Straight Out of Compton (Movie Discussion)

[sleazy_j]

damn, Byron Crawford called it. According to Lonzo, "Boyz N The Hood" was made as a joke.

Lonzo pretty much said "well, Biz Markie is famous, and he's not a great rapper. Don't be surprised if this thing actually works."

[Mindbender Futurama]

damn, Byron Crawford called it. According to Lonzo, "Boyz N The Hood" was made as a joke.

Lonzo pretty much said "well, Biz Markie is famous, and he's not a great rapper. Don't be surprised if this thing actually works."

yeah I also thought the timeline was fucking wonky and didn't feel like reality. Tupac was not making "California Love" during the N.W.A.'s post-glory days but KANYESHRUG, kids today won't know shit if they aren't fed half-truths, cause they can't handle the truth



I did an interview with Jerry Heller once, and half the time all I could hear was barking pitbulls in the background

these dogs were totally giving off the sound of "I will rip the face off of anyone I don't know that comes here... yeah we're barking at YOU, Suge" :casdog:

and Jerry seemed like the type of guy that's like "real grudges never die and hell yes I'm still on guard from that beef"

rap is outta control

I don't get it ... YOU interviewed him? If yes, can we get a transcript of the entire exchange or an audio / video recording of the interview?

Don't pay him any mind. It's just another blatant mindbender lie.

fuck you, you piece of shit rapist troll assmunching maggot.

i'm so fucking sick of your pathetic conception of existence and the perpetual fact that you can't fathom so many levels of life and love that you have to think lies and fabrications are what other people express, when they are on levels of reality FAR ABOVE YOURS.

I have never told a fucking lie in my entire Philaflava life. How fucking stupid do you have to be to think that everything is a lie? Look how many god damn interviews Jerry Heller has done lately. How fucking stupid do you have to be to think that he hasn't done MORE interviews than you have ever seen documentation of, and that you just aren't aware of them all?

I wrote the Jerry Heller interview for Swagg Magazine, probably around 2007, when the magazine was owned by the Toronto businessman named Apple. It was before everything went online. I have a physical copy of it. Shit was printed, not blogged. I've been writing for hip hop publications since MY FIRST INTERVIEW IN 1998, WITH COMPANY FLOW, FOR IN DIVINE STYLE MAGAZINE.

Not everything from back in those days has been archived on the internet. And my Jerry Heller interview isn't online, because Swagg Magazine was started by one of Toronto's most notorious hustlers, and digitizing his media archive wasn't amongst the highest of his priorities.

This is why I left this pliace. I am in the wrong fucking space and time if I'm on a forum with people so pathetically snivelling, petulant, microscopically meaningful, and lecherous, that they have to spin doctor any piece of truth beyond their tiny comprehension into a web of lies and falsehoods, because they are too fucking meaningless and purposeless to imagine that any other people in the vicinity have done anything more than be a fucking hip hop maggot that contributes nothing to the culture except rape and stupidity.

Like The Source and Vibe Magazine, Swagg Magazine has gone through many owners since I left them, so the editorial staff and the content looks much different in the new Swagg Magazine stuff that is online now, and the things they covered.

This is the only copy of the version of Swagg Magazine I used to write for. And I wrote this Biggie Smalls piece that is mentioned on the cover. It was a 10 year anniversary retrospective on the Death of Biggie Smalls, and this was published in 2007.

You were probably raping boys on your hockey team when I was deep in the trenches of hip hop history, you piece of shit.

Never address my superior reality again for as long as you "live", you pathetic and disgusting little boy.



here's another cover I found, but I wasn't writing for them by the time Mike Jones was on the cover.



I've done more for hip hop history in one year than you've done in your entire fucking life, rapecar. FUCK YOURSELF FURIOUSLY AND IGNORE MY EXISTENCE. People like you are the reason that hip hop culture is dead. You have no integrity nor intelligence, and whatever measly brain capacity you have stolen, you use for nefarious and dastardly deeds, like rape and slander.

FUCK YOUR LIFE, you piece of shit. and once again:

Never address my superior reality again for as long as you "live", you pathetic and disgusting little boy.

in the immortal words of Ice-T: SOME OF THESE WIGGAS IS B!TCHES TOO. fuck outta here.



ChaMerz, someday, all my interviews will be posted. Not today though. I have to go to a sex club today.

[CarlosDelgothoes]

found it

JUDGE NOT, LEST YE BE JUDGED
by Addi Stewart

Before Shady Records and G-Unit, Swishahouse, Cash Money, No Limit, Ruff Ryders, Dungeon Family, Def Squad, Skyywalker, Roc-A-Fella, Wu-Tang, Bad Boy, and even Death Row, there was Ruthless Records. One of the most underappreciated contributors to the legacy of gangsta rap, Eric “Eazy-E” Wright was the classic Compton, California street entrepreneur and someone that was unquestionably the forefather and pioneer of much of West Coast hip-hop that exploded nationwide in the 1980s. However, Eazy-E was not alone in this. Andre “Dr. Dre” Young was one of the most innovative producers in California in the mid 80s (and to this day), and was also working with Eazy-E. But the business aspect of the music business, which catapulted Ruthless Records to the top of the charts in the days when N.W.A. music was terrifying North America, was quietly assisted with care by Jerry Heller, a music industry veteran who has worked with many of the elite rock artists in modern music history.

Many Canadian, European and American artists have worked with Jerry Heller, whose peers and former partners have industry mogul last names like Davis, Levy and Mottola. Although he may hold a negative reputation with some people today (especially if your name is Ice Cube), that is probably the fate of anybody who has made music history. You can’t please everybody. Moreover, if people don’t know the truth, they often make up their own version—a volatile mix of rumours, speculation and hearsay. Sometimes, the truth surfaces much later on in life, or even after death.

Eazy-E died on March 26, 1995, and his wife, Tomika Wright, has since taken control of Ruthless Records. Jerry Heller, after years of silence, has just released his autobiography, fittingly titled “Ruthless,” detailing his near half-century in the music business. He remembers the exact day he heard “Boyz in the Hood” for the first time, and declared, “This is the most important music I’ve heard since the beginning of rock and roll.” Jerry and Eric instantly negotiated a partnership to create Ruthless Records. From the very beginning, Jerry’s intentions were honest and forthright, once telling Eazy-E, “Your idol is Berry Gordy. Why don’t we keep it a 100% black-owned company?” Yet, as he later explained, “Everyone ended up talking shit about us anyways. It’s sort of ironic.”

Until you know all the facts, you don’t know all the truth. Here to set the record straight is the legendary Jerry Heller.

How did you meet Eazy-E and who proposed the first business plan for you two to work together?
I met Eazy-E through a friend of mine, Alonzo Williams, who was on Crew Cut Records and was the leader of the World Class Wrecking Cru with Dr. Dre and Shek’spere and Yella, and also on his label had C.I.A., which had Sir Jinx and Ice Cube. And he kept telling me about this guy Eric Wright that wanted to meet me, and I was hesitant to do it because I was very busy: I was managing Egyptian Lover, and Rodney-O and Joe Cooley, and Bobby Jimmy and the Critters, and J.J. Fad, and the L.A. Dream Team, and the World Class Wreckin’ Cru, so I was very busy at the time. But finally, he talked me into having a meeting with Eric Wright. And that was March the 3rd of 1987.

Was it that powerful of a moment? Was the connection instant like that or were there difficulties getting into business with Eazy because there was the reputation of him being more of a street entrepreneur hustler than someone who was as formally trained in the music industry as you were?
Remember, I was also a street guy. I grew up in Cleveland on the same block that Bone Thugs and Harmony grew up on. So I was basically a street guy myself, and had grown up in a very tough neighbourhood before we moved on up, as they say. Eazy wanted to meet me before I knew who he was, so he had a plan, you know. And part of that plan was having someone associated with him that had been an important trendsetter in the music business, especially the business part of the music business. But when I said to him that day, ‘Do you have something to play for me?’ You know normally the music business is a bullshit business. A lot of guys talking about who they know and who they are and ‘I got this girl’ and ‘I got this guy and this group,’ and ‘That’s my boy’ and ‘That’s my girl,’ you know, it’s all bullshit. I said to Eazy, ‘Do you have anything to play?’ And he just said, ‘Yes.’

He was past the bullshit part of the music business. Because what he was saying to me by only saying that one word was, ‘You know something, man, I’m going to let the music do my talking, and we’ll see where we go from there. And we’ll see if you’re cool enough to know what it is I’m going to be playing you.’

And you know, being a child of the 60s, I had grown up with the war in Vietnam. I had grown up with the President being basically a crook and resigning. I had grown up with the Diggers in San Francisco and the Black Panthers, and Bill Graham. I’m going to tell you a quick story. I was representing the Guess Who and they had invited me up to see them at Varsity Stadium in Toronto. I think Jon Brower was the promoter, and there was probably 60 or 70,000 people there. And every Canadian act—Crowbar, McKenna, Mainstream—I mean every old Canadian rock and roll act was there. And I was standing out on the football field because it was an outdoor show and I was invited and the Guess Who were the headliners. And when they went into “American Woman,” some guys held up this huge American flag, the biggest American flag you have ever seen. Besides some draft dodgers who were up there because it was during the Vietnam war, I was probably the only American there. And they lit it on fire, they lit the American flag on fire. And it was probably one of the heaviest moments. I can’t even re-create what that feeling was. And we go back now to Eazy-E, or Eric Wright as he called himself then. He plays me “Boyz in the Hood” and to me it was a combination of that moment of dissent at Varsity Stadium. It was the dissent of the Black Panthers. It was the poetry of the Last Poets. It was the Rolling Stones, and even though I loved the Beatles, I was always a down-and-dirty Rolling Stones kinda guy, and there we are, man. That was it. I heard “Boyz in the Hood” and it brought all those memories. So for once, being a little older, I was 45 at the time, 46 I guess, I was able to relate to the intensity and the grittyness and the truth of the music that he was playing for me.

So it was just a demo? It was before the N.W.A. and the Posse album, right?
Correct. Remember now, when you talk about a demo, we’re not talking about 96 track studios now and [The Beatles’s] Sgt. Pepper, we’re talking about a bunch of guys, a musical genre of a bunch of guys, that were making music on machines that you could make at Toys “R” Us, and most of them were doing it in their mother’s garages. You know, when we did “Straight Outta Compton,” which many people including the L.A. Times have called ‘the most important record of the second half of the 20th century,’ when we did that record, if we would have spent another thousand hours on it, we couldn’t have done it any better. It was the honesty of the music and the fact that the kids could relate to that music. So no, it wasn’t a Steely Dan record, it didn’t have the technical excellence of a Mamas and Papas record, but what it had was the honesty and grittiness of the street. So that’s what it was. And we at Ruthless build our reputation on that kind of integrity. You know, look at the records we put out—Straight Outta Compton cost twelve thousand dollars. Eazy Duz It cost eight thousand dollars. Then we put out the D.O.C. record, and we put out the Michel’le record, and then we put out Livin Like Hustlers, you know, like every record we put out was like the same kind of quality as the record that came before it because all of the best people worked on each record. And we only did one record at a time, which is something that people in the music business should really get back to today.

Word. How big was the team of people at Ruthless that were running the offices from day-to-day that were helping the artists and helping you and Eazy do the hard work?
Outside of the security personnel, we had two secretaries. We probably had six employees total. For a company that wound up doing ten million dollars a month, we had six employees. Most of what we’re talking about is maintaining the economic integrity of the music business, which is basically a win-win business because it’s the only business I’ve ever seen that when you have a hit record, everyone can get rich. Your money is directly proportional to the success of the artist and the record. So that’s the way it should be. Now we’ve gotten to a point where rap is basically where rock and roll was after Sgt. Pepper. Everything costs so much. Once again, we’ve lost the economic integrity factor of the business.

What did you first see that gave you a sign that he was seriously ill? Because people don’t talk about his passing, but it shocked me so much because it was so sudden. There was controversy surrounding his HIV infection and the fact that it literally happened in two or three months, and he had passed? It’s unheard of.
It’s unheard of, and unfortunately, I wasn’t around him during this last period, but it makes no sense to me that a guy with as much money as Eazy and as strong and healthy as he was could die that quickly. I heard Suge Knight on the Jimmy Kimmel show. Jimmy Kimmel came out wearing a bulletproof vest, and Suge Knight said, ‘Hey man, you don’t have to be wearing that vest. We don’t do it that way anymore. We just get us some bad blood and a hypodermic needle and we just Eazy-E people now.’

When did he say that?
Well you should call the Kimmel show. And it’s on http://www.easy-ecpt.com" onclick="window.open(this.href);return false;. It’s on that website, when he said that on the Kimmel show. You know, I have my own thoughts about that, and I often wonder why there was never an autopsy, but I never had any control over those things. Those were family matters that only the family has control over.

So what are your connections to the music industry today? Do you have any business ties and connections to it?
Let’s just say that I’m not as involved in it because of look, the book Ruthless, it really is a terrific book. It’s well written, it’s fun, and it’s a good book. So I immersed myself into that for 15, 16 months, and now I’m immersed into the promotion of the book, then I’m going to start the movie in January of next year, but I feel that there are some areas, and I’m thinking of going back into the music business with Irving Azoff and Pablito Vasquez . . . separate entities.

[EMCEE DARTH MALEK]

LMFAO AT THESE DUDES TESTING MB AGAIN

AGAIN

AND HERE'S THE FUCKING INTERVIEW
LOLOLOLOL

[EMCEE DARTH MALEK]

great interview btw. that burning the flag story>>>

[GUCCI CONDOMS]

found it

JUDGE NOT, LEST YE BE JUDGED
by Addi Stewart

Before Shady Records and G-Unit, Swishahouse, Cash Money, No Limit, Ruff Ryders, Dungeon Family, Def Squad, Skyywalker, Roc-A-Fella, Wu-Tang, Bad Boy, and even Death Row, there was Ruthless Records. One of the most underappreciated contributors to the legacy of gangsta rap, Eric “Eazy-E” Wright was the classic Compton, California street entrepreneur and someone that was unquestionably the forefather and pioneer of much of West Coast hip-hop that exploded nationwide in the 1980s. However, Eazy-E was not alone in this. Andre “Dr. Dre” Young was one of the most innovative producers in California in the mid 80s (and to this day), and was also working with Eazy-E. But the business aspect of the music business, which catapulted Ruthless Records to the top of the charts in the days when N.W.A. music was terrifying North America, was quietly assisted with care by Jerry Heller, a music industry veteran who has worked with many of the elite rock artists in modern music history.

Many Canadian, European and American artists have worked with Jerry Heller, whose peers and former partners have industry mogul last names like Davis, Levy and Mottola. Although he may hold a negative reputation with some people today (especially if your name is Ice Cube), that is probably the fate of anybody who has made music history. You can’t please everybody. Moreover, if people don’t know the truth, they often make up their own version—a volatile mix of rumours, speculation and hearsay. Sometimes, the truth surfaces much later on in life, or even after death.

Eazy-E died on March 26, 1995, and his wife, Tomika Wright, has since taken control of Ruthless Records. Jerry Heller, after years of silence, has just released his autobiography, fittingly titled “Ruthless,” detailing his near half-century in the music business. He remembers the exact day he heard “Boyz in the Hood” for the first time, and declared, “This is the most important music I’ve heard since the beginning of rock and roll.” Jerry and Eric instantly negotiated a partnership to create Ruthless Records. From the very beginning, Jerry’s intentions were honest and forthright, once telling Eazy-E, “Your idol is Berry Gordy. Why don’t we keep it a 100% black-owned company?” Yet, as he later explained, “Everyone ended up talking shit about us anyways. It’s sort of ironic.”

Until you know all the facts, you don’t know all the truth. Here to set the record straight is the legendary Jerry Heller.

How did you meet Eazy-E and who proposed the first business plan for you two to work together?
I met Eazy-E through a friend of mine, Alonzo Williams, who was on Crew Cut Records and was the leader of the World Class Wrecking Cru with Dr. Dre and Shek’spere and Yella, and also on his label had C.I.A., which had Sir Jinx and Ice Cube. And he kept telling me about this guy Eric Wright that wanted to meet me, and I was hesitant to do it because I was very busy: I was managing Egyptian Lover, and Rodney-O and Joe Cooley, and Bobby Jimmy and the Critters, and J.J. Fad, and the L.A. Dream Team, and the World Class Wreckin’ Cru, so I was very busy at the time. But finally, he talked me into having a meeting with Eric Wright. And that was March the 3rd of 1987.

Was it that powerful of a moment? Was the connection instant like that or were there difficulties getting into business with Eazy because there was the reputation of him being more of a street entrepreneur hustler than someone who was as formally trained in the music industry as you were?
Remember, I was also a street guy. I grew up in Cleveland on the same block that Bone Thugs and Harmony grew up on. So I was basically a street guy myself, and had grown up in a very tough neighbourhood before we moved on up, as they say. Eazy wanted to meet me before I knew who he was, so he had a plan, you know. And part of that plan was having someone associated with him that had been an important trendsetter in the music business, especially the business part of the music business. But when I said to him that day, ‘Do you have something to play for me?’ You know normally the music business is a bullshit business. A lot of guys talking about who they know and who they are and ‘I got this girl’ and ‘I got this guy and this group,’ and ‘That’s my boy’ and ‘That’s my girl,’ you know, it’s all bullshit. I said to Eazy, ‘Do you have anything to play?’ And he just said, ‘Yes.’

He was past the bullshit part of the music business. Because what he was saying to me by only saying that one word was, ‘You know something, man, I’m going to let the music do my talking, and we’ll see where we go from there. And we’ll see if you’re cool enough to know what it is I’m going to be playing you.’

And you know, being a child of the 60s, I had grown up with the war in Vietnam. I had grown up with the President being basically a crook and resigning. I had grown up with the Diggers in San Francisco and the Black Panthers, and Bill Graham. I’m going to tell you a quick story. I was representing the Guess Who and they had invited me up to see them at Varsity Stadium in Toronto. I think Jon Brower was the promoter, and there was probably 60 or 70,000 people there. And every Canadian act—Crowbar, McKenna, Mainstream—I mean every old Canadian rock and roll act was there. And I was standing out on the football field because it was an outdoor show and I was invited and the Guess Who were the headliners. And when they went into “American Woman,” some guys held up this huge American flag, the biggest American flag you have ever seen. Besides some draft dodgers who were up there because it was during the Vietnam war, I was probably the only American there. And they lit it on fire, they lit the American flag on fire. And it was probably one of the heaviest moments. I can’t even re-create what that feeling was. And we go back now to Eazy-E, or Eric Wright as he called himself then. He plays me “Boyz in the Hood” and to me it was a combination of that moment of dissent at Varsity Stadium. It was the dissent of the Black Panthers. It was the poetry of the Last Poets. It was the Rolling Stones, and even though I loved the Beatles, I was always a down-and-dirty Rolling Stones kinda guy, and there we are, man. That was it. I heard “Boyz in the Hood” and it brought all those memories. So for once, being a little older, I was 45 at the time, 46 I guess, I was able to relate to the intensity and the grittyness and the truth of the music that he was playing for me.

So it was just a demo? It was before the N.W.A. and the Posse album, right?
Correct. Remember now, when you talk about a demo, we’re not talking about 96 track studios now and [The Beatles’s] Sgt. Pepper, we’re talking about a bunch of guys, a musical genre of a bunch of guys, that were making music on machines that you could make at Toys “R” Us, and most of them were doing it in their mother’s garages. You know, when we did “Straight Outta Compton,” which many people including the L.A. Times have called ‘the most important record of the second half of the 20th century,’ when we did that record, if we would have spent another thousand hours on it, we couldn’t have done it any better. It was the honesty of the music and the fact that the kids could relate to that music. So no, it wasn’t a Steely Dan record, it didn’t have the technical excellence of a Mamas and Papas record, but what it had was the honesty and grittiness of the street. So that’s what it was. And we at Ruthless build our reputation on that kind of integrity. You know, look at the records we put out—Straight Outta Compton cost twelve thousand dollars. Eazy Duz It cost eight thousand dollars. Then we put out the D.O.C. record, and we put out the Michel’le record, and then we put out Livin Like Hustlers, you know, like every record we put out was like the same kind of quality as the record that came before it because all of the best people worked on each record. And we only did one record at a time, which is something that people in the music business should really get back to today.

Word. How big was the team of people at Ruthless that were running the offices from day-to-day that were helping the artists and helping you and Eazy do the hard work?
Outside of the security personnel, we had two secretaries. We probably had six employees total. For a company that wound up doing ten million dollars a month, we had six employees. Most of what we’re talking about is maintaining the economic integrity of the music business, which is basically a win-win business because it’s the only business I’ve ever seen that when you have a hit record, everyone can get rich. Your money is directly proportional to the success of the artist and the record. So that’s the way it should be. Now we’ve gotten to a point where rap is basically where rock and roll was after Sgt. Pepper. Everything costs so much. Once again, we’ve lost the economic integrity factor of the business.

What did you first see that gave you a sign that he was seriously ill? Because people don’t talk about his passing, but it shocked me so much because it was so sudden. There was controversy surrounding his HIV infection and the fact that it literally happened in two or three months, and he had passed? It’s unheard of.
It’s unheard of, and unfortunately, I wasn’t around him during this last period, but it makes no sense to me that a guy with as much money as Eazy and as strong and healthy as he was could die that quickly. I heard Suge Knight on the Jimmy Kimmel show. Jimmy Kimmel came out wearing a bulletproof vest, and Suge Knight said, ‘Hey man, you don’t have to be wearing that vest. We don’t do it that way anymore. We just get us some bad blood and a hypodermic needle and we just Eazy-E people now.’

When did he say that?
Well you should call the Kimmel show. And it’s on http://www.easy-ecpt.com" onclick="window.open(this.href);return false;. It’s on that website, when he said that on the Kimmel show. You know, I have my own thoughts about that, and I often wonder why there was never an autopsy, but I never had any control over those things. Those were family matters that only the family has control over.

So what are your connections to the music industry today? Do you have any business ties and connections to it?
Let’s just say that I’m not as involved in it because of look, the book Ruthless, it really is a terrific book. It’s well written, it’s fun, and it’s a good book. So I immersed myself into that for 15, 16 months, and now I’m immersed into the promotion of the book, then I’m going to start the movie in January of next year, but I feel that there are some areas, and I’m thinking of going back into the music business with Irving Azoff and Pablito Vasquez . . . separate entities.

Source?

Looks like a copy and paste job and the name of the interviewer was edited...

[Julius Seizure]

Bender - why take the bait from these clowns. You're better than that bruh.

[Mindbender Futurama]

Bender - why take the bait from these clowns. You're better than that bruh.

Thanks. You're right, I am better than that. But why did I respond sometimes? Because almost nobody here used to have my back.

I used to be alone when I would have to defend myself, my honor, my legacy, and my ACCOMPLISHED WORK around here.

Now that at least a small percentage of you guys on Phila actually respect me, or at least recognize that I'm not faking the funk, then I will not give any time or dignity to the bottom-feeders of Philaflava. I'm far beyond done trying to prove to anyone what I am. My pedigree is known to those who recognize truth and realness. Forget everyone else, because they are fucking pathetic pieces of shit.

As I said, I'm DONE giving attention to rapecar. He's the new Hayzoos to me. Dead and non-existent rookie-ass scumbag. Fuck outta here, you self-destructing maggotcock vagina-violating human colostomy bag full of lies. Grown folks are building truth.

Julius, I appreciate your maturity. CarlosDelgothoes, I HIGHLY RESPECT YOUR GAME. I haven't read that interview in years. And EMCEE DARTH MALEK, props and salutations. You're right. I'm a rap god, time to and avoid wack devils.

Carlos, posting the interview is pure

[GUCCI CONDOMS]

I'm a rap god

You're a failed obscure underground rapper that abandoned his brother when he needed him most. You being a "rap god" couldn't be further from the truth. People have fucked with you for years because of statements like that and you still haven't learned how to avoid it or take it in stride. Apparently you aren't intelligent enough to figure this out.

Also, lol at you complaining about the whole board shittin on you, but then using the same mob mentality by calling me a rapist just because a lot of other people do as well on . Hypocrite much?

[thekeentwo]

straight outta good posts

[shadowfighter]

appreciate the thought but please don't post things like this again

-mods

[Mindbender Futurama]

straight outta good posts

hi keentwothree!

did you see the NWA movie? funny how they cut off 'Express Yourself' after 4 bars of the song

"...I get straight/ meditate like a buddhist" *CHOP*

[GUCCI CONDOMS]

[sleazy_j]

that radio show. internet needs more rips of that madness.


http://www.unkut.com/2015/09/let-ren-do ... ton-movie/" onclick="window.open(this.href);return false;

http://www.unkut.com/2014/09/why-cant-i ... p-friends/" onclick="window.open(this.href);return false;

[GUCCI CONDOMS]

Lol at no one understanding what layzie bone is talking about with "trues"

[WiCkEd22]

haha That's crazy. I never knew of The Ruthless Radio Show. It was a real radio show?! What station was this on? And when? It would be dope to hear full rips of this show. How long did that show run?

[Employee]

[True Dough]

Did anyone read Robbie's interview with PT Capone over at Unkut
It mentions the Mob Style beef with NWA
Good read

[Employee]

Published on Sep 18, 2015

FROM MARTY THOMAS, DIRECTOR: "This is a version of Real Muthaphuckkin G's Eazy and I started to put together in 1994 but we never got to finish. It was Eazy’s wish that this version go out after the softer MTV version had its run but then he got sick - RIP Eric - and there was no corporate funding anymore to finish the cut. After seeing Straight Outta Compton I realized just how much I missed my friend Eazy -how we all miss Eazy -so I finished this version at my own expense and I’m sure he's watching as this version finally get's out there, especially now, in his own voice, not an actor's. - REAL peace, Marty Thomas"

[Tweak Da Leak]

A ru shed a tear.

[EMCEE DARTH MALEK]

^^haven't seen the OG video in a while but i like it better. the "left blow" was more convincing

[GUCCI CONDOMS]

Published on Sep 18, 2015

FROM MARTY THOMAS, DIRECTOR: "This is a version of Real Muthaphuckkin G's Eazy and I started to put together in 1994 but we never got to finish. It was Eazy’s wish that this version go out after the softer MTV version had its run but then he got sick - RIP Eric - and there was no corporate funding anymore to finish the cut. After seeing Straight Outta Compton I realized just how much I missed my friend Eazy -how we all miss Eazy -so I finished this version at my own expense and I’m sure he's watching as this version finally get's out there, especially now, in his own voice, not an actor's. - REAL peace, Marty Thomas"

Nice find, I surprisingly like the original video better tho.

[GUCCI CONDOMS]

A ru shed a tear.

Eazy repped nutty blocc hard, a ru cosigning that?

[Employee]

Published on Sep 18, 2015

FROM MARTY THOMAS, DIRECTOR: "This is a version of Real Muthaphuckkin G's Eazy and I started to put together in 1994 but we never got to finish. It was Eazy’s wish that this version go out after the softer MTV version had its run but then he got sick - RIP Eric - and there was no corporate funding anymore to finish the cut. After seeing Straight Outta Compton I realized just how much I missed my friend Eazy -how we all miss Eazy -so I finished this version at my own expense and I’m sure he's watching as this version finally get's out there, especially now, in his own voice, not an actor's. - REAL peace, Marty Thomas"

Nice find, I surprisingly like the original video better tho.

Suck my dick and then get off it.

[Employee]

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"HE WAS TELLING A DIFFERENT TYPE OF TRUTH:" KENDRICK LAMAR PAYS TRIBUTE TO EAZY-E

I remember when I was five or six years old, waking up one morning and seeing this guy bust through the TV screen, rapping over some song called "We Want Eazy" -- I think the concept of the video was that he was actually in jail and he had to get to his show and the only way to get to his concert was to film him from jail, and he eventually busted through the jail and came onstage. I remember looking at that video and just feeling like, "Man, this dude feels like an action superhero." Little did I know, Eazy-E came from my same neighborhood in Compton.

My pops would play N.W.A. records all day, every day; my uncles would play it. My older cousins would play it. And I would go outside and see the same imagery in my reality as the things they were talking about on the record. From the way these guys talked to the way they carried themselves to the type of activities that they were involved in, the whole thing was a real life introspective report from the ghetto. Looking at them and sitting inside my community, it left a big toll on me because it always let me know that no matter how far I go, I gotta stay in reach of the people and what's going on in the neighborhood, whether it's a harsh reality or not.

What made Eazy special was that he was telling a different type of truth, a truth that wasn't heard in music yet. Before them, rap was fun -- you had your battles and whatnot, but this time around, when it came to what Eazy wanted to do, being a visionary, he had the idea of speaking the honest truth, and I think it really resonated with a lot of people because it was the shock value of, "Okay, these guys are really standing out and focused on telling their reality, no matter how pissed off you get by it." And it got interest from people. People actually wanted to hear it and wanted to know what was going on.

But as a kid, I really couldn't grasp the idea that the world knew about what we're going through in my neighborhood. I didn't get that idea until my debut album, good kid, m.A.A.d city, came out and that's when I truly understood how N.W.A. felt, coming from this small neighborhood but going all the way around the world and seeing these people singing these words lyric-for-lyric and understanding the trials and tribulations that are going on in the community. I understand how they feel now. It's an inspiring thing. Once I got the idea that people are actually listening, it made me want to continue making music more.

Somebody told me this early on: "You're nothing without your own backyard." Period. If my backyard -- and my backyard being my city and my county -- doesn't believe me, then no one else will. I always remember that. I always kept that in the back of my mind and I think that's exactly what N.W.A. did, and that's why they said they want to make music for the community first, because to have that home love is like nothing else. You can go all the way across the world 10 times but when you come back to your city and see the pride and joy in these kids' faces, it's the ultimate feeling. I think that's exactly what they were thinking and it's exactly how I think today.

I wouldn't be here today if it wasn't for Eazy and I wouldn't be able to say the things that I say, talk about my community the way I talk about it, for good or for bad. He's 100% influenced me in terms of really being not only honest with myself, but honest about where I come from and being proud of where I come from.

And it's not just me. Artists today wouldn't be able to talk about the things they talk about if it wasn't for Eazy-E and if it wasn't for gangsta rap. Period. You don't even have to be a gangsta rapper, but the fact that you can be able to talk about your community and some of its harsh realities, that comes from none other than Eazy-E, period. Period.

Because before then, everything was pop. People were scared to talk about these kinds of tough situations, but because he and the group took it upon themselves to talk about [these things], every artist is able to and they owe it to him. He's not only the birth of gangsta rap, but he's the birth of a whole legacy of being able to say what you want to say on a record and not being in fear of what others may think and not offending your own art and your own reflection. He'll always live forever, not only 50 years from now but a thousand years from now. His name will always be in people's hearts because he gave people the opportunity and the voice to say what they want and how they feel.

[Tweak Da Leak]

A ru shed a tear.

Eazy repped nutty blocc hard, a ru cosigning that?

Them Kelly Park Crips is still mad Eazy died.

[LONDON]

finally got too see this movie a couple of weeks ago, but yeah, the movie was deep; i respect nwa's gangsta when it comes to dealing wit police; they didn't give a fuck, django, rebel, renegade & too spray that kinda content at that period of time when most artists other than schooly d, just ice & ice t; were mostly spraying bragadocious type of bars was revolutionary, especially as eazy e & mc ren were the only gangsta's in the click; nwa were some pioneering real niggas, for real

what cracked man up though; had me in stitches, is when cube rolls through to the flashy restaurant & eazy & heller are munching on lobster & shrimp & cubes' got a hamburger in his hand & hellers' trying too convince him its all good & the look on cubes' face, jheeze, ha ha, crazy shit

movie was fire; its definetly a better movie than notorious, anyways, big up nwa; rip to eazy e & i'm gone

[Spartan]

Film was a mess, but I still had a good time watching it though.

[Employee]

[CarlosDelgothoes]

finally got around to this.

it was fun, and some of the scenes are shot really, really well, but anyone with even a cursory knowledge of NWA/Death Row knows how laughable some of the shit was.

the idea of Dre cussing out Suge Knight in front of a room full of Bloods and then knocking two of them out is

The mix of fan service and revisionist history is cringe. They absolutely did not deserve that Oscar nod for writing, it was probably the weakest part of the whole film. Jason Mitchell as Eazy was pretty good though.