On March 16, 1995, Eazy-E was admitted into Cedars Sinai Medical Center in Los Angeles with what he believed to be asthma. Instead he was diagnosed with AIDS, and soon announced his illness publicly. He died shortly after, on March 26, 1995, at approximately 6:35 PM (Pacific time). He was 31 years old when he died.
The Fat Cap Chairs are handmade, signed and numbered. They are full body and weight around 10 kg for the Hooded and 5 kg for the New York one. They are made to be customized. And it is possible to choose your own two digit number or logo for your Fat Cap Chair. The two digit number or logo will be painted on the black/orange/pink round part of the Fat Cap Chairs. What will it cost? The prizes are :- - Hooded Fat Cap Chair 1200 euro + shipping - New York Fat Cap Chair 1050 euro + shipping
While in his early teens, Jones discovered breaking. Jones is regarded as one of the pioneers of the Swedish Hip Hop scene. He took the pseudonym Snoopy and together with Karl Dyall he had a hit with the rap song "Next Time" in 1986. The song was taken from the soundtrack of the cult movie Stockholmsnatt in which Jones played the one of the lead characters. By the age of 16, he had earned his first gold record.
At the age of seventeen, Jones decided to relocate to the United States. There, he briefly attended his father's alma mater, the Berklee College of Music, where he met Roland Garrett. However, as the school did not offer what Jones was looking for musically, he dropped out. He moved to The Bronx, where he lived with his friend T La Rock. Jones practiced and perfected his craft at Power Play Studios with future Hip hop legends like Rakim and KRS-One.
Chris "The Glove" Taylor was one of the DJ pioneers on the West Coast. Ice T first appearances on wax were on his records "Reckless" (from "Breakin'")
and ^"Tibetan Jam" both in 1983^ He was later signed to Electrobeat Records. During this period, he was also in a crew called The Radio Crew before he became a solo artist.
^His most famous record is "The Itchiban Scratch"^ in 1985 which is an instrumental that samples young children singing "The Grand of Duke Of York" around a Japanese style theme.
Signing to Eazy-E's Ruthless Records in 1990, as part of a rap trio called Po' Broke & Lonely? but would go on to sue the label a few years later, putting a halt to their recording career while the courts handled the situation. It started when Eazy and Dr. Dre first met the group, consisting of rappers Chris "The Glove" Taylor, Michael Lynn, and Ruben Cruz. Their laid-back R&B appealed to Eazy, and so they signed to Ruthless within the year. Their debut was guided by Dre and Eazy, who helped the group pull together several tight beats. When N.W.A. started to fall apart and accusations of missing money started flying between their two mentors, the group sought to leave the label before they were caught up in the situation. Eazy wouldn't let them out of their contract, creating a tension between Ruthless and the group while they tried to put together a follow-up. In 1992, Taylor helped Dre put together The Chronic, a landmark rap album that had enough anti-Ruthless sentiment to effectively destroy any negotiations between Eazy and Po' Broke & Lonely? The group grew frustrated with their situation, and by 1994 they had brought the matter to the courts. Before much could be decided, Eazy died of AIDS and the group was dropped from the Ruthless roster. They signed to Arista and attempted to restart their career in 1995 with Forbidden Vibe, but after a four-and-a-half year absence from the music scene, the group was all but forgotten by the fast-moving Hip Hop crowd. Quietly dissolving a year later, both Cruz and Taylor would become regular collaborators with Dre in the following years, working on Aftermath albums like Dr. Dre Presents the Aftermath and The Firm's album
"The link with RBX [and Concrete Criminalz] came through my boy Danny D. He was doing a mixtape, and he had me and X doing a song together. After we did the song, [we realized the chemistry]. Two big guys, X got his name with Snoop [while] I got my foot in the door with MC Ren. It still took a while after that though. We did another two or three songs. I was just like, 'X, let's do this. He said, 'I'm with it.' This project was real easy. Saw I called Goldie for some tracks, got a couple from Ren, got a couple from Snoop." - Bigg Rocc
"The Concrete Criminalz [union] was just brothers stayin' active, and more than anything, refusing to let their dreams die because of some industry politics. As we worked, we started to build a portfolio. One day the bright idea came across to just go in and solidify the name and go forward from there. Thus, the [Concrete Criminalz Gang album]. [The album] is like a chronicle of things were going through in the industry, yada yada yada, things get a lil' better, then the whole roller-coaster ride the industry takes you on" - RBX
"[We recorded that with DJ] Premier, at [D&D Studios]. It was in some building. From the outside, it wasn't the most pleasing-looking building, but when you stepped inside, it was, 'Oh snap!' They did their thing in there, bro. It was real grimy, New York style. It was uncut. That's pretty much how we move.
I'm a humble dude. I don't get caught up in the hype and the yada-yada; I respect those that respect me. We build from there. To do a joint with Premier, to do a joint with KRS-One, to do a joint with Brother J, but anyway is always a good look with me. [Guru] was not in the studio at the time. But I actually met Guru at Rock The Bells. We was choppin' it up and having a conversation. I got [pictures] with him. We was posted up in hardcore B-boy stances, old school-style, for real, for real. There was some things that was supposed to happen [with us, musically]. Sometimes, in life, things take us on different courses and you don't get to cross paths with those that you might have or would have liked to. Nevertheless, it's not done. He's still around here. We're gonna pray for brother and wish him the best and eventually, things'll play out the way they're supposed to play out." - RBX
"Oh, that was a cold one, right there! That was Ruthless For Life, the third album I did with [MC] Ren. My boy Chill did that beat. I just did the hook; I didn't even have a verse on there. I can't say much, but that was a cold-ass record." - Bigg Rocc
"Hmmm...that record, right there, was Dre standing up after the Death Row days. The bomb [on the song] was representing the build-and-destroy [mentality], if you will. That was to destroy the past and rebuild the new stuff. He had a few artists that he was working with, and he was trying to see how the world would receive some things. We was just gettin' geared up to do the Aftermath [Records] thing. That's when that record came about. We was just working on [stuff]; nobody actually had an album per-se, finished. Everybody had a lil' somethin'-somethin' done that was hot. That's when everything started getting serious.
The [vocal] echo [in the beginning of the song] is the trademark X echo. I'm not a regular, you-can-push-a-button type dude. Them cats that was [recording it] knew the in's and out's of manipulating the track like that - the reels. That was done old school style, like they used to do back in the Jimi Hendrix days. That's why it sounds like that. The approach was definitely from the '70s.
[I don't perform that record much]. My youngsters got that on their mixtapes and whatnot - especially with the resurgence of the Auto-Tune. They hear that, and I can always say to my credit, say, 'See, that's how it's done, son.' [Laughs] That's what y'all trying to do, but that was Roger [Troutman] himself and that was Dr. Dre. That's the what. That always gives me a good feeling to be able to say that. And it is a jewel, definitely." - RBX
^"Mr. Fuck-Up" by MC Ren featuring The Whole Click (Produced by Tootie)^
"We had a group called The Click - me, Ren's brother, Juvy, and a couple of the homies in the neighborhood. Before I went solo, we all was in the group. Ren [decided for us to go solo]. He said, 'Well, everybody's not focused like you, so just go on and go solo, and we'll continue from there. I [agreed]. That [record] was fun! We all went in there, ready to do it. We all had already wrote our parts once we got [to the studio]. Everybody was havin' fun. I can't remember the name of that studio; it's not even open no more. I took my son with me too, after that, when I went to to pick up the mix. As a matter of fact, he was playing basketball with Yukmouth [that day]. I can't think of the name of that studio for nothin'!
That was my proudest verse. I knew that was my coming-out to the world, the first time they was gonna hear me. I knew I was ready, and I had my confidence. I was straight." - Bigg Rocc
"My approach to the music thing is, I approach it like a job. I don't think just 'cause you rappin' that we gotta be friends and make all this chummy music. I believe that Hip Hop started with battles and a lil' roughness. I got fed up with everybody scared to say something. When you come to Hip Hop, it's a contact sport. Me, as an advocate, I'm not just gonna let you water my shit down. If I gotta bang-bang on niggas, then I bang-bang on 'em. If they want to take it personal, that's on them. I don't mean for it that way, but niggas is sensitive, so that's how they take it. I started out tryin' to be a good dude, but niggas take the good dude image and crush that into the ground. It's whatever now. I came up from the storm, like the phoenix that rose from the ashes."
"Tray Dee just wanted some shit that was gonna sweep the streets, so...I came up with the hook and wrote the song. It was on from there. He's incarcerated now, but I keep sendin' him kites. He says what's up to everybody too. I haven't heard [when he's getting out]. He got 12 years, so it might be another five, six years." - RBX
"I think it was made [in one take]. Niggas was so really ready - hungry, really emceeing. It's a credit to Dre. We was out there battlin' and really, really gettin' it in. It wasn't like no studio type shit. Niggas was in the projects, rollin' the yada-yada. Niggas was tryin' to see if each other's razors were really sharp. When it came to [record], everybody was the truth. You pretty much got what you got. There might've been another take, 'cause Dre's really a perfectionist. He might not like the exact way your pitch is, but for the most part, you only get a few takes with that guy before you get snatched out the booth anyway. So you better not get in there with your shit not-right.
[The first time I ever heard that record], it was kinda strange. I went to Venice Beach one day. I was with a sister of mine, we was hangin' out, drivin'. Every car we pull up on, I'm hearin' my voice, I'm hearing Snoop's voice, Dre, Warren G. I'm like, 'Oh man, how is this album in everybody's car?' It just dawned on me: everybody ran and got it. Damn. I know he's not givin' 'em away. It really dawned on me when I was watchin' MTV, and Kurt Loder [of MTV News] was talking and he said, 'The new smash album of the year is The Chronic album was an all-star cast.' He said my name. I said, 'Did Kurt Loder just say RBX? Hell nah!' That's pretty much how it was."
"I think [Broken Silence] was a good thing and I think it was a bad thing. I strive to focus on the positive things. The bad thing is the Hollywood niggas [said], 'Aw man, that reduced you. You shouldn't have done that? Why'd you mess with that?' That's one side of the picture.
The positive side is, I went and reconnected with the love of the artform, as I knew it. I was not concerned about anything that anyone had to say. I was focusing on me and myself and my craft. I didn't give a fuck about how much money I was making, nor did I give a fuck about anybody else's concern about an image. I was workin' on me and mines. From that, I got my mojo back. And I started growing again. Now, I'm onto my new joint. When it's said and done, it was a benefit to me. That's when I had to start lookin' out for as number one. Me.
I was at the crossroads. Either I was gonna retire and leave this shit alone, or I was gonna make this shit fun again. That was me making things fun again."
Dating back to the early '90s, Bigg Rocc and RBX were simultaneously building their careers in the respective neighboring cities of Compton and Long Beach, landmarks in the concrete jungle that musically and culturally laid the foundation for West Coast Gangster Rap. Bigg Rocc has been dubbed Compton’s Best Kept Secret, while RBX, appropriately called The Narrator, earned his moniker due to his vivid vocal tone and imaginative arsenal of rhymes. These forces has joined as the Concrete Criminalz, to release their debut album, Concrete Criminal Gang. As individuals they played the game and paid dues, but like their first single, Concrete Criminalz collectively will "Murder the Game"…
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