One time, he bought a $2,500 ticket for a “Salute the Commander in Chief” White House luncheon with George H.W. If Tyler, the Creator is the archetypal contemporary rap troll, he’s following Eazy. Before 50 Cent perfected the art of the anti-hero, there was the grim nihilism of Eazy-E, who turned a warning letter from the FBI into multi-platinum sales. We instinctively think of him as Darth Vader in immolating black-the helmet swapped out for a “Compton” hat with Old English script-letting every West Coast gangsta rapper know that he is their father.Įazy-E mastered the villain role a decade before DOOM first donned his mask. It’s weird to think of Eazy-E as sensitive, let alone sad or vulnerable. “It was Eazy’s vision for N.W.A.-he recruited Dre and Cube and helped make them stars, then they made up fake stories about him and abandoned him.” “Eazy wasn’t just upset, he was hurt,” remembers Kokane, the vocalist who had belted funk angel of death hooks for Ruthless since signing with them in 1991 and appears twice on *It’s On (* Dr. The conclusion found the jigging, jheri-curled caricature panhandling beside the Pasadena Freeway with a “Will Rap for Food” sign. It featured an interlude where Dre vaporized the greasy “Sleazy-E” with a semi-automatic that looked like a light saber. The extended video for The Chronic’s second single, “Fuck Wit Dre Day (And Everybody’s Celebratin’)” ran almost hourly. For most of '93, MTV operated as a de facto anti-Eazy-E propaganda network. Dre and Suge Knight’s Death Row applied this same loot-and-burn approach towards their rival’s once-dominant Ruthless Records. riots left blocks of South Central and Compton in rubble and cinders. It incited a before-and-after rupture usually only seen with civil wars, disruptive technologies, or sandaled messiahs. It had Snoop Dogg, Tha Dogg Pound, and enough raunch for Richard Pryor biters at the barbershop. Its hybrid strain of G-Funk blended an elevated musicality with a hundred years of sawed-off rage. You can’t overstate the impact of The Chronic, released the previous December. Eazy-Motherfucking-E was only competing with Dr. It was the Penthouse to 2 Live Crew’s Playboy ( “Pop That Pussy”), a siren deceiving my parents to mistake their sullen adolescent’s gangsta rap obsession for a Nick at Nite rural sitcom set in the hamlet of Hooterville.īut Eva Gabor couldn’t touch Eric Wright. incubus cackled, "spread them legs open far and wide, fuck this shit just let me put my dick inside” to the melody of the "Green Acres" theme song. I was permanently one decibel away from forced conscription into a discussion about Eazy-E’s Sex Ed: “In some pussy is the place to be/ Always fucking is the life for me.” The eight-by-eight den that doubled as my bedroom had a shutter door with no lock. But at the gruelingly virginal age of 12, in the fall of 1993, there was only the gnawing terror of my parents giving me “the talk.” The apartment was small. It probably makes more sense when rolling down Crenshaw in a 6-4 Impala with alpine speakers, lambskin condoms, and assault weapons. Dre) 187um Killa should’ve come packaged with Locs and a brown paper bag. Even the spelling is obscene: two T’s for extra titillation, menacingly trilled in Eazy-E’s rabid woodpecker chirp. It’s impossible to explain to your mom why you’re listening to a song called “Gimmie That Nutt”. The mid-90s saw the release of an incredible number of important hip-hop albums- Rolling on Dubs revisits one of these records each month, around their 20th anniversary, and retraces the past through a contemporary vantage point.
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