I know what you might be thinking, “the nerve of this guy”!!! but hey I’m actually quoting a song by a crew you slept on. Who else would put a bunch of Krazy Kikes on the MIC? Eric “Eazy-E” Wright, that’s who. Eazy-E was quite a figure, being the one to hustle enough in order to start-up the legendary Ruthless Records label. Of course he needed some name recognition and a music business insider, so who should he get? An ex-record executive who hit it large in the 1970’s, but ended up snorting and drinking his youth away. Jerry Heller would be his partner, for good and bad, and they would spearhead the label that pushed one of the hardest rap groups of all time, N.W.A. (Niggaz Wit Attitudes). Their work was an unabashed view of life in Compton, California. Their first album, Straight Outta Compton, was a mixture of ire and rage towards police brutality and institutional racism. However, parts of the album were also laced with highly sexual content and dreams of dealing crack, making money, and having fun in the most nihilistic way possible.
After the release of the album Ice-Cube left the group due to financial discrepancies, and a war of words ensued. First N.W.A. came out swinging on their EP, 100 Miles and Runnin’, and on their second and much darker album Niggaz4Life. However, this is not about their beef. This is about the unabashed Jewish rap group that Eazy-E signed to his label. It’s ironic how a Jew rap group would be signed by an African-American record label owner. This is a markedable shift because in the history of the music business it was almost always the exact opposite.
Eazy-E was the perfect fit as he pushed N.W.A.’s gruff exterior right in front of their audiences. They were raw and unadulterated when they spoke of life in the streets, and its many vices. He signed a Jewish group to his Ruthless records label, and would push them to confront and bask in their identities. The group’s name was Blood of Abraham and the name gave it all away. They came from the source, claiming their name from the blood of the first Patriarch and the first real Jew.
Now, I know what most readers might be thinking. I’ve written about a few of the hot Jewish artists out there, as well as non-Jewish. But, isn’t there a quota where not all have the juice to sustain a rap career? I feel that if you look hard and deep into the past, as well as the present, you’ll find many of these unearthed gems. The specific gem I’m talking about today is this group’s only album on Ruthless titled Future Profits. The duo, consisting of Benyad (Benjamin Mor) and Mazik (David Saevitz), have some tight rhyme schemes that seem akin to a cross between Das Efx and Funkdobeist. Still, some of their tracks are heavy hitting, and the album has the same head nodding beats with the tight drums, which is a staple of early 1990’s hip hop production. The beats are mostly snippets and samples of Jazz along with the ubiquitous samples used at the time. They inject the biblical imagery along with the contemporary look at American Jews. Unlike the other Jewish rap groups of the time, The Beastie Boys and 3rd Bass, they projected their Judaism into their lyrics and visual presentation. One of the best tracks off the album is the title to my blog, “Niggaz and Jewz (Some say Kikes)” where they trade rhymes with Eazy-E.
It’s an irreverent call for African-American and Jewish-American unity. The call for unity is made under the threat of bigotry and violence. The samples used lump both groups together by an older racist voice. The voice, which is an authentic recording of the ranting and raving of a Ku Klux Klan member solidify their common enemy. It should be noted that the album was released in 1993 when relations, at least visible relations kept in the media and public eye, between the two groups were rather strained. Besides Eazy-E this track is also the first where Will.I.am appeared on.
They project their pride not only in their religion, but in its birthplace as well. Their video for the track “Stabbed by Steeple” where they walk through the old city of Jerusalem.
As they run through the ancient walls of the city the scenes are spliced with life in the city, running through the market (or Shuk), hanging with the locals and rummaging through the ruins. The song is interesting as it’s a vitriolic critique of Christianity’s incessant prosecution of Jews and the Jewish faith. Even more so they rip into the missionary life where they are plagued by Christians who want them to convert. It’s interesting how they cut into the visuals with Christian iconography, life strolling through the Shuk, while carrying their hip hop swagger.
They have many interesting songs, including a few more that are riddled with Jewish themes. Songs like “Father of Many Nations” address their roots, as well as the source of the Jewish faith. They don’t hold back as they attack the injustices in the world stoked by bigots, which is the main focus in their song “Stick to Your Own.” On the surface it seems odd that they would can for this type of solidarity and unity. However, the song attacks the white bigots, and they go out of their way to vocalize that the Jew is NOT the Man.
They even go after the southern mentality of the rednecks in their track “Southern Comfort.”
You should check it out because for all its fatal flaws it still holds the weight of a classic 1990’s hip hop treat. It’s nice to bob your head listening to the “Devils Get No Dap”
Just don’t serve them any pork, cause you might find yourself with no cloths on the border of the Gaza Strip, or Williamsburg, Brooklyn….which ever brings terror and dread at a faster pace.
Peace,
#Bloodof Abraham #Eazy-E #FutureProfits #NiggazandJews #
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