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
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’.