SHOCK VALUE. DEBAUCHED LYRICAL IMAGERY. CONTROVERSIAL LIVE SHOWS. THEY’RE ALL PART OF THE JOB DESCRIPTION FOR FORTHRIGHT HIP HOPPER NECRO, KNOWN THE WORLD OVER AS THE KING OF DEATH RAP. WHEN HE’S NOT PUNCHING PEOPLE IN THE FACE, HE’S DROPPING RACIST SOUNDBITES ABOUT NEPOTISM WITHIN THE RECORD INDUSTRY. YOU BETTER BELIEVE NECRO IS THE PROVERBIAL ATTENTION-SEEKING RAPPER.
NECRO interviewed @ 13.30 AEST – Friday, 20th March, 2009
For Street Press Australia & Rip2Shredz Press
Words by RIP NICHOLSON
Images courtesy of Angel Domain
Full Q & A below
As one-part producer and one-part rapper, Necro finds it hard to decide which side he prefers to stand on, however where he stands with any man on any street comes in much clearer black and white – he’s ready to stand and destroy if you don’t come correct. Cop a plea or get knocked the fuck out. “Press is a privilege,” he says by way of introduction, immediately stamping his authority on proceedings.
As humble as he is to take a lunchtime minute out to break bread, an interview with him is more like a patient spilling all to his doctor. Any conversation is a soundboard for the purveyor of perversion’s powerful state of mind to debate the justice he dishes out on anyone who steps up to him with the wrong choice of words, making small change of time to squeeze the big questions in. Accessing the mind behind Gory Days, Death Rap and CEO of Psycho+Logical+Records takes you into a world where stern words on street-side politics from Lansky and Seigel to today’s Music Industry moguls are the norm.
Necro (born Ron Braunstein) has always been an underground cult artist, spreading his brand of blood-spilling horrorcore hip hop or death rap to those who dare. His growing legion of fans have a spread network webbed well below the radar. Commercial imprints would curdle at the thought of doing business with this rude, Jewish Brooklynite kid who thinks he’s the white Kool G Rap. There are no strings being pulled his way within a music industry chaired by many Jewish label presidents. Much weight of thought leads into talks of political power moves and the label execs who stomped on Necro’s mainline route into fame.
“People often assume that the Jews run the music business,” he begins. “But the funny thing about it, blacks run the music business because you know what happens? One of the biggest labels, Universal is in fact run by the French and then Sony is Japanese. So these companies hire the president who is Jewish and the Jewish guy hires a black guy to scout talent. So who does Necro have to filter through? A black guy who says [impersonating a homeboy] ‘Who’s this guy… Fuck this Jew… I hate my boss, he’s a Jew. I’m not gonna sign this Jewish rapper’.
“The black [execs] are happy to have the power – signing their cousins and brothers. That’s why every month in America there’s a new black rapper out with a new single. They’re signing family members,” he continues in a barrage. “The Jew is not actually the guy at the company who listening to the CD and trying to bond with me. All he cares about is making money for the French and Japanese guy so he can go home on the weekend and hang out with whites. He’s not part of the hip hop culture. He’s not punching people in the face on the weekends.
“You don’t see Jewish rappers because the Jewish executives are not signing them. You see it once now with [SRC Records boss] Steve Rifkind who actually signed Asher Roth. Steve Rifkind is a soft Jew – that’s why he would never come to my show. He doesn’t like my music, I’m too hardcore. So who does he sign? A soft Jew. Asher Roth, the kid’s in college in moccasins. He’s never been in the hood. He sounds like Eminem but that’s what they want.”
Necro’s book opens on a childhood looking out a housing project window to violence and despair. He fought his way out against Brooklyn-based gangs and found a release in hip hop. Discovered by MC Serch of 3rd Bass after a radio freestyle win, he alongside his older brother Ill Bill became the first white rappers to make it from his hood in BK. First singles off his debut album I Need Drugs were ‘The Most Sadistic’ and ‘Fuck You To The Track’, and the title track’s video depicted his uncle shooting heroin while Necro performed satirically over LL Cool J’s ‘I Need Love’.
WHAT HAPPENED LAST TIME YOU HIT OUR SHORES? SOMETHING WENT WRONG OVER IN PERTH?
I had some issues coming back the first time. The Metal (promotions) company didn’t understand hip-hop. Just because I punched a couple of people in the face. That usually happens on tour with me. Occasionally, depends who you are, what day it is, and who’s being a dick! Which means I’m punching somebody in the face. I don’t get hit, if I do, they’ll die. And so because of the bullshit, they don’t wanna deal with me. I’m sure they’re feeling fucking stupid right now.
AFTER LONG TALKS ON GOING THE INDIE ROUTE FOR HIS RECORDS AND WHY THEY DON’T SELL INTO THE SOUNDSCANS RATINGS. LEADING INTO THE REALM OF THE RECORDING INDUSTRY, NECRO RANTED ON THE FALSEHOOD PEOPLE PLACE ON HIM THAT BECAUSE HE IS OF JEWISH DESCENT HE GETS A LEG UP IN THE MUSIC BUSINESS.
Jews don’t look after other Jews. Jews that have money, that are born rich, they’re douche bags. They’re not like us. Jews that are soft don’t like gangster Jews. It’s almost like two different people. Back in the day when there were gangster Jews the soft Jews didn’t like the gangster Jews because they thought they were bad. They didn’t click with them. So the soft Jews couldn’t do anything to the Nazis, they’d get played out by the Nazis. When the gangster Jews would come across Nazis they’d break (their) faces open. So the soft Jews who didn’t like the those Jews said ‘Well at least you beat up the Nazis.’ It’s like hating somebody and liking somebody when they help you. I’m Jewish but I do not get on with Jews that are not like me. I get along with Jews that are gangster. Jews who are rugged I click with. I don’t get along with pussy Jews altogether. I’ve never come across a rugged Jew like me. A rugged Jew with money, I’ve never had the luck to come across. All the Jews that I have come across shitted on me and usually they were pussy-type Jews.
People often assume that the Jews run the music business. But the funny thing about it, Blacks run the music business because you know what happens. One of the biggest labels, Universal is in fact run by the French and they’re not Jewish. They’re more Muslim if anything. Then Sony is Japanese. So all these companies hire the president who is Jewish. So sure a Jewish person happens to be up at the top. And then you know what the Jewish guy does? He hires a black guy to scout talent. So who does Necro have to filter through? A black guy who says ‘Who’s this guy…Fuck this Jew… I hate my boss, he’s a Jew. I’m not gonna sign this Jewish rapper. ’ The Jew is not actually the guy at the company who listening to the CD and trying to bond with me. The specific Jewish guy running that company all he cares about is making money for the French and Japanese guy. So he can go home on the weekend and hang out with whites. He’s not part of the hip-hop culture. He’s not punching people in the face on the weekends.
NECRO CONTINUES, PUTTING HIMSELF INTO PERSPECTIVE.
There is a lot of different mentalities clashing. You got a guy like me from the street. Yes I’m Jewish but who represents me? Guys like Lansky, Bugsy the Jewish gangsters. They have more my mentality. But the the Jews who run the record labels and hire the blacks. Their happy the have their power and they’re signing all their cousins and brothers. That’s why every month in America there’s a new black rapper out with a new single. They’re signing family members. You don’t see Jewish rappers because the Jewish executives are not signing them. You see it once now with Steve Rifkind actually signed Asher Roth. Steve Rifkind is a soft Jew that’s why he would never come to my show. He doesn’t like my music, I’m too hardcore. So who does he sign, a soft Jew. Asher Roth, the kid’s in college in Moccasins. He’s never been in the hood. He sounds like Eminem but that’s what they want.
FOLLOWING SUIT FOR A MAJOR LABEL BACKING WITH HUGE PROMOTIONAL PURSES TO TOUR GLOBALLY IN FLASHING LIGHTS HAS NEVER SWAYED THE MIGHT OF NECRO’S DETERMINATION. OUT OF HIS OWN POCKET THIS TOUR COMES FROM HIS HEART.
Maaan I don’t give a fuck, who cares? I’m coming to Australia and I’m doing it with nobody’s help. No Jews help no black guys help. No specific colour helped get me to Australia. You know who helped me, a hardcore fan. A female who had been talking to Necro online and hooked it up. And I’m independent so I don’t have to give any money to the record label, my manager, nobody. I get to take it all and spend it on real estate. I’m a millionaire, I can do what the fuck I want. It’s logical for anybody to be a psycho. The science behind that is positive and negative. If all you are is psycho then you’ll probably end up in jail. If all you are is logical you’re probably gonna end up a nerd. For you to take your nerd shit and do something like Bill Gates, you gotta be a little bit psycho. You’ve gotta be willing to take risks.” he states firmly. “A good example of someone who is psychological, me. For me to be psycho and not get thrown in jail and be able to take it to Australia and do shows, get laid that’s logical. So again psychological.
SO WHAT COMES FIRST TO YOU, THE PRODUCING OR THE RAPPING SIDE OF YOUR GAME?
I take both equally very serious. Let me explain…Would you eat a meal EVER with no drinks at all? With every meal you have wine or beer…whatever. It’s a habit. You have to have it. For every beat, there is a rhyme. For every rhyme, there is a beat. I could not rap without music. I would have to go to someone else. But I’m completely self- reliant and making beats since 1990. I went through every stage of making beats from mixtapes to whooping up shit. I still love making beats till today. Till today, 2009, my dick gets hard from making another new beat. It’s something I love. At the same time, I’m a rapper. I come up with a beat and lace dope lyrics to it and I’m good at it. I do what I do. You know, the combination is crazy.
WHAT WERE YOUR FIRST THOUGHTS, OR LINGERING THOUGHTS ON THE SONG ‘WE MADE YOU’ BY EMINEM?
I thought the song of kinda corny. I mean, it’s not him at his best. When he is good, he comes out with some good shit. I kinda think it was kinda made for little kids. I don’t think it should have been made for dogs, you know. You want to know something? He’ll sell millions. Who would decide what is right? Instead of saying that Eminem is wrong for doing that, I think it is kinda whack that ‘Interscope’ doesn’t sign Necro and give me …. put out record that I want publicly. That’s more whack. So, Eminem decided to do this, that’s his choice. It’s Interscope’s decision to do what they want and they have the right to pick who they want to put out. Just so happens,I’m the guy nobody wants to put out. “Fuck this guy, Necro. We just don’t like you.” And, I have to do it myself. And I’m cool with that. I am already at the point where I’m content with myself. I know my capabilities and I’m coming into my own skin. When I was 28, I was a little burnt at the certain level. Now, I’m kinda getting comfortable. I feel, when I’m 50, I’m gonna look back and say; ‘Wow, I did a lot, man!’
ARE YOU STILL GONNA BE NECRO? HIP HOP IS A YOUNG INDUSTRY.
I’m gonna be Necro forever. I am not in that industry, remember? I have a cult fan base. And they will be 50, too or 40 and 30 and bugging out like armadillos. Rocky knocked out people at 60. Maybe I should try getting into a movie. I’ll fucking be the same when I’m 60 and if I’m in shape I’ll knock people out. Who is to say, what I’ll do when I’m 60, it has to be hip hop what it is now? What if it turns into a mixture of other things?… And my fans will like it? Why would the Grateful Dead be allowed to do perform at 60 and play stadium and – what – Necro can’t? I don’t believe it.
WHERE & WHEN: Coolangatta Hotel Thursday May 28
RIP NICHOLSON // firstname.lastname@example.org