interrupting yr broadcast: invincible

interrupting yr broadcast: invincible

“Music is not a mirror to reflect reality; it’s a hammer with which we shape it”

Carving a name for yourself in the traditionally male-dominated field of hip-hop is no easy thing. The misogyny that continues to dominate the majority of its canon makes it doubly difficult for females to rise in the ranks, especially if said emcee chooses to stay fully clothed and base her artistic merit on lyrical skill alone. There are exceptions, and a whole host of amazingly talented female rappers out there, past and present, but it seems that only a handful ever really push through enough to earn both respect in the industry and lucrative careers in the mainstream. Even then their achievements are often denigrated by measuring their success against their gender – being either “good for a girl” or “just as good” as the guys. Being able to rap without addressing the question of gender at all is a feat indeed.

That’s why artists like Invincible are so crucial, both to hip-hop and to music as whole. A resident of Detroit, Michigan, Israeli-born émigré Ilana Weaver was being scouted by record companies in her teens but turned down large-figure deals in favour of creative control over her music, a dedication that earned her respect from press and peers alike. Forming her own label was further demonstration of her commitment to integrity, allowing her to release her 2008 debut ShapeShifters, a work of intense retrospection and razor-sharp eloquence that marked Invincible out as a rapper of undeniable calibre. Wears The Trousers caught up with her to talk about how’s she’s transcending gender roles by being a great emcee, rather then a great female one.

You’re based in Detroit, Michigan. Does your landscape have a direct effect on your music?

I believe Detroit is what the world has to look forward to, not only because it sets musical precedents in almost every genre. Detroit is where the auto industry began, and where it is ending. It was one of the first places in the world to be post-industrialised, and is now one of the first cities to have to come up with creative sustainable solutions to the problems facing it on such a wide scale. It inspires the majority of my music, as well as my outlook on the world.

You started your own label, EMERGENCE. How did that come about?

Over the years several labels have courted me or offered me record deals, and I turned down all of them for various reasons – whether it be lack of creative control, trying to alter my image or market me with gimmicks that didn’t align with my message, or just the simple fact that most record deals take ownership of an artist’s masters and publishing. By starting my record label and media company, EMERGENCE, and signing myself to it, I was able to self release my debut album ShapeShifters without those strings attached, as well as create a viable model for how progressive artists can sustain themselves through their art without making those type of compromises.

How long have you been rapping and what inspired you to start?

When I moved to Michigan I didn’t speak any English and hip-hop was one of the main ways I learned the language – by memorising the lyrics and looking up the words I didn’t understand in the dictionary. In elementary school my best friend and I would make up raps and tape them. Eventually, in high school, I began freestyling and taking the craft seriously, writing and recording every day, and I’ve been addicted ever since.

What have your experiences within both the music industry and the hip-hop community been like so far?

The hip-hop industry and hip-hop community are two overlapping worlds but they are also very separate. Within the industry I’ve seen a lot of shady exploitation of artists, censorship of important topics, and devaluing of quality music. Within the community I’ve experienced some amazing mutual support and development of new models and approaches for artists to innovate this art form, and through it transform themselves and the world.

With the ratio of male to female rappers, your gender makes you a minority. Do you feel this makes it harder for you to achieve recognition or do you see the “female rapper” tag as a positive thing that you are happy to be defined by and can capitalise on?

There is actually a huge movement of women in hip hop that most people are not aware of, because female artists are not valued or supported by the industry. In that sense it makes it harder to succeed in a typical fashion, but in my opinion it also creates opportunities for us to build our own outlets and be as creative with how we market and distribute as we are with how we make our music. I’m not a fan of gimmicks in general so I don’t use being a female artist as a tag – it’s more that I work for the amplification of unheard voices across the board, female voices being one of them.

What kind of music did you grow up listening to? 

My family was musical before I was born but not as much after – they were too busy working and trying to keep a roof over our head, so gave up on many of their passions. Growing up I listened to mostly hip-hop. Like I said before, it helped me learn English. I used to trade tapes with my friend who had a parent in New York and he would bring back all the newest and latest up and coming music. My best friend’s older sister dated a boy that rapped and he also would pass me tapes and put me on to new music.

Was there a central moment or event that formed your desire to become a musician or was it something that happened gradually?

There are several moments but one that stands out is when I was 16 and met my crew the ANOMOLIES on a visit to New York. It was the first time I had seen so many women emceeing together. I knew that I wanted to work with them and decided to move to New York to work with them. That was the point of no return.

Which artists or album have made/continue to have the biggest impact on you as an individual and an artist?

The Detroit area hip-hop movement has had the biggest impact on me, since I developed through it – this includes artists Finale, Waajeed, PPP, Miz Korona, Njeri Earth, Black Milk, Elzhi, Phat Kat, Slum Village, Buff 1, 14KT, AML, Illite, Boss, and of course Big Proof and Jay Dee.

Do you play an instrument?

Growing up I played guitar, saxophone, congas, drums, and dabbled in several other instruments. These days I choose to just fully focus on emceeing.

What inspires your songwriting process and what subjects do you draw on?

The main thing that inspires my process is my conversations with close friends. I often quote specific things that we have discussed, which may seem general or abstract to someone who doesn’t know me, but is actually particular to an exact moment. 

As far as influences and inspiration in general, my crew the ANOMOLIES have taught me so much and they are a constant inspiration. Several Detroit hip-hop artists inspire me, especially Finale, who I work closely with and just released his debut solo album. The Palestinian hip-hop movement is a powerful reminder of the purpose of this music – to express the stories that mainstream media rarely shows. That scene is highlighted in the film ‘Slingshot Hip-Hop’. Last but most importantly, Detroit Summer, a youth-led community organising project, and the rest of my community in Detroit are my batteries to keep doing what I do. 

Wears The Trousers supports female musicians. Have you been inspired by any female artists in particular?

Bahamadia, Roxanne Shanté, Nina Simone, Le Tigre and Jean Grae are some of my favorite artists of any gender.

Who would be your dream collaborations?

Pharoahe Monch, Wise Intelligent, Little Dragon, MIA, Björk, Meshell Ndegeocello, Herbert and Nas.

What do you hope to achieve with your music?

The goal is foremost to make good music, and innovate the art form so that people can feel it first, then if they listen closer the medicine is slipped in – the message is in there. I hope it gets people through their day, and ideally through their personal struggles and transformations as well.

 

Charlotte Richardson Andrews 
For more on Invincible, check out www.EMERGENCEmusic.net and www.myspace.com/invincilana

 

‘Ropes’ [feat. Finale]

[youtube=http://www.youtube.com/watch?v=97IpJ9OTMQQ]

Written by: Charlotte Richardson Andrews

Tags: ilana weaver, invincible

This entry was posted on Tuesday, March 31st, 2009 at 9:25 pm and is filed under feature, interrupting yr broadcast. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.