Fresh IE’S Hip-Hop? Compared to Others? 5
Rob “Fresh I.E.” Wilson: A Socio-analysis of Musical Self-Transformation by Aaron J. Klassen A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Sociology Carleton University Ottawa, Ontario © 2018 Aaron J. Klassen Abstract Music is a self-transformative process, practice and ethic. The co-mediation of music and the self represents an assemblage of distinct yet simultaneously occurring parts where contradictions can exist alongside their more pragmatic uses. In this dissertation, I note such an assemblage in the case of Rob “Fresh I.E.” Wilson. Rob’s case provides a striking example of musical self-transformation in that his biography follows a trajectory from abusive conditions in Winnipeg’s infamous North End during the 1970s, and a life centered around drugs and pimping in the 1990s, to its lyrical renunciation according to his newfound beliefs as he converted his hip-hop to Christianity and joined the ranks of Grammy nominees in 2003 and 2005. Yet music was not all good for Rob. Despite fame and influence, by the end of the decade, he was overwhelmed by the demands of a grueling tour schedule and the pressure to remain relevant. His rising self-doubt pushed him to suicidal ideation. And yet, despite successfully restructuring his musical practice, now independent of the music industry, Rob’s Christian-themed hip-hop still situates him between the rock of the institutional church and the hard place of having to constantly build a following. The constantly evolving nature of the contemporary Christian music industry and hip-hop’s unique conditions in Canada, combined with the church’s refusal to accept hip-hop as a legitimate mode of worship and Rob’s refusal to leave, creates a distinct set of challenges.
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