Author Topic: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*  (Read 17925 times)

Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #180 on: August 20, 2008, 04:30:52 AM »
“I’ma put my money where my mouth is,” says rapper Ice Cube of his decision to make his own Lench Mob Record his only recording home. While other rappers take the idea of independence only as far as some lip service or a stray mixtape, Ice Cube went all out. After years as a major label artist, Cube dropped his 2006 album Laugh Now, Cry Later, which went on to become the highest selling indie rap album of the year.

Not a bad look for O’Shea Jackson. But it shouldn’t be surprising considering his success in Hollywood’s shark infested waters and, of course, his run with those N bombs wit’ attitude. Cube is set to hit the screen again on August 22nd with the feel good football flick The Longshots, but not before dropping his eighth solo album, Raw Footage on August 19th. With rugged beats, gangsta bravado all held together with candid barbs of social commentary, the album is vintage Cube. But then again, Cube has never been one too stray too far from his gangsta rap pedigree. Read and watch for yourself. You’re always working working working, can you give us an idea of what you’ve been up to the last six months?
Ice Cube: We can go back even further. The start of the year we did a movie called The Longshots that will be out August 22. I was working on the album before we started the movie; like December [2007] a little over eight months, I started working on the album. Then I did the movie, after the movie I had to come back and finish the album. Then after I finished the album we did another movie with Mike Epps called Janky Promoters.
Soon as I finished that we went through Europe for 18 days. Played all through Europe then came back here for six days and jumped on the road again. Here I am, we tour til September 21st, keep it moving. How’s the reception been in Europe?
Ice Cube: Man they love it. They been waiting for me for a long time over there. The response was big, everything was selling out, people want me back so hopefully we’ll be back soon. You’re a Hip-Hop icon and a certified movie star, when do you find time to relax?
Ice Cube: Ya know, I get time, to relax. I usually take off three, four weeks at a time and just kick it and spend it with the fam. It look like I’m doing a hundred things but I make sure that I carve in my family time and all that, so it’s really not an issue. Was there a spark or incident that made you say, Ok, I’m going to start Raw Footage now?
Ice Cube: I knew I was going to do Raw Footage after Laugh Now, Cry Later. Laugh Now, Cry Later was more of an introduction back into the game, making sure people was aware that I could still do it. So it’s more of a record just to introduce me back into the Hip-Hop game and get people comfortable. Now since people are really open, it’s time to do a record like this, Raw Footage, to really get people back to where we were when I first started. In hindsight it was a great move because you did it independently, but running up to that point was there any hesitation?
Ice Cube: When I decided to go that route man I just went full speed. I just felt like win, lose or draw, I’ma put my money where my mouth is.  I’ma promote my record how I feel in my heart and whatever is the outcome is the outcome. With help from people like Tony Draper, Robert Red, Michael Pauly over at the Firm, Jeff Quinance, Tracy at 5WPR, that’s the team basically. Lench Mob Records really, that’s how we do.

We all sit down, we decide what we need to do and we push it. And I love it that way. Records sales really not concerned to me as much as doing it my way. And doing the kind of records I want to do. Without some A&R dude trying to tell me to go find T-Pain and get you a voice box. Ya know, all this stupid stuff that they do that mess up a lot of records, mess up a lot of artists. People think artists fall off but sometime their record company is responsible for a lot of that because they keep pushing them, more and more pop, pushing them, more and more pop. Did you get a lot of that too, despite your track record?
Ice Cube: Oh yeah, whenever you give a record to the radio team, here they come with something to say about the record instead of pushing the record. They start whispering to the A&R guys, the A&R guys start whispering to the president of the label, the president of the label, you know, want me to get T-Pain [laughing], that’s just how it go down. They always want somebody else hit. Try to do something like somebody else hit. I got sick of it, I was burnt out on it. And now I’m rejuvenated because I ain’t go to go through that anymore. Raw Footage is definitely you with the social commentary and the gangsta s**t, why drop this record now?
Ice Cube: I just think people been looking for social and political commentary in music for a longtime. Especially the real heads. Especially the ones in my bracket; around my age or even younger or older a little bit. We don’t want…dance raps is not going to do it for us. We need raps that’s real, raps that not talking about just the rapper but talking about that community and what’s going on. I just felt like people hungered for it.
In ‘93 this kind of rap was pushed to the back for more of the escapism, hanging in the club, drank, get your smoke on, cars, women. And now people know you can’t escape from your problems. People want to hear some solutions, or even damn just some suggestions. Anything to help them sidestep some of the pitfalls that’s out here. Can you talk about the creation of one of the album most powerful songs, “Why Me?”?
Ice Cube: I got the music first from Hallway Productions. I liked the music but I didn’t know what I was going to put on top of it. It’s a little more musical that I’m used to. My stuff is more beat heavy. I was sitting with it for a long time and then a homie I know got killed named Snag and it triggered something in me to write about it man; to write about all this violence, from the point of view of a victim. What if a victim could come back and talk to his shooter, what would he say? What would he say if he could talk to the man that killed you. Especially when it’s random.

It is one of the most powerful records that I’ve done in my whole career.  I put it up there with “Dead Homiez” which I did back on the Kill at Will EP back in the 90’s. I put it up there with that, one of the best records I’ve ever done. You got The Game on “Get Used To It” and there have been rumors that he’s going to join Westside Connection, is there any truth to that?
Ice Cube: Maybe [smiles]. Maybe. What’s the current situation with Westside Connection and Mack 10?
Ice Cube: Well me and Mack 10 we fell out, man, about five years ago. We just went our separate way. It ain’t no beef, it ain’t no animosity, it ain’t nothing like that. We just decided, Yo we can’t work together. I’m cool with that. I’m pretty sure he cool with that. That is what it is? As far as the fact that you have your rap image but you always having the ability to do your family friendly images, has that ever formed a conflict like, Should Cube be in this film?
Ice Cube: I don’t know. If those conversations happen, they don’t happen in my presence. I’m not really concerned about that. The people who have to wrap they minds around the fact that I do all kind of movies, just that these movies but, the people that have to wrap they heads around it is the people that have been fans from day one of the music. But everybody else can accept.

I look at it like this man, Hip-Hop is real life to me. Acting is just pretend. Movies is fake, it’s a character, it’s no way to me that you marry the two. Cause if I do a serial killer movie that don’t mean I’m a serial killer now. If I do a family friendly movie that don’t mean I done calmed down to the point I don’t know how to do hardcore Hip-Hop. To me it’s just a job, it’s fun to work on them kind of movies. I know a lot of people go to the movies to escape and that’s exactly what those movies are for, it’s an escape [from] reality. What’s your take on the Rick Ross situation?
Ice Cube: I ain’t got no take on it. It is what it is. Whether it’s him or not, he can rhyme. Anybody that’s from neighborhoods where we come from, got a story to tell. So everybody, “Keep it hood, I’m more ghetto than this one, I’m more blacker that one,” it’s bullshit. Anybody that come from the areas we come from got a story to tell. His credibility to me is intact. Your Ice Cube and anytime there is a top five list of greatest rappers, your name inevitable comes up. What does that mean to you?
Ice Cube: It’s like being put in the Hall of Fame. It’s something that you dream of, to be in that echelon, but you don’t know if you ever going to get there. You just keep working hard, you keep rhyming. If they put me there then I’ll feel like I’ve achieved everything I wanted to achieve in Hip-Hop; being considered one of the best. Ya know, I can kinda relax and keep it moving. I’ma keep doing what I’m doing.

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Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #181 on: August 26, 2008, 08:45:58 AM »
Dr. Dre & Eazy-E's Pool Party taken from the Niggaz4Life Home video. Censored Version
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If video loads slow, press the pause button and wait 1 -2 minutes for it to fully load and press the play button again

Niggaz4Life Home video

Genre: Nature
Movie Type: Biography, Vocal Music
Themes: Musician's Life
Director: Mark Gerard
Release Year: 1992
Country: US
Run Time: 60 minutes

One would be hard pressed to name a rap group who courted controversy more openly (and with greater success) than N.W.A.
From the open challenge of their name to their confrontational lyrics and the incendiary impact of their best-known song,
"F--- the Police," N.W.A. pulled no punches and made no apologies.
N.W.A.: The Only Home Video is an hour-long look at life with N.W.A.,
originally released right after their final album, Efil4zaggin, which features uncensored versions of three of the group's music videos,
"Appetite for Destruction," "Alwayz Into Somethin'," and "Approach to Danger." In addition,
this video features exclusive interviews with the members of the group,
footage of N.W.A. performing live on-stage, and an uncensored look at the
definitive gangsta rappers enjoying themselves at uninhibited pajama parties and pool parties. ~ Mark Deming, All Movie Guide

Mark Gerard - Director; Eric "Easy-E" Wright - Executive Producer

Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #182 on: August 26, 2008, 11:59:08 PM »
BOX remembering Eazy-E;
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Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #183 on: August 29, 2008, 05:14:25 AM »
***NEW Arabian Prince interview (talks about n.w.a.,stones throw,djing....)***
Longtime fans of Hip Hop embraced Fergie's "Fergalicious" not because of Stacy's rhyming abilities, but because the 2006 hit was an almost textbook recreation of Ruthless Records' first hit single, J.J. Fad's "Supersonic."

The man who concocted that track, and benefited greatly from Fergie royalties, is Arabian Prince. A pioneer of the Los Angeles that would go on to yield Ice-T, Toddy Tee and a group that Prince helped found - N.W.A. Having appeared on the first group album with Dre, Cube and Eazy alone, Arabian Prince's Electro-Funk endured in the party culture that happened against the backdrop of street politics. Releasing records since 1984, this Compton-born, Inglewood-raised legend hasn't stopped since.
Stones Throw Records and Peanut Butter Wolf recognized this. A year after recognizing New York's Percee P for a lifetime of quiet accomplishment, the L.A. label now celebrates Arabian Prince with Innovative Life: The Anthology (1984-1989), releasing this August 19th. The remastered album shows listeners old and young where it came from, and why Electro-Funk truly never left.

Just returned from Germany with longtime friend and name-sake Egyptian Lover, Arabian Prince walks HipHopDX as he readies his Gorillaz-comparable next project Funky Anime while steadily collecting checks off of ghostwriting and production. When he ends his deejay sets with the trademark Haddaway "What Is Love," you might not realize it, but the Prince hasn't lost his Raiders cap or his props.

HipHopDX: Firstly, why Stones Throw?
Arabian Prince: Oh man, it’s crazy. I’m an idiot when it comes to music, believe it or not. Like, there’s cats out there that are like music historians. Don’t get me wrong, I’m one of the baddest deejays on the planet, when it comes to vinyl, the collection and all of that, but I’m not the guy who’s really up on every little nook and cranny of Hip Hop and all the underground stuff. I’m just really into my own music. I figure the more I stay into myself, the better I have a chance of my music staying pure rather than picking up sounds from somewhere else.
So I had bumped into Peanut Butter Wolf, and man, I’d never heard that cat! I didn’t know who he was to save my life. What the hell is a Peanut Butter Wolf? He’s like, “Man, I really want to do something with you, maybe get some of your old stuff, and put out a greatest hits.” I’m like, “Who is this cat?” I did a little research and said, “Oh, that’s who that is!” So we became like best friends, and now we’re kind of inseparable in music and a lot of stuff we’re doing. So it was kind of a blessing to meet him, as somebody who really appreciates the music first. It kinda brought me back into the scene in the sense where I’m like, “You know what? I’m still in this thing.” Stones Throw has revitalized all that.

DX: This is all released material that is now re-catalogged, repackaged, correct?
AP: Right, right. And there’s two unreleased instrumentals on there as well.

DX: How do you think of the 1984-1989 era?
AP: It reminds me of the old days when there were no gangs in the clubs. [Laughs] We used to wake up, and all we was thinkin’ about was partying and deejaying and chasing women – every single day. That’s what it was, back in the ‘80s, man, in the clubs – especially in L.A. It was all about partying. You had the factions. You had your New Wave people, you had your Punk Rockers, you had your Prince people, you had your Michael Jackson fiends – everybody had their little niche. Show me some dude that thought he was hardcore gangster back in the ‘80s, and I’ll show you the dude wearin’ some spikes and a Michael Jackson jacket, you know what I’m sayin’? That’s what it was. Everything was cool back then.

DX: We all watched Colors. In 1984, when you started making regional and national noise, were the people buying your records part of the gang community?
AP: I’d say yes. The hood is the hood. I had uncles and stuff in gangs, growing up. The music was from the streets; I don’t care what kind of music it was, it originated on the streets. Electro-Funk on the west coast was a product of the streets, from hardcore to softcore people on the streets, everybody just partied to the same beat.

DX: How much of the sound of Electro-Funk was dictated by the equipment you guys were using, and how much was your own creativity?
AP: You know how it all started? When we deejayed back in the day, and even to my deejay sets to this day, I kind of read the crowd, but I’m gonna play what I’m gonna play, I don’t play the Top 40 hits. That’s how it was back in the ‘80s. Top 40 radio was everything – Parliament Funkadelic, Cameo, Bootsy [Collins], there was also Cyndi Lauper, ABC, Depeche Mode, it was also Prince, Michael Jackson, this big gumbo pot of music. When we started doing music, it reflected all of that. We were really into Kraftwerk, we were really into Prince, we were really into Funk. So if you listen to Electro-Funk, it pulls the heavy basslines of old P-Funk and Zapp & Roger stuff - Funk, it pulls the sexy side – Prince and pulls the electronic side from Kraftwerk. It was just a blend of all of that. With the equipment, yeah. The first thing we fell in love with was the 808 drum machine. After we heard that, it just fell right into place.

DX: I gotta ask. Not just with you, but in general – were drugs at play?
AP: You know what’s funny? On the west coast, no! It was a crazy thing! I’ve never done drugs. I don’t drink or smoke or nothin’ like that, which is a surprise comin’ from N.W.A. [Laughs] Back then, I drank a lot, but not no more. But even back then, dude, nobody was really on that scene on the west coast. It was just this crazy party town. People smoked weed, and maybe drank, but nah, it was the furthest thing from the ‘80s scene. You would think I would say, “Yeah, drugs were heavy.” I don’t think I’ve ever seen anybody heavy on drugs back in the ‘80s.

DX: You mentioned N.W.A. Sources say different things. Do you, or did you consider yourself a founding member or simply an affiliate of the group?
AP: You know what’s funny, man? I am a founding member. I was there for two albums – N.W.A. & The Posse and Straight Outta Compton. The people who don’t think I was there or in the group are the people that are younger or they’re the people who get the misinformation from around. If you look at the first album, and a lot of people think that N.W.A. & The Posse is the album, that wasn’t the album; that was a bootleg that Macola [Records] put out.

DX: Really?
AP: Yeah. The actual, first ever N.W.A. album was just called N.W.A. There was no posse. There were just four or five songs, so you’d probably consider it an EP as opposed to an album. It had the same cover, with everybody in an alley. On the back, it was just two pictures of the four of us – me, Dr. Dre, Ice Cube and Eazy-E.

DX: No Yella or Ren?
AP: No. No Yella, no Ren at that point. In one we’re sitting on Eazy’s Jeep. In another, we’re standing on like a crate or something. That was it! It was very simple. Then we did the Straight Outta Compton album, and I left halfway between the release of that and when we were on tour ‘cause we weren’t getting paid, but yeah, I was definitely in the group. I was more…I won’t say behind the scenes, but more in the studio with Dre, making beats and playing music and stuff as opposed to rappin’ on the cuts. I was definitely there.

DX: Were you out there in terms of selling cassettes out of Eazy’s trunk?
AP: Oh yeah. It was all done at Macola Records. When we pressed that stuff up, our weekly or daily routine was – this was our bread and butter, this was how we made money, this was how we put gas in the car, this was how we paid our bills. Go down to Macola, pick up a box or two, hit the swap meets or hit the stores. When we toured, we’d take them around, nobody had heard of us, and we’d go into a store, “Boom. Can we give you a couple of these? If they sell, here’s a phone number, call us.” That’s what it was. We had the old school cell-phones back in the day – the briefcases with the antenna on it. [Laughs] We were definitely going to be contacted. It just blew up because of word of mouth of gettin’ it around.

DX: You got a major production credit in J.J. Fad’s “Supersonic.” That being said, what did you think of Fergie’s “Fergalicious.” Quiet as kept, I bought my girl at the time the album and saw no sample listings in there…
AP: Right. [] did the right thing and the good thing by actually saying, “Okay, yeah, I got this from ‘Supersonic,’ we’re gonna go ahead and get the publishing on this and pay royalties to me, whoever else and the girls.” So that was a good thing. Also, it actually helped to bring the sound back, because if you listen to Missy Elliott’s “Lose Control,” which is [a remake] of Cybotron’s “Clear,” or now you hear Flo Rida’s new joint [“In The Ayer”] with, which is straight Electro Funk. That sounds like they stole it out my garage when I wasn’t lookin’, back in ’87. [Laughs] It’s come full circle; it’s back! Me and Egyptian Lover were in Germany last week, and we were on the airplane talkin’ like, “Man, it’s time. We need to go and do this thing one more time before the gray hairs start showing.” [Laughs]

DX: Looking at those three records you mentioned, are you in a position or does it interest you to produce again, for artists seeking this sound?
AP: Oh yeah, definitely, man! Quiet as kept, I ghostwrite for a lot of people, so I got hits on the radio right now. I’ve done it that way over the years, because when all the animosity has gone on in Hip Hop and the violence and stuff that’s gone on, I have no beef with no one. No beef with anybody in N.W.A., I’m still cool with everybody, still kick it with everybody, so I didn’t want to get that whole guilty by association thing. So when people ask me to produce stuff for ‘em, man, unless it’s something that’s real mild, like a Stones Throw remix or something, I’m like, “Dude, whatever you want. Just put your name on it, and pay me. Give me the contract, make sure I get my royalties and my writers, and I’m cool. I don’t care what you do with it.” Yeah, most definitely. But recently, I’ve really been thinking about getting back into it 100%. I think I will be doing that this year. I just found a new girl – I really admire M.I.A. She just retired from what I hear [click to read], that’s crazy! So I just ran across some random girl, 20 years old, that does beats in her bedroom by herself, creative as I don’t know what, and has got that same sound. I’m about to produce her.

DX: If I walk into your studio right now, will I see that old equipment; do you still use it?
AP: It’s gonna hurt all the old school, analog geeks out there, but none. In my storage bin, I have 15 to 20 keyboards, eight or nine drum machines; I still have all my gear. But with technology these days dude, you can’t beat it. I travel so much that I had to go software because I’m always makin’ music in hotel room and airplanes. But what I did do, I spent a whole year with my gear, samplin’ all my analog stuff. I predominately use Reason right now and Ableton Live. You can’t tell the difference between a digital and analogy synth. I defy somebody to tell me. The last two releases I’ve done, you can’t tell. It sounds the same in the club, you’ve just got to know how to flip it.

DX: Did you remaster the anthology on Stones Throw?
AP: Oh yeah. It’s all remastered. It sounds good, man! I’m listening to some of that stuff like, “I wish it sounded this good back in the day.” But we didn’t have the technology.

DX: I’ve interviewed Rodney O & Joe Cooley too. They too, started in Funk and adapted to gangsta rap by the early ‘90s. With yourself, how do you look at the “after ‘89” and the turn your career and the art took?
AP: I did the same thing as [Rodney O & Joe Cooley] in a sense. After N.W.A., I put an album on EMI/Orpheus, the Brother Arab album, which had “She’s Got A Big Posse,” and stuff like that. It was more party music – still uptempo, more club uptempo, not Electro uptempo. Then, after that, I did another album for EMI, called The Underworld, which was more dark. My sound has always been a dark sound anyway. They were kinda scared of it. It got four or five stars, but they never released it, ‘cause they were scared. It’s still sitting on DATs. One day I’m gonna drop that out. After that, I did Where’s My Bytches? which was all sexist stuff. I had been in this relationship, man, and this girl pissed me off right in the middle of my album. I was like, “Aw man, you gonna piss me off? Here, let me dedicate this to you!” [Laughs] but it was still good music though. I’ve got through the gambit of music, but a creative style, I don’t have one; I just do whatever. My first love was always the Electro-Funk, that’s why I’ve gone back to it.


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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #185 on: September 02, 2008, 12:01:10 AM »

The Predator

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #186 on: September 06, 2008, 07:34:04 PM »

That's a fly hat Cube rockin and i want to get a late 80's styled blue Adidas jacket just like the one in the pic'  ;D
« Last Edit: September 06, 2008, 07:35:41 PM by The Predator »


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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #187 on: September 07, 2008, 12:31:30 AM »
JJ Fad is back

Group formed in: 1988 (disbanded in 1992) / Members: M.C.J.B. (Juana Burns) Baby-D (Dania Birks) Sassy C (Michelle Franklin).
A reminder of how fleeting hip-hop glory can be, female L.A. rappers M.C.J.B. , Baby-D and Sassy C formed ‘Just Jammin’ Fresh and Def’ (J.J. Fad) in 1988.
They were a part of the Ruthless Posse headed by Eazy E and produced by Dr. Dre. The first hip-hop girl trio to go platinum.
The trio featured a youthful, heavily pop-oriented brand of rap that was non-threatening.
“Supersonic”, produced by The Arabian Prince & Dr. Dre, was 1 on the pop charts and a top 10 R&B hit, and the album went platinum, peaking at 1.
Soon after it dropped off the charts, they were a memory. Now they’re back and ready to rock the mic again, celebrating they’re 20th anniversary of “Supersonic.” They just received an ASCAP music award for co-writing on Fergies hit song “Fergalicious” and are planning to do a 2oth anniversary re-mix of “Supersonic.”
Stay tuned the Fad is Back!!
-Source: JJ Fad Official Myspace
Visit their Official Myspace:

haha..good ish dawg.

The Predator

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #188 on: September 08, 2008, 06:45:04 PM »
Here's a little bit of the recent HHC Ice Cube interview (complete it if you can with the scans Chad)

''Your 1990 solo debut, ‘AmeriKKKa’s Most Wanted’, was deemed a classic. What were your goals with the follow-up?
“Doing ‘AmeriKKKa’s Most Wanted’ with Chuck D changed my life. I had just left a major group to do a solo album and nobody knew if it was going to work. Nobody even knew if the world wanted me solo.
"In New York, Chuck D kinda turned me on to some his influences – Malcolm X, the Minister Louis Farrakhan, the Honourable Elijah Muhammad, Dr Khallid Muhammad – so when it was time to do ‘Death Certificate’, I had learned so much about our past in America that I was chomping at the bit. When you learn what happens to your ancestors and it’s not pretty and it’s not good, it makes you mad.”

Your engineer was a guy called Mr Stoker (The Chicken Choker). Dare we ask how he earned that handle?
[Laughs] “We was just fuckin’ with him. I believe that dude was from the UK or somewhere in that region. He was a cool motherfucker who made sure our shit was bangin’, so we was like, ‘Man, we gotta give you a nickname, you can’t just use your regular name’. So he was like, ‘Okay, alright, call me the Chicken Choker’. I was like, ‘Ah-ite, cool. That’s a good one’.”

Meanwhile, in addition to rapping on ‘Color Blind’, your protégé Kam was also on hairdressing duties...
“Yeah, well, see, when I started the album I still had my jheri curl from my NWA and ‘AmeriKKKa’s Most Wanted’ days and I was like, ‘Man, with this album I gotta have a new look. I can’t just come out with this curl again,’ so he was like, ‘Let’s chop it off.’
"He already knew how to cut ’cos in the neighbourhood everybody don’t wanna go to the barber all the time, you wanna know how to cut yourself. He knew how to cut so he hooked me up.”

With lyrics like "Fuck R&B and the running man" and "It ain’t no pop, ’cos that sucks/And you can New Jack Swing on my nuts", you were clearly irritated by hip-hop’s commercial leanings...
 “I was fighting against it because when I started doing hip-hop we weren’t even accepted as music. I hold those chips on my shoulder to this day. At the time, it was becoming popular to combine hip-hop and R&B and I was protesting against that marriage. I wanted it to always be two separate things.
"I was seeing all these videos with the dancing guys and high top fades, and I felt like we were losing the voice of guys like the Poor Righteous Teachers and KRS-One to this new type of popcorn record.”

You caught a lot of flak for ‘Black Korea’. Did you feel that the mainstream media overlooked the fact that the song was penned in response to the fatal shooting of black teenager Latasha Harlins by a Korean storeowner?
“The Latasha case was kinda like the last straw. I myself, back in the day, had been into Korean stores and been treated less than how a customer should, so it was not only coming from that story but thousands and thousands of stories you heard from your people going into those stores. You get to the point where it’s an issue. You are in our neighbourhoods making a whole lot of money off of our community − you have to treat the people better. I don’t care if a few of them are robbin’ or stealin’, you have to treat everybody the same until they show you differently.
"That song may have been misunderstood by the media, but it wasn’t misunderstood by the people going through it in the community, so I was always satisfied with the response to the song because it was the truth. Then when the riots went on and you saw some of these businesses being burnt down, it wasn’t just because of one incident - it was a thousand incidents and enough was enough.....”

Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #189 on: September 08, 2008, 07:09:37 PM »

^^^ I would if I could,but I don't really pick up magazines anymore. ^^^^
I still pick up Murder Dog every now then,but that's about it.
Source,XXL and HHC sucks,especially these days.
Can't you scan it? Don't you have a digital camera? Or a cell with camera? (I use a cell phone for my scans  :P ;) )


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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #190 on: September 09, 2008, 01:12:40 AM » got a MC Ren interview coming.
But you got to register to submit questions  :-\ :-[ :-X (and probably to read the interview.) What is that about?
The DubCC mods deleted AOD187´s submit questions thread here.... so I guess we got to wait till NonCentz get around to do a interview for DubCNN.


fuck that website.
they're just trying to draw the attention to their forum.

The Predator

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #191 on: September 09, 2008, 07:02:29 AM »
^^I got that sample from their site, looks like they were heavily basing the interview around on Cube's 'Dead Cert' classic.


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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #192 on: September 09, 2008, 08:36:41 AM »
This is the best topic on this board so far!

Thanks for posting all that stuff, so interesting and amazing, I'm gonna spend a lot of time of reading and watching this and that. Thanks.
It's funky enough!

Chad Vader

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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #193 on: September 10, 2008, 04:36:18 PM »
Lonzo Williams releases DVD documentary ‘Once Upon A Time In Compton’

Much has been rumored, whispered and speculated on when it comes to the true origins of the west coast rap scene and the roots of gangsta’ rap.
A hotbed of activity, spawning the likes of NWA, Eazy E, Dr. Dre, Ice Cube and most recently the Game,
the chart topping contributions from the west once dominated the hip hop scene. The west once ruled.
There is a story behind every story, however, and Lonzo Williams, long recognized as the Godfather of West Coast Rap is now, for the first time revealing his.
As the creator of the World Class Wreckin’ Crew, the group that directly preceded the birth of N.W.A.,
and gave us such eternal hits as “Turn Off The Lights,” “Cabbage Patch” and “Dr. Dre to Surgery,”
Lonzo unveils his storehouse of flyers, photos, and original VHS footage, in the Dub-Kris Media DVD release, “Once Upon A Time In Compton.”
“Once Upon A Time In Compton” proves to be the ultimate rapper’s delight, chock full of historical anecdotes’, unforgettable vintage footage and throwback rap classics as Lonzo recaps his own version of the ‘wild, wild, west.’ In true Godfather fashion, he spins an often humorous tale that holds the audience spellbound. Forget what you heard or read, he admonishes, as he takes us back, way back, to the very beginning of it all, when he first got his start as a DJ in high school. Parlaying that experience into promoting, Lonzo eventually created the group that launched the careers of hip hop’s most famous emcees,
Eazy E, Dr. Dre and Ice Cube.
Hip hip heads and trivia buffs will revel in the highlights that include:
-never before scene footage of a young Dr. Dre, draped in purple satin, when he first rocked the turntables, magically mixing “Planet Rock” with “Mr. Postman.”
Lonzo acknowledges, “I don’t know how he got on the turntables, but we all knew then, he had something special.”
-a live performance of the Wreckin’ Cru covering Morris Day and the Time’s hit single, “The Bird.”
-a young Dr. Dre on lead vocals as the group performs their club hit, “Housecalls”
Reminiscing down hip hop memory lane, Lonzo drops gems detailing what the pioneers of
hip hop had to endure and how the foundation was really laid for a genre that now sets trends around the globe.
“Hip hop is an urban musical tree that has spawned branches from grafiti to gangsta rap and is still growing,”
Lonzo asserts, “and it is not only important, but also relevant, that its beginnings be truthfully documented.
When I realized what I had in my vaults, I knew I had to share it.”
“Once Upon a Time in Compton” is Lonzo’s autobiographical account of himself as a determined
young man overcoming the odds to succeed in the predator-laden music business.
It is also the story of the personalities, the players, the haters and the beat that emerged from the threadbare streets of Compton to explode across the globe.
From his nightclub, the Eve After Dark, that became the nexus of this burgeoning hip hop scene where seminal rap figures
Dr. Dre (Andre Young), Eazy E (Eric Wright), and Ice Cube (Oshay Jackson), would congregate to putting together the World Class Wreckin’ Cru,
Lonzo weaves a story that is compelling and captivating.
He shares how Eazy E used profits from his drug sales to do his first rap tapes in the studio that Lonzo built and how he and others,
not recognized in hip hop’s history, were there when Dre, Eazy and Cube began N.W.A.,
the group that was a prairie fire introducing the hardcore, blistering sound and lyrics now known as gansta’ rap.
Lonzo shocks the house in this unflinching portrait of his life and times and continuing presence and influence in the hip hop game.
A genuine survivor and Godfather of the game, Lonzo Williams’ “Once Upon A Time in Compton”
will become a true underground classic of the west coast story that was never told.
“Once Upon A Time in Compton” can be purchased at

Should be dope  ;)


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Re: The ultimate N.W.A family interview thread *magazine scans,reviews etc.*
« Reply #194 on: September 11, 2008, 12:30:52 AM »
Ill Pics and interviews good look Yo!