Showing posts with label Tristan "Tanjint the Wiggy Woo" Acker. Show all posts
Showing posts with label Tristan "Tanjint the Wiggy Woo" Acker. Show all posts

Friday, February 7, 2020

15 VINYLS UNDER $30 TO BUY YOUR HONEY FOR VALENTINE'S DAY AT SERIOUS CARTOONS RECORDS AND TAPES


Yo, if you are not familiar with San Bernardino's sole record shop, get familiar. I've compiled here stuff I saw in the store THIS week that you can and should cop for your significant other for Valentine's Day before they get snatched up.









    They have multiple copies of this? Your girlfriend likes Stevie Nicks and Fleetwood Mac, trust me. Get this now.








       Aight it might be over 30 but somebody's bae wants this Rob Zombie vinyl.                                

You're welcome!


Tristan "Tanjint Wiggy" Acker is a staff writer for Zus Entertainment, a Jooseboxx and Untapped Hip-Hop contributor, and member of the Inland Empire, California based nerdcore hip-hop group the West Coast Avengers

Sunday, September 8, 2019

Shots Fired: The under-discussed classism of dismissing California’s Inland Empire


It’s hypocritical to yap about Reagan all the time and then leave poverty out of your analysis of the I.E.


It’s wild how we love to give rappers passes for stuff we don’t give anyone else passes for.
Jokes about how ghetto the Inland Empire and San Bernardino are about class, about making fun of
people who struggle economically, don’t have pristine environments and struggle with poverty.


To take the semantic stance of “oh he didn’t say the I.E was bad just that he was glad that he wasn’t
raised there” is to work very hard to ignore the class implications of dismissing California’s Inland
Empire a region that includes Temecula, Victorvile, Corona, San Bernardino, Muscoy, Redlands,
Riverside, Fontana, Ontario, Rialto, Highland, Colton, Grand Terrace, Hesperia, Lake Arrowhead, Lake
Perris, Crestline, Upland, Cucamonga, Bloomington, Alta Loma, Etiwanda and more. 

photo of gathering at Serious Cartoons Records & Tapes in San Bernardino, CA; submitted by Noa James


As the word “ghetto” finally fades into tackiness, people look for other ways to make fun of people that
are poorer than them and for some Southern California residents, “San Bernardino” or something like it
are shorthand for that. This is why it’s important to educate people about social justice, socioeconomics
and numbers more broadly: it’s not like it’s a city of people who decide to be poor or “ghetto” or “dirty” or
“shady” or whatever: statistically over ⅓ of the population of San Bernardino is actually literally living in
fucking poverty. Half of the city is receiving government aid of some kind. People who run cities and
municipalities have to look at a region’s “taxbase” in other words, who is paying the taxes to fund a
government and a society: when half of your people are on government aid and ⅓ in actual life or death
struggle with real poverty then you have a very small taxbase to fund services and make things better
with. This isn’t hard to understand. But some people still want to joke about Sanbernaghetto like a bunch
of people just decided to make a shitty city.


There’s a lot to factor in: a city slow to take advantage of the potent cannabis economy, going through
bankruptcy, high rates of violent crime. In the last 35 years the Inland Empire has lost jobs at Kaiser
Steel in Fontana as well as military-base shutdowns in Moreno Valley and San Bernardino and these
are cited as the biggest factors in discussing the last few decades’ poor economic performance for the
region. During the recession we were hit particularly hard and were slower to recover. Countless people
lost their homes in Fontana, Upland and Cucamonga around 2008 and left to cheaper Bernardino,
Moreno Valley and Rialto in the decade since. 

Dark city?


That’s something I don’t get: American media is so obsessed with both the stories of races co-existing
and post-industrial towns economic situations. The Inland Empire is all of that and more than most
places but still it is dismissed as dismissible, forgettable, “ghetto”, meth-ridden. It’s almost as if lots of
activists, media figures, corporations and more that say they care about minorities and quality of life for
the unfortunate do not actually care.


Ta-Nehisi Coates, who wrote the famous Atlantic Case for Reparations article in 2014, talks a lot
about how the dominant American narrative has always indoctrinated us to think that people of color
invite their challenging circumstances with particular short-comings in work-ethic, “family values”,
“strong male role models” etc. but all studies show that when you factor in structural barriers to normal
healthy economic and family life installed into the superstructure of our society by centuries of white
supremacy and imperialism, black and brown people are not intrinsically less likely to work or be there
for their kids or have good values etc. So to bash areas like the Inland Empire full of impoverished
brown people working their asses off is to victim-blame. When rappers like Tyler or Jay Z or whoever
dismiss poor people and poor areas firstly it’s not a coincidence that that is the area that they chose to
bash and secondly, it’s part of the same right-wing white supremacist ideology espoused by the old
white guys pictured with Reagan people are always meming about, the same philosophy that birthed
Trumpism, the post-Paul parts of the Tea Party movement. 


This is not to say any rapper that says shit like this is a war criminal in the class struggle but rather
just to say be aware of this train of thought’s origins and context. Realize when framing is causing you
to elide class in your analysis of something.


                                               THOPFest Ontario, CA photo by J. Sevilla


What does all this have to do with hip-hop?


Personally it doesn’t bother me that much that bigg-ish rappers say stuff like this from time to time.
I’m even starting to like it because it helps me find other social media accounts of people that live in the
I.E. but what does bother me when I see people co-signing the bashing of the Inland Empire because it
reminds me of how ingrained into us hatred of the poor is by American culture. It’s one thing to say it’s hot
or to complain about the struggle but I disagree with comments about the area or its people being
intrinsically uncool or whack and I object to comments about “it’s bad for creatives/we don’t support
creatives”.


Imagine going to the home of a family that is hungry and criticizing them for pirating music online or not
having nice enough art on their walls. That’s what it is to say the I.E. doesn’t support its creatives: yeah
Mo Val, San Bernardino, and many more have major economic issues, why wouldn’t support for the arts
be part of that context? That’d be like a city being on fire and you kept complaining about this one random
part of the city that’s on fire as if the rest of the city wasn’t on fire.


Anyway yes: there is less city by city support in terms of dollars for the arts in the I.E. than in an area like
Long Beach that is both more affluent and staffed by city leaders that prioritize a more progressive vision
of culture and the arts. Because so many people are struggling economically, it’s harder for artists to
make a living off of solely a regional customer base. Harder but not impossible granted. But in terms of
the people? In terms of the talent? 


It’s just wrong to say there’s not opportunities. I’m from San Bernardino and the proximity to San Diego
and Los Angeles and my own diverse area has allowed me to achieve a healthy amount of my artistic
goals and has since given me as much of a platform or shot as I could ask for to try to tackle the rest from.
If someone wants to show me how per capita (controlling for population) compared to x, y or z region
there’s less opportunity, given the economic context I’d be very open to such an argument but to say
there is no opportunity and that “people don’t support each other” is factually incorrect.

photo credit: China Tokyo Japan, submitted by David Dee


Given the economic challenges of the Inland Empire, people should be amazed at what HAS been built: the Common Ground, a massive legacy continues, THOPFest, Punch Line Kings battle league, a cannabis friendly record store venue in Serious Cartoons and way more….this is just the stuff that’s still happening right now. 


Stop twisting it in your head to something that it’s not: the I.E. is a region with talent like many others
and it’s also a region with massive swaths of impoverished people. These are two distinct categories
but these identities intertwine, so when people try to dismiss and then people try to say you’re crazy
because you’re feeling a certain way about it just remember your correct feeling of there being something
wrong about such dismissals is you knowing deep down that this is all part of the only argument that ever
really mattered: the one about valuing all humans regardless. 


Stop twisting it in your head to something that it’s not: when they dismiss the I.E. they are spitting on what
they perceive as lower-class people. Class struggle is real and social media and the internet allow people
to tell on themselves about whose side they are on; we’re not haters for keeping note on when people
reveal themselves.


Tristan "Tanjint Wiggy" Acker is a staff writer for Zus Entertainment, a Jooseboxx and
Untapped Hip-Hop contributor, and member of the Inland Empire, California based
nerdcore hip-hop group the West Coast Avengers 

Tuesday, August 6, 2019

The Politics of Bandana by Freddie Gibbs & Madlib

Freddie Gibbs and Madlib’s new Bandana, the sequel to the already legendary Piñata is remarkable in a lot of ways but one is the depth of political commentary in Gibbs’ stories, in comparison to the first record in the series. In songs like “Flat Tummy Tea” and “Situations” he refers to Jeff Sessions, Obama, Bush and more that have been involved in lawmaking that affected him or the characters he raps about.


In “Flat Tummy Tea” he says
Obama can't make the law retroactive, what the fuck
happened?
Congress cock-blockin' niggas from comin' home to they family
If you lucky, when he left out of office
You got a pardon, overtime cut

This makes me think…Gibbs probably would not agree with young leftists that say there is no difference between the two major political parties or even given actors within the parties: here he is describing a situation where the small difference between two possible versions of a law meant the difference between the protagonist getting out of incarceration or staying. The Obama administration was always pushing for more reforms than the Republican congress would cooperate in delivering and here Gibbs explains point blank how that affected him. Per Genius.com, Gibbs says he was locked up when he wrote this so I suspect this stuff somewhat applied to his situation.
On “Situations” he says
Motherfuck Jeff Sessions, I'm sellin' dope with a
weapon
Only union some of me and my niggas got is the Western
I'm they favorite rapper when niggas fucked up and they stressin'
Lot of niggas feel like I got my bucks up and I left 'em
Tell them pussy niggas come get the fuck up on my level, yeah
This how it feel to wake up and you don't owe nobody shit
Not an explanation, not no conversation, Drug Administration, suck a nigga dick

Again, he isn’t just saying “fuck all the politicians…” despite references in his songs to having been arrested on the day Obama was elected. He is saying fuck these Republicans- almost as if he knows the right-wing administrations tend to seek harsher penalties and set up the more draconian frameworks in the first place.

The specificity of the bind the protagonist in Bandana finds himself in is one of its innovations in relation to Piñata; a friend of mine, notorious tweeter Wavy Jones said he thinks Bandana is more of a Gibbs record whereas Piñata felt like more of a collaboration. The depth of the story telling in Bandana backs this I think, it’s like Gibbs is letting us, the listener, in more and learning about some real shit. Worth paying attention to, I think.
Tristan "Tanjint Wiggy" Acker is a staff writer for Zus Entertainment, a Jooseboxx and Untapped Hip-Hop contributor, and member of the Inland Empire nerdcore hip-hop group the West Coast Avengers

Sunday, June 23, 2019

THOPFest 2019- Tanjint Wiggy Woo Interview




JooseBoxx.com caught up with the Guardian of the I.E. and JooseBoxx.com contributor Tanjint Wiggy Woo, at this year's The Happiness of Pursuit Festival in Ontario California. We also get a bonus of having the one and only CalmFixUp too! Check it out! 

Wednesday, June 5, 2019

Tolkienesque Triumphs of Greenery with Noa James & Nuglife



     “I’m drama freeee (yeah)  I’m lovin’ meee (yeah ) / be a queen / BE A KING / SPREAD YOUR WIIINGS”
              
It was a chill mood when I walked into Serious Cartoons Records & Tapes to the smell of tacos and kiefy pre-roll for the Noa James / Nuglife listening party. Lesa J was there as ever being brilliant and facilitating new people meeting. Phantom Thrett had been so kind as to open his doors and cook while everyone soaked in the new album. I’ve only met Nuglife a couple times but he’s a really bright soul and fun to kick it with. It’s wild how Noa is always talking about something substantial with whoever is posted with him on a couch – the more I speak with him and hear his work the more it’s clear to me that this is a man very aware of the preciousness of time.
          Their new album, The Majestic Travels of Orcamane and OGie, is a spiritual sequel to The Adventures of Young Orca, an IE classic that is now unbelievably over a decade old. It fits too – it’s chill, stony, melodic, positive and seeking of common ground between souls and artists. The intro’s synth sirens remind one of whale calls- Nuglife understand the James paradigm. Noa’s voice has been evolving from his grizzly bear growl of his early career to a more zen rap crooner of the 2020s and the album’s intro “Orcamane” is a great example of where his voice stylings are now and how subtle and thorough Nuglife's synergy with him is. Noa listened graciously as I shared my critiques and faves – I loved the Mescal and Cam Archer songs, the harder stuff near the end was less my thing but still really catchy and James is undeniably good at it. Berserk and Juggernaut continue the chronicling of Noa’s ever gradually increasing descent into the world of nerdcore while providing a positive space to crack concrete in. Noa’s ability to toggle between experimentation and musically chill comfort food is priceless and the triumph of control over one's demons and the emanating of positivity and generosity is an epic triumph. I've been listening back to James' older works and on each album he balances the beautiful and the darkness -in this album the heroes have returned to the shire in peace and success. Odyssean even.
                                                      “I just wanna roll up/ just wanna po’ up”

      Nuglife’s beat tape The Beat Dispensary is more of a compilation than a beat tape and it feels like a great immediate follow-up to Majestic Travels  - chill thick beats with lots of So Cal all-stars from the BrickToYaFace and EOTR Networks and beyond. A longer record with lots of Noa throughout, it’s a wonderful stony companion-piece to majestic travels. The Noa pieces are like motivational mantras that reflect the comfortable synergy the two have developed. The theme playing off the “dispensary” setting is fun and funny from the Rasta Doorman intro the songs that continue to play on the concept like “The Love Dispensary”. EOTR members Zzay and Don't Sleep are standouts on a collection of stellar and effective collaborations. When you consider his elegant and lush EP with Zzay in addition to these works it’s wild to think how much this cat Nuglife has done before hitting age 25 – he was one to look out for, now he’s one to listen to. 
Tristan "Tanjint Wiggy" Acker is staff writer for JooseBoxx, a youth hip-hop and poetry tutor, and member of the Inland Empire nerdcore hip-hop group the West Coast Avengers. Catch more of their work at westcoastavengers.com, follow Tristan on Twitter @Tanjint or e-mail him at tristanacker@gmail.com

Tuesday, May 21, 2019

Jooseboxx THOPFest coverage kickoff w/ Tanjint Wiggy


                   Tanjint Wiggy talks about his experiences at THOPFest 2019

         To give context to my THOPfest experience we’ll have to go back to 2014 when I discovered Pppaccee & The Herbalistics’ Inland Empire area Sunny Days & Vibes showcase. 60 East was just one of the many names I had seen big on the flyers. Later that same year when I started writing for Jooseboxx and starting to bug those very names I would see on those flyers for interviews and article write-ups, I noticed 60 East, named for one of the Inland Empire’s most frequently used freeways, was not someone I would just run into in the I.E. the way I would with MC Lyfe, Epyk, Wonders Trillions, Greaseball, Hephty, Calligraphy, Mando the DJ, Os One, Vision and others. I eventually heard word that he was in Europe, touring and grinding. Over time I heard his music and wrote about it here and had tried to keep my ear to the ground for his next moves ever since.


     So I shouldn’t have been surprised when just a few years later his Happiness of Pursuit Festival event was announced with flyers announcing dope hip-hop acts from all over the country playing in the Inland Empire. Fast forward 3 years later and fresh off of losing a second consecutive “Who Got Next?” Showcase626 to P the Emcee and Cam Archer, I see a THOPFest Launch Party competition flyer. I hesitated for a moment, ‘do I want the IE’s dopest + co. to see me lose two contests in a row?’ but ultimately I was hungry for a win so I threw down the bill to enter and was stoked for the chance to finally meet Mr. East in person.  

        The contest was at Firewater Bar in Ontario off of Holt which I was told was where the festival itself would ALSO be. I had to do a double-take – this was a standard sized bar with a big parking lot in Ontario but I was being told they convert the lot into the fest! After I won the contest (peep my Instagram for the highlights) I saw some social media sniping from some cats not from the area who lost the contest saying the festival was a fraud for being at a normal bar but I thought the exact opposite: in the wake of the Vibe in Riverside closing, many have tried especially Lesa J, Noa James (of BTYF), Giliead 7 and Phantom Thrett (of Serious Cartoons), to keep events cracking in the I.E. and 60 East was doing a great good along with his team in trying to make a full on event happen at an easy to access spot in the Inland Empire. To build something like this from the ground-up can be rewarding but also a thankless job along the way and once I grasped what the event really was I was very proud to have just won myself a slot at it.




       So when I pulled up to Holt Street about 61 minutes before my scheduled set time it was packed and the speakers from Firewater Cantina echoed down the boulevard. I walked in and it was already cracking – graffiti artists on multiple walls, hot fry vendors and young Latinas selling tall boys, various stages, Cam Archer and Big Rob running up to me making sure I knew my set-time…  


         The red carpet and press gamut afterwards was fun, the food trucks were legit. I'd walk into the bar itself and see Rawz DJing, or 2mex, Noa James, D'zyl 5k1 and other luminaries holding court, running panels.  It was the best long day of hip-hop I’ve had in forever. Fresh State was there, Showcase626, EOTR Network showed up Mid-day, and everyone was blazin’, drinkin’, grubbin’, socializing. It usually takes several days over several cities to see all those friends so to consolidate all the folks in one place for a day was amazing. EOTR, 18Scales, Nemy, Thascool and Rane Raps were some standout sets from the earlier part of the day. Cam Archer’s freestyles while hosting were dope. Noa James and Cookbook’s banter was hilarious. Vel, Gavlyn and Sa-Roc were probably my favorite sets of the night due to their tight balance of originality and execution. 60 East’s set was fun as hell as he busted out Thai sticks, Self-Provoked and Elzhi. I left before Sick Jacken took the stage (I was there since like noon foos!) but I saw the Griselda crew rock a bit and that was great stuff- they seemed genuinely surprised at how much love and dedicated fandom they had in the I.E. My recap doesn’t do justice as to how massive of a day this was but suffice to say, 60 East has built a young but solid institution with this festival, it was as legit as any event I’ve attended and easier to blaze at than most to boot. I truly look forward to being involved next year. Peep Jooseboxx in the coming weeks as King Dice and the team roll out video interview coverage and more!
Tristan "Tanjint Wiggy" Acker is staff writer for JooseBoxx, a youth hip-hop and poetry tutor, and member of the Inland Empire nerdcore hip-hop group the West Coast Avengers. Catch more of their work at westcoastavengers.com, follow Tristan on Twitter @Tanjint or e-mail him at tristanacker@gmail.com