacting standards for ki-amplification all turned them off learning to use ki in a structured manner. Running through exercises similar to the ones you've been undertaking so willingly would have been torture for any child even without the additional self-pressure.
This is a problem, as early ki-users have many lazy habits that need to be ironed out. But drills sucked all fun from using ki abilities, much like shuttle runs for exercise pale in comparison to exploring the woods all day. As young girls they dragged their heels and threw tantrums when asked to repeat themselves - Pan groaning and insisting instead on a grand adventure to push her limits the 'proper' way, and Bra stamping her foot, claiming she knew it all already so why bother.
And so, after months of struggle, we hit upon a plan - to turn training into a series of games. Some of those games are still in use by Pan with her students today (to great effect), many of which I will recommend to you as we progress through the textbook.
This first one I will describe is one of the more terrifying I believe - for adults, at least. Children on the other hand very much enjoy this exercise and will even perform it spontaneously.
In the context of breath control I am, of course, talking about singing.
2.3.4 Karaoke
Now, repeatedly screaming for kiai isn't that fun and neither is making nonsense noises in front of a mirror for twenty mind-numbing minutes a day. But singing whilst controlling your ki can be. Some light karaoke with friends, sing-alongs with children or even bursting into song as you go about your day can help you squeeze in a little ki-manipulation practice.
My advice is to pick a song you like, preferably something a little wordy, or a song with long notes to hold. You want a song that is going to challenge your breath. By that I don't mean the notes themselves must be challenging - sing a song at a comfortable dirge if you must. I'm a terrible singer, singing more off-key than on, but the exercise still works well for me (just not for anyone else within earshot). Rather than only a steady breath and genki to concentrate on like in previous exercises, in song there are unnatural stops and starts in breath. You must monitor your pacing to ensure you have enough air for an entire line of lyrics. There are tone and crescendos to concern yourself with too and all whilst keeping that genki flow consistent on the exhale. I am not being flippant when I suggest public singing in the form of karaoke, either. If you are able to hold your nerve and genki steady when doing something as terrifying as being on stage and at volume to boot, an opponent in battle will find the task of knocking your confidence very arduous indeed.
Be brave! Manipulating ki when distracting yourself with singing is an ultimate test of uncoupling breath and genki.
The one purely directional note I will pass on is, when specifically using this exercise to practice ki-manipulation, please keep the voice as a chest voice even when aiming high. Do not switch to the breathy head voice even if it means you make a terrible, flat racket. Your ki resides primarily in your abdomen and chest remember, so focussing on high notes from the head will not help stir up your genki.
Stuck for a song, you say? No matter, there is no escaping this exercise. I present to you an extremely cheeky song written by my brother about Vegeta to entertain Pan and Bra, when they were aged seven and six respectively, I believe. Children are sponges and Goten knew that - I don't know what he was expecting to happen when Bra went home that afternoon but he did receive the beating of his life not long after (or at any rate, the worst I've ever seen from 'friendly'-fire).
[ Figure 3 ]
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Despite being an incorrigible imp he is a good brother, and backed up my fervent denials that I had any hand whatsoever in censoring or jigging around some lines so they scanned better (my rationale being that since I was having to hear my daughter sing this from the bottom of her lungs, I might as well not have to wince at the lyrics). He took all the heat and for that I am publicly announcing my gratitude by including the entire epic below.
The verses are spoken rather than sang, and the chorus deliberately mid-range. In that sense the song is simple, but the lyrics are fast and twisting in places, and won't make much sense outside our family and friends. Still, now you have no excuse to skip this exercise.
2.3.5 Driving the Ki
Uncoupling genki in a limited context is one thing. To move genki consciously to other areas in the body it must be driven and we will again utilise the breath to provide the kick needed to do so.
Remember in section 1.6 when we were outlining the concept of vibrations and standing waves on a guitar string? A vibration is an oscillation, a repeated back and forth motion that can be described with equations. For this section picture a mathematically identical oscillation - playing on a swing-set. As you swing backwards and forwards you can either maintain a comfortable height, or kick at exactly the right time and drive the swing higher and higher.
We're now going to do the same with your breath, finding the exact rhythm needed to flood the pools of genki on both the inhale and exhale, to tug on the flow from the centre and to move those pools away from their natural position within you.
Breathe in deeply - no rush to the action - but imagine the breath going into the centre and then past it, like the breath itself is drawing the genki low into the pelvis. Then on the exhale, imagine the opposite, the breath dragging the genki towards the upper torso. Keep performing this swing, each time expecting and imagining the genki to move further into your legs, then upwards into the head and shoulders. It should feel like an an ever-growing oscillation, an elastic pull, yo-yoing around the centre. Remember to not rush the breath and leave yourself dizzy! The enhanced flow will be straggly and unsure at first. It will appear to billow and dance ahead of the pool as only some your genki will understand what you're trying to achieve, but keep up the attempt and the entire pool will follow with your ever-increasing experience.
This will be your first movement of genki enhanced with imagination and so may take you some time to learn depending on your ability to suspend disbelief. Thankfully when you feel comfortable doing so these last exercises will fall like dominoes (relatively so, anyway).
2.3.6 Flipping Direction
So far you have untangled genki from the breath and used rhythm to push genki beyond its usual resting position. This is all fantastic work, but a steady flow of genki upwards can be stalled by the inhale, naturally causing it to reverse direction. So far we have focussed on enhancing the natural direction for genki to flow but now you need to break that assumption. Now we need the inhale to cause ki to pool high in the chest, too.
To keep genki flowing in one direction as you perform a full breath requires a moment-to-moment changing expectation. In this case, a strong belief that it is natural for genki to pool upwards on the exhale as usual, and a switch to an equally strong belief that it is just as natural for genki to pool upwards on the inhale.
One approach to this switching visualisation is to imagine piloting with an airplane's yoke (the joystick), or what might be more familiar to younger readers - a computer games controller. Against expectation pulling back (down) on a plane's yoke raises the nose and the plane climbs, pitching forward (up) lowers the nose. In games (yes, yes, pick your jaw off the floor - I may look like I'm from the thirties but I have played them) the toggle to look around the environment can either work in the same way as a yoke, or as one would expect it to - pushing the toggle up makes the camera look up. Changing this setting usually involves arguing over something called the 'y-inversion' in some deeply buried menu screen. I hear debates over which setting is better can end friendships and cause family estrangements.
Switching that y-inversion setting on and off in your head every half a breath will be tiring and often uncomfortable at first, though the flip will become second nature as your strength of visualisation improves. Be careful you don't switch to a clavicular breath - chest rising on the exhale - to help perform the "inversion". The change will help you perform the exercise as genki will be pulled up with your breastbone but you will fall behind on the learning objective. Watch those shoulders!
2.3.7 Pooling Low
We have heavily focussed on the top pool of genki as many of the flashiest ki techniques begin with a lift. The more workhorse types draw ki from all over including the aura and heavily utilise the broader lower pool. I want you to pay attention to that pool now. Using the inversion technique discussed above, keep your inhale natural and flip the genki movement on the exhale.
Your abdomen will be working as a bellow in its movement so this is particularly tricky on the exhale, as your genki will very much want to follow your diaphragm's direction of travel. Likewise with the shoulders in the previous exercise, take care not to subconsciously roll your abdominals down on the exhale like a tube of toothpaste in an attempt to squeeze the genki lower. Keep willing genki below the pelvis and beyond. For some the pool may even escape the body or split and follow the thighs.
At this stage you should be able to enhance genki's natural flow along with the breath, directly reverse this, and pool the ki consistently high and low with a steady flow. And of course, all whilst singing in from of a mirror. You got all that? There is one final element to put into place.
2.3.8 Splitting the Pool
Before I let you go, this very final exercise is crucial for the next section. Without this skill you will hit a figurative wall on the symmetric exercises, and later you will inadvertently smash yourself into a literal wall as you'll struggle to provide the brace required for some techniques. This is technically the hardest exercise to perform in the sense your imagination is again being requisitioned, but if you have mastered the previous exercises there will only be one new element to learn. You need to define your own pools of genki or, in other words, split the natural pool of genki into two.
First, imagine not one pool but two overlapped completely - two candles so close their flames combine, or two jets of water brought together. Two sources with one output. Expect the pools to behave that way and imagine them so to reinforce this idea of two streams. You then want to separate them back out, like the two pools you 'know' them to be.
You may have experienced this splitting already, particularly if the default natural position for your lower pool of genki is below the pelvis, as the genki will attempt to stay in the body and so will increase the density in your thighs instead. If that's been happening for you - great! This splitting should be a lot easier to visualise. The rest of us will have to be inventive.
[ Figure 3 ]
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Depending on what's easier for you based on your experience with this section, there are two main approaches to this exercise. The first is to breathe naturally, letting that knot of genki move freely up and down with each inhale and exhale. On each breath however, attempt to split the two flows left and right, causing these mini pools to zig-zag up and down your torso until they are comfortably oscillating between your thighs and shoulders. Then you can work on steadying the flow again to keep the pools fixed in place. If that's not appealing, keep the flow constant and try to crowbar the pools straight apart. The top or bottom pool will suffice. You may want to use the breath's rhythm or heartbeat to do this inch by inch, it's up to you.
Any way you approach this, you must eventually be able to perform this split within one exhale or less. If you can whittle the time required down to three exhales that's more than adequate for the time being. To move on to any of the techniques in chapter three and beyond you will need to be able to move pools around the body near instantaneously, lest your ki be far too sluggish to do anything meaningful for you, or you be too reliant on the coupling of genki and breath for techniques the breath is detrimental for.
Remember: the ultimate goal is to perform this splitting consistently and steadily when standing, walking, running, talking and yes, when singing. Keep practising and the skill will come.
This has been a lot of nuanced work. I understand, so thank you for your patience. Some of you will have found vast swathes of this section almost immediately performable and may have wondered why I went to such a huge effort to explain the work. For others a throwaway line would have been excruciatingly painful and taken you days or even weeks to master. Everyone is different, so do not think my relative word count is an indication of the amount of effort you "should" have spent mastering those exercises - there is no right or wrong pace to be approaching the practicals, so do not be downhearted if the seemingly "simple" concepts were tricky!
In the next section we will discuss the concept of a focus - harnessing the pools of genki and the lax aura around it. There will again be some exercises for you to perform and I'll touch on some of the more advanced focuses to whet your appetite.
Full lyrics:
Gather round kith, kin (and clowns) to listen to my story
(Of a) man you know, a prince - although his line a faded glory.
(Sold) as a pet so circumvented Saiyan demolition,
(He) flew to Earth for secrets worth the compromise of mission.
(Immor)tality his goal you see, our planet had the means to
Grant requests but for the best Earth's fighters won't amene to.
(Though) small in stature cameras captured his stupendous glee,
"I'll have a ball, killing you all!" - our forces disagreed.
(With a) big bald man, a half-baked plan and confidence astounding,
Geets - that jerk - he set to work dealing out a major pounding.
(The) man unleashed the King of Beasts - Oozaru loomed above them,
(But) Geets forgot that Goku's tot could do the same - he squashed him!
Uncle Vegeta, bruised and battered flat
Got let go by Dad and co
And Earth said that was that.
Uncle Vegeta, his win streak knocked for six,
Swore vengeance on our hero Son
And with that he did split.
(Earth's) forces dazed and broken raised a problem for our defence.
(A) trip was planned to mystic lands - the undertaking immense.
(The) rumours true we found our boon a magic to revive them,
(But) in pursuit was Freeza too - Vegeta close behind him.
(The) local's weak and quick to beat Lord Freeza thought them suckers.
(Bro) had the gall to steal a ball that clever monkey brother!
(With) Geets upon them our team froze and held their breath in anguish,
(Though) needn't freaked - poor, wretched Geets, he didn't know the language!
Uncle Vegeta, the Saiyan now irate,
wish not granted strength he wanted
To indulge his hate.
Uncle Vegeta, his work gouged out that frown,
(His) boss a tyrant, even I'dn't
want to face him down.
(Then) came in view the motley crew of Krillin, bro and Geets.
(To) take boss down and steal his crown would turn out no mean feat.
(Un)lucky heroes - Freeza he rose up intentions cruel -
(A) last defense to stave against the despot's endless rule.
(The) band afeard but Dad appeared to help them save the day,
(They) had five min to flee, to win, to make Lord Freeza pay.
Dad got p***ed - he bore witness to Krillin's grim destruction -
(His) anger seared, it raged, it cleared his path to gold eruption.
Uncle Vegeta, was quickly pushing daisies
(Dad) tried to save him, vision fading
was he going crazy?
Uncle Vegeta, convinced of his own legend
(But) failed to reach that foretold peak
"Earth's" Son was truly destined.
(Not) quite defeated Freeza's retreat 'came a fast invasion,
(But) Trunks appeared and quelled all fears by turning Super Saiyan.
Geets glared on his boss now gone diced into red confetti.
(He) needn't fret Geets weren't beat yet - just time got mighty messy!
(Three) years rolled past and so at last the gang were fin'ly ready
(To) take on foes from Trunks' woes two androids would be plenty.
(In)stead found five, bad twins alive their strength not comprehended,
"Tell me dears, do you feel fear?" - our Prince at last ascended.
Uncle Vegeta cockier than ever,
(In)sulted one and she was done -
She went and upped the pressure.
Uncle Vegeta, learned to value women -
Geets got bashed, his arm real smashed
By Eighteen's feminism.
Cell was braced to take its place as Earth's new terror reigning.
(With) Dad its target, Geets he started up his loud complaining.
"Challenge me!" he shouted freely knowing that allowed for
(It to) power up and tower over our team drawing uproar!
(Lost) to his son (the future one) on morals and intentions
(As) Uncle knew the Games were truly of his own invention.
(He) learnt his lesson flew to help them counteract his sins,
(With) Cell distracted Geets smiled back as Gohan sealed the win.
Uncle Vegeta, his brave facade had crumbled.
Overpowered, ego soured
Went on kinda humbled.
Uncle Vegeta, life now a sitcom -
(Our) Prince, a cat, the technocrat
And their b*****d son.
(I) came along the younger son, but with Pa then rather absent,
(Ve)geta pained he caved and deigned to train what Mama hadn't.
(A) Saiyan's Pride, our chins held high, old ways cemented surely,
(Though) Pa returned and Geets 'bout turned - got baited to a tourney!
(Dad's) tales of travels, spars and battles set Vegeta seething,
(His) jealousy was plain to see, he barely sneered a greeting.
(A) wizard quietly sought out piety, strength would be a bonus,
(So) Geets' psychosis 'course got stoked with bogus hocus pocus.
Uncle Vegeta, was gifted his desire
(Re)straint now lost but at what cost?
In evil he was mired.
Uncle Vegeta, slipped back to his old ways -
(His) midlife crisis (that'd be my guess)
Leaving us dismayed.
(Dur)ing their fight it came to light worse danger was a-lurking -
(A) force called [XXX] snapped 'Geta to, that demon needed hurting.
(We) tried to help but only whelps Geets played the nicest guy,
(Di'n't) mess about he knocked us out and blew himself sky high!
Trunks and I, then met a guy named Gotenks - he's so crazy!
(We) trained and played all night and day, that 'week' was pretty hazy.
(Hit) three did he, surpassed old Geets before his dust had settled -
Safe to say in Hell that day our Prince was truly nettled!
Uncle Vegeta, he couldn't let it lie,
(Climbed) out the grave, the Earth to save
and make [XXX] wave goodbye.
Uncle Vegeta, failed pleading with the nation.
Though absurd the voice all heard?
Our hero Mister Satan!
Geets? …Oh he chilled out - you see, the battle did subdue him.
(He's) settled down in West Downtown, great father to his children.
(He) trains all day for future frays and barely stops to rest,
(But) after all his sweat and toil… My dad's still the best!
Uncle Vegeta, our Saiyan Prince redeemed.
(With) Bulma's hand and CC's brand
Their hellspawn reign supreme.
Uncle Vegeta, if he should hear this sung?
(I'm) dead, long gone, deceased - hold on–!
I better ****ing run!