"Hooker with a Penis" is a song by the American rock band Tool. It was released on September 17, 1996, as the seventh track off their second studio album, Ænima. The song is one of the heaviest tracks from the album, and perhaps one of the heaviest songs by Tool. Unlike the more progressive sound found on the rest of the album, the track has elements of hardcore punk and thrash metal especially toward the end with some of Danny Carey's fastest double bass drumming.
The song is known to deviate from the themes explored on the rest of Ænima lyrically and musically. The words behind "Hooker with a Penis" are uncharacteristically straightforward except for the title which does not appear in the lyrics. Instead the transgender prostitute depicted is a metaphor for a disgruntled fan, whom Maynard notes is wearing "Vans, 501s and a dope Beastie T", while sipping Coke, who claims he was "OGT", taken to stand for "Original Gangster Tool", since the band's 1992 debut EP Opiate. After introducing himself he proceeds to accuse Tool of selling out, likely due to the softer sound of 1993's Undertow. In response the intensity of the music is pushed to an almost comical level as proof that they have not lost their edge. When asked if he is "sucking up to the man", Maynard casually responds that we are all the man. He points out the hypocrisy of such a statement by noting that everything you "read and wear or see and hear on TV is a product begging for your fatass dirty dollar". Keenan whispers in the left channel throughout the song. At 1:41, "consume, be fruitful, and multiply" may be alluding to Genesis, which contains the phrase "be fruitful and multiply" six times.
It received generally positive reviews by music critics, although some criticized that the song detaches itself from the album's carefully plotted concept, and even that the track felt "tacked-on" to the album. Nonetheless, it remains a fan favorite. During Lollapalooza 1997, a version of "Hooker with a Penis" remixed by Billy Howerdel in the form of lounge music was played over the public address system between sets. The band played at the festival in 1997.
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