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012 West Coast Jewish Hip Hop

 

Arson Wells - West Coast Jewish Hip Hop

Arson Wells - West Coast Jewish Hip HopIn this feature I am going to introduce you to another Judaen exile making his musical mark on the planet who hails from the West Coast of the United States of America. I stumbled upon his music on Myspace a few years ago and have I have followed his career since and today I am happy to be able to introduce him and his arts to you.

Flash required

MC Arson Wells

JM: Who are the Jews in your family? Both Mother and Father Jewish?

I get my Jewish Heritage from my Father’s side of the family. All of my family on his side are of Jewish Descent.

JM: Any interesting Jewish family? Interesting lineage?

My Great Grandfather was a Russian Jewish who came to the US when the Czar was kicking Jews out of Russia. The story of Fiddler on the Roof is a lot like what happened in my family. My Great Grandfather made the Journey to the US on a freshly painted cattle boat. The fumes were very toxic and everyone was sick the entire trip from what I understand. He actually was traveling through the woods to stay off the main roads because he was with another family who had a sick child that was crying and they didn’t want to be caught. They missed the first boat because of the detour. Thank God they missed it because the first boat sank and everyone on it drowned. I wouldn’t exist if it were not for that detour.

JM: How do you define yourself? A rapper? A hip hop artist? Producer?

An MC

JM: Where did your “name” come from?

I used to just go by the name Arson or the Unknown Arsonist. I was signed to a local independent label along with an artist RicaSShay. One day he said “yo you should go by the name Arson Wells”  an ever since then that shit just stuck with me.

Arson Wells - West Coast Hip HopJM: Are you signed to any labels?

I am independent/unsigned right now.

JM: How many CD’S/Albums have you released so far?

I am just about to finally release my debut project “ The Trials and Tribulations of Arson Wells ”

JM: Who were your biggest musical influences when you started?

Geto Boys, Ice-T, N.W.A., Above The Law, EPMD, Organized Konfusion, Digital Underground, Public Enemy, 2Pac, KRS-One & LL Cool J. That was my era. To me it won’t ever get better than that.

JM: Whose music influences you today?

Local San Diego Artists who bring heat time and time again and are still under estimated in the Hip-Hop world.

JM: Where did you grow up, where were you raised and where is home for you?

I was born in Southern Oregon and then moved to South San Diego California. Both of these places I will always consider home. I’ve got a lot of homeboys that live in both places that I got a lot of love and respect for.

JM: Is Tupac really alive?

NO. When you get blasted there ain’t no coming back.

JM: Whose music rubs you the wrong way?

I can’t stand most of the rap music that comes out today. I won’t even call it Hip-Hop because that shit is dying. I can’t stand the D4L’s and all that other glitter and glam cornball bullshit you hear on the radio. That shit makes me sick. They have destroyed something I have cherished and loved since I was 12 years old and made a mockery of it. Real Hip-Hop is found in the streets and neighborhoods and underground clubs. The airwaves are filled with the same commercial bullshit. “It’s the Ice age and nobody realize what they doing to Hip-Hop’s gonna make it die”

Arson WellsJM: How did you get to where you are now? What were the big breaks and events?

I’ve been writing rhymes and rappin since I was like 12. I been in a few different crews; the shit always falls apart do to one thing or another whether it’s jealousy, lack of commitment, money, etc. That’s why I’ve realized it’s all about me now. I’ve wasted so much time Fucking around, waiting for other cats to fulfill they part of the bargain and do they thing, and to come with there part of the money to put out projects and this and that, I’m just over it. I been making chips on the streets for years, so I guess I got no one to blame but myself. I could’ve been put my shit out a long time ago, I just keep getting caught up in another hustle, and another hustle. You know. My album is 11 songs done right now. I only need like 4 or 5 more joints to finish up and I got popped with a case. Now I’m f acing two felonies and the pigs got my ass for like 14 g’s. Its all good though, I’m trying to beat they bullshit case, I got me a dope lawyer on the mix so I’m crossin my fingers. But listen to my music, its real life shit. What I say in my music is real talk. I do what I say in my rhymes and that’s just the game we play in.

JM: Has there been anyone who has mentored or really helped you along the way?

There have been a few cats, but I won’t mention names because I did a lot for these cats to and in the end they all just snakes in the grass. Backbiters and backstabbers.

JM: When did you first start getting into the performance side of music?

Around 2000

JM: Who do you hang out with, anyone noteworthy?

Mostly my patna RicaSShay and Ceke Blanko from Bike Choke Family. Also my Engineer Steelz.

JM: What song has had the biggest impact on you personally?

Geto Boys- My Minds Playin Tricks On Me

JM: What do you write about in your songs?

I write about the hood, my hood and what I’ve seen coming up, hustling, revolution, anti-government, anti-police hardcore money motivating HIP-HOP!

JM: What bothers you about the music business?

It’s so commercial and nobody buys records anymore. Everything can be downloaded. Fuck it, I do it to. Shhhhhhhhhh…….you gotta love this shit to still do it

JM: How has being a Jew or in other less popular words, has having Jewish blood in your veins made a difference in your life?

It’s shaped who I am as a person. Once people find out you’re a Jew they can act like it doesn’t bother them, but I think deep down inside most of them they have a astigmatism about our people. The negative stereotypes, which are utter bullshit, always come up so whenever you have a run in with someone they are quick to bring up your heritage. Right off the bat “the stingy or greedy Jew muthafucker did it”. People start trying to throw the same old shots like “your people killed Christ” as well as a long list of other derogatory bullshit. I always know that no matter what the only people that will ever understand our people is our people.

JM: Is being a Jew important to you? Please explain.

Like I said it defines who I am as a person. We as Jewish people all know who we are and what is expected of us. The Torah is set in stone. Whether we choose to follow it or how strict we follow its laws are our decisions. I wouldn’t say I am the best example of a practicing Jew, but I try to my best and keep my head up while living in this dog eat dog world we reside in.

Arson WellsJM: Is there anything today about Judaism and the Jewish world that really affects you or really bugs you?

The thing that bothers me the most is all the end fighting between our people. No matter what synagogue you go to or what sect of Judaism you follow, you’re still Jewish. That means represent your people to the fullest no matter what. We all came from Abraham, Isaac, and Jacob; Period…end of story.

JM: What do you do for beats?

I work with a few different local producers as well as a producer in New York for my beats.

JM: Do you play any instruments?

My voice.

JM: What is your favorite city?

Sunny San Diego California

JM: Have you been to Israel?

Unfortunately no. I am going no matter what within the next couple years. If your Jewish, you have to make that excursion sometime in your life. It’s just a necessity.

JM: Do you know what tribe you are from? Levi, Judah?

My Grandfather told me we were from the tribe of Levi.

JM: Do you pay attention to what is going on with Israel?

Yes. It’s a shame to see all of the fighting over OUR land. Things seem to only be escalating. It has been this way since Israel was declared a nation. Right away here comes Egyptian fighter planes trying to bomb us. Then it was Syria I believe. We are surrounded by the Enemy. All we want is our land. The whole Middle East is filled with Islamic countries. We deserve our place. Israel will always need freedom fighters to stand up and represent the Jewish people like David Ben-Gurion and Simon Weisenthal. If you’re a Jew be proud of it. Stand up and speak up for your people no matter what criticism you’ll get.

JM: What’s coming up for you?

I’m coming close to dropping my album “ The Trials & Tribulations of Arson Wells”

I just came out on DJ Green Lantern’s newest mix-tape “Myspace Invasion 3” as well as having 2 features on RicaSShay’s album Enough is Enough. Which just dropped this month. I am also featured on the new Proof of Life mixtape coming out later this year

JM: What’s your favorite piece of musical equipment?

I like stringed instruments. If used right over a hard drum track you can make a banging ass beat.

JM: Any tours and if so, with who and where are you touring?

Everyone on the Proof of Life mix-tape will be going on a  West Coast tour to promote the album and radio station. Proof of Life radio can be heard Wednesday nights between 9-11 PM Pacific Time at the following address: proof-of-life.net/radio

JM: Which one of your songs do you like the most and why?

Man I have a lot of favorites. It’s hard to tell which one I like the most. It changes every time I do a new song that becomes my favorite until I top that with something even better.

West Coast Jewish rapperJM: How do you feel about the state of the world, life and shit?

I think the state of the world is fucked up. The Middle East keeps getting worse and worse. As for my neighborhood muthafuckas is broke, starving, strung out and shit. Cops stay harassing me and my boys. It’s like every week another one of my boys gets locked up, or catches another case; including myself. We wouldn’t be out there on the street doing what we do if we had better ways to feed our kids and shit. We all just stay hoping that this music grind pays off in the end and we don’t have to put our lives in jeopardy no more. The economy’s all fucked. Everyone losing there houses and shit. Unemployment’s at an all time high. When cats can’t get a job what the fuck do they do to get dough….rob, steal, sell drugs, whatever the fuck. That’s just life.

JM: Have you been in the media yet, and if so, how so?

I’ve had small little spots in magazines hear and there. Getting a little pub from time to time. Nothing to major. I’ve been on local television a couple times. I get a lot of love on the Internet. I have met a lot of contacts by having writes up and features on different sites out there. This year I just barely stepped my myspace game up. One of my boys was trying to get me on that shit for a couple years. I wasn’t trying to hear it. To caught up in the day-to-day struggle to be dealing with games and shit; but then I opened my mind and just started politickin and have gotten a lot of love and response from the myspace joint as well. www.myspace.com/arsonwellsmusic

JM: Are you a spiritual or religious person?

I would not say that I’m religious by any means. Religion is just another way for organized groups to try and control people and brainwash them into their way of thinking. As for being spiritual; definitely. Life would seem hopeless if I didn’t have faith that Elohim was watching over me. I see so much negativity all around me that I have to go to synagogue just to release some of the pressure and get some of the pain off my chest. It’s a good counterbalance to the rest of the world that eats away at your soul on a daily basis. I try to observe the high holidays, eat kosher, and live righteously as much as possible. It’s just hard when you live in Babylon society.

Thanks

Joshua Andrews

###END####

010 Hiphoperization and Blingification: The Commodification of all Things Hip-Hop

 

Hiphoperization and Blingification: The Commodification of all Things Hip-Hop

Sandra Zichermann - Doctoral Candidate, University Professor

rabbilowriderHip-hop/rap can be traced back to New York City block parties in the 1970s, and N.W.A. (acronym for Niggas With Attitude) was one of the first popular groups that changed the face of rap, by exposing a new, incendiary, in-your-face brand of rap, which was quickly labelled “Gangsta.” Guns, drugs, and anti-police rhetoric became the favour of the day, a stylistic viewpoint that still persists to this day (Dyson, 2007, p.v-vi).

Hayes (2006) argues in his dissertation that hip-hop has become more mainstream through the process of being taken up by white, suburban audiences and has been integrated into television programming, movies, and other genres of music and literature. The dominance and power of hip-hop music as a cultural phenomenon is evident in fashion trends created by artists, in the design of cars, and even in political/consumer activism such as the ONE campaign espoused by artists such as Diddy. The MAC campaign to fight HIV/AIDS, which is supported by Mary J. Blige, is an example of many other initiatives that have been taken.

Davis (1992), Richardson & Scott (2002), Lusane (2004), and Dyson (2007) all argue that hip-hop/rap represents the voices of alienated, frustrated, and rebellious Black youth who are aware of their vulnerable, marginal positions in post-industrial America. They are forced to struggle to find their voices.

I see parallels between these researchers’ arguments, and the history of hip-hop/rap music in the sense that hip-hop can be traced to the need of young people to find an avenue of expression and to engage in resistance to white hegemony through the establishment of their own identities.

The argument about whether hip-hop/rap is a form of resistance, a form of service to white hegemony, or a combination of both, cannot be answered in a simple way, since various critical theorists have differing opinions. Ice Cube who explains his fondness for hip-hop/rap in a conversation with Angela Davis (1992) by stating, “Hip-hop/Rap is a culture, a school system and one of the best school systems that we have” (Davis, 1992, p.189). Richardson & Scott (2002) argue, “As offensive as some lyrics may be, they speak the ‘truth’ as constructed by an isolated black urban youth culture in a land of plenty” (p.188). I see similarities between the comment by Ice Cube in Davis’s work (1992) and the argument by Richardson & Scott (2002) in the sense that both believe that rap enables youth from the street to learn life lessons and express those experiences in their music.

Richardson & Scott (2002) argue, “Rap music, just one entertainment form, represents a small segment of the multi-billion dollar entertainment media industry” (p.176). Yet this “small segment” is still viewed as a powerful and dominant player in the overall music industry. These organizations do not just produce and distribute the music of artists; but they also shape the artists’ identities and, arguably, shape the perceptions of the listener and consumer (Binkowski, 1996; Cohen, 1997).

Hiphoperization and Blingification: The Commodification of all Things Hip-Hop

I have coined the term hiphoperization to specifically address the growing consumerism and commodification of hip-hop culture by Whites, Blacks and the “Other.” “White” refers to two groups of individuals: the White consumers, who can afford to consume the music, and the White executives (producers, distributors, record label heads), who create the image of the artist, package it, and distribute it via the media. Black people are also represented in one major group and two minor groups. They have more visible representation through the use of their labour as hip-hop/rap artists than members of any other minority group or any White individuals. Black consumers also play a role in hip-hop/rap, but their socioeconomic class does play a role in decisions about whether or not they can afford to purchase the music. Research has indicated that the majority of hip-hop/rap consumers are white youth. Therefore, the assumption may be made that these youth have higher socio-economic positions (class) than Black youth.

The emergence of Black executives directing hip-hop/rap labels such as Interscope/Death Row Records is becoming more visible. However, this movement into corporate positions has been slow. Even when Black individuals make the move into executive positions, they are usually with “smaller labels” (Kitwana, 2005, p.46) and the move may not be permanent. Frequently, such labels are taken over by larger enterprises.

I have developed the term “blingification,” which is defined as the commodification of bling culture. For the first time, this term gives a meaning to how “bling” (jewellery, cars, and material objects) are consumed and promoted in hip-hop/rap culture. Blingification is the over-arching use of “bling” to provide an image of wealth, power, prestige, and control (Boyd, 2002). The results of this promotion of “bling” within the hip-hop/rap music industry can differ in various circumstances. It can be seen as both empowering and disempowering; the paradox lies in the fact that the interpretation of experience may vary. One could view the promotion of “bling” as an overdue assertion of individual identity that signals emergence from the ghetto (empowering). Another observer might view the glorification of “bling” as an excessive valuation of products, which are used simply because they are prestigious and part of the “ideal” culture (disempowering). Dyson (2007) argues, “We can’t hypocritically condemn the younger generation for their bling and their materialism, especially since those are staples of American culture” (p.82).

Sandra Zichermann

Doctoral Candidate, University Professor

Hip-Hop/Rap Scholar
sandra.Zichermann@gmail.com

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