A few weeks after the Rock and Roll Hall of Fame induction ceremony the impossible finally happened during Cube’s closing set at the Coachella Valley Music and Arts Festival in Indio, California. Ahead of the festival all hope was lost that the group would actually ever unite, considering the number of opportunities that had come and gone since Straight Outta Compton reignited interest in N.W.A. “When we all come back together, we want it to be enormous,” Cube said a few weeks before the festival. And what was bigger than the preeminent music festival on the West Coast with nearly one hundred thousand fans in attendance? Cube was the lead up for Guns N’ Roses, a fitting double bill of rebellious bad boys grown out of LA during the late 1980s. And to the shock of thousands, he had a surprise planned: all the surviving members of N.W.A would perform together. It was the first time the four surviving members performed together since 1989. The occasion came with a slight caveat, though, as the quartet didn’t actually perform any N.W.A numbers, opting instead to tackle some of Dre’s classics that have defined rap and remained a bit more durable as crowd movers than any of N.W.A’s music.
“It was amazing, like magic,” Cube said of the reunion. “It felt special. Every time we used to hit the stage it felt special so getting back up there, it always feels good to get on stage with those dudes . . . it’s always fun.”
Much has changed since the last time these men performed together—a black man has been president of the United States, same-sex marriage has become law, marijuana is legalized in some states, hip-hop is one of the most commercial genres of music—but the themes N.W.A yelled about are still prevalent today, as evidenced by the discourse around the group’s biopic. (Even the irony of N.W.A, of all rap acts, receiving the blockbuster treatment didn’t fall upon deaf ears.) Straight Outta Compton the album was a sonic Molotov cocktail that ignited a firestorm with acidic lyrics that shocked the world. It’s a record that now sits in the Library of Congress’s National Recording Registry and is perhaps the best example of the short-lived group’s brilliance. One wonders what would have happened had N.W.A stayed together just a little longer or if Eazy never got sick. We’ll never know, but what we do know is their legacy is undeniable. It was a marvel to see tens of thousands of music fans from every facet of life unified by a group that had to fight for the right to speak their mind. As N.W.A rocked the stage, one guy moved through the crowd exchanging high fives, posing for selfies, and grabbing girls to dance with as he took swigs of liquor from a flask. He couldn’t have been more than twenty but he was dressed in black Dickies, with a Compton hat and wraparound shades—even though it was nightfall—and his curly hair shiny with product. It’s doubtful anyone in the audience had ever seen an Eazy-E impersonator, let alone one that was of Hispanic descent. And he was fiercely dedicated to his bit, quoting lyrics like gospel, and doing his best impression of a squeaky voice. After watching him for a bit, one girl tapped him on the shoulder and asked him who he was supposed to be.
“Call me Eazy,” he told her. The man fist-bumped a few more strangers before disappearing into the crowd.
Eazy-E and MC Ren, 1989.
Tammy Lechner/Los Angeles Times.
Dr. Dre, MC Ren, Eazy-E, and DJ Yella posing for a photo shoot after Ice Cube left the group, 1991.
Tony Barnard/Los Angeles Times.
Eazy-E and Dr. Dre posing for a photo shoot to promote Efil4zaggin, 1991.
Tony Barnard/Los Angeles Times.
The Wright family home on South Muriel. Eazy-E’s mother still lives there, and his sons, Eric “Lil Eazy-E” Wright Jr. and Derrick “E3” Wright, have recorded music there.
Andres Tardio.
The Atlantic Drive apartment complex, located less than a mile from Eazy-E’s home on South Muriel, made for an ideal, round-the-clock drug bazaar.
Andres Tardio.
Dale’s Donuts, one of Compton’s many defining landmarks.
Andres Tardio.
Kelly Park was a lush grass field behind Colin P. Kelly Elementary School, with brightly colored playground equipment, concrete benches, and a basketball court.
Andres Tardio.
The pay phone at the corner of Caress Avenue and Alondra Boulevard where Eazy would make his deals is still there today, dusty and unused.
Andres Tardio.
An essential cog in the underground record machine was the Roadium, a swap meet on Redondo Beach Boulevard in Torrance, California.
Andres Tardio.
N.W.A’s first performance took place at Skateland USA on March 11, 1988.
Craig and Todd Schweisinger.
One of two roller rinks that were pivotal to hip-hop’s flourishing in LA during the 1980s.
Andres Tardio.
Audio Achievements, where the World Class Wreckin’ Cru recorded its early work. N.W.A’s Straight Outta Compton was recorded there as well.
Andres Tardio.
Eazy-E, circa the early 1990s.
Lori Shepler/Los Angeles Times.
Dr. Dre and Snoop Dogg in the studio during the final recording sessions of Snoop’s debut album, Doggystyle.
Patrick Downs/Los Angeles Times.
MC Ren performing as part of the Up in Smoke Tour in 2000.
Ken Hively/Los Angeles Times.
Ice Cube standing in front of his childhood home in Inglewood, 2004.
Genaro Molina/Los Angeles Times.
Jerry Heller, photographed in 2006 to promote his N.W.A tell-all, Ruthless: A Memoir.
Bryan Chan/Los Angeles Times.
Jimmy Iovine (left) and Dr. Dre (right) with Erica Muhl (far left) at Interscope’s Santa Monica headquarters to announce that they were giving $70 million to create the USC Jimmy Iovine and Andre Young Academy for Arts, Technology, and the Business of Innovation, May 2013.
Mel Melcon/Los Angeles Times.
Eazy-E, in holographic form (left), shares the stage with Wish Bone of Bone Thugs-N-Harmony at the Rock the Bells festival in Los Angeles, 2013.
Lawrence K. Ho.
Ice Cube, Dr. Dre, MC Ren, and DJ Yella reunite at the 2016 Coachella Valley Music and Arts Festival.
Jay L. Clendon/Los Angeles Times.
ACKNOWLEDGMENTS
First, my deepest gratitude to William LoTurco. When you reached out about this project, I nervously stumbled through all of our conversations, as I had no idea what you even saw in me. Your encouragement and honesty guided me tremendously, and eased the avalanche of fear and anxiety that made me want to quit more than once. Incredibly lucky to have you as an agent.
Blessings to the entire team at Aevitas Creative Management for having a kid’s back.
Todd Hunter, you are the greatest editor I have ever worked with. This project wouldn’t have happened without you. From our first chat, I knew I was in good hands and that feeling never changed, regardless of how frustrated—or defeated—I felt at times. Thank you for the trust and guidance. Thank you for being a tremendous copilot. And thank you for challenging me and never letting me off the hook. Still can’t believe we reached the finish line. Now can we please do it again?
A million thanks to the team at Atria and Simon & Schuster. You only get to write your first book once and I’m still pinching myself that my first is with this imprint.
To my parents, Jessica and Robert, what a journey this has been. Mom, my earliest memory in life is walking to preschool, your hand tightly clutching mine, and we haven’t let go of each other since. I couldn’t have gotten through this with you—period. You were my ear, my shoulder, and the fire under my feet that got me to the end. Your feedback (and real talk) has sustained me just as much as your love and support has.
Dad, you are the greatest man I know. It takes one hell of a man to step into the gap the way you did. I spend my days trying to make you proud and upholding the values you instilled in me. Dedicating this book to you, my grandfather, and my brother—the three men who have molded me into the man I am—brought me a sense of pride I didn’t know existed. I will never be able to thank y
ou enough for the sacrifices made to get me where I am today.
There are countless journalists and authors whose reporting and interviews helped shape this book. Wishing I could name them all, but please know I am humbled by your genius.
After reading and watching more than 1,500 texts and videos (films, documentaries, etc.) on N.W.A, I must give praise to Ronin Ro, Terry McDermott, Jeff Chang, Brian Coleman, Chuck Philips, Frank Owen, Dennis Hunt, Brian Cross, Kevin Powell, Peter Spirer, Davey D, Nelson George, and Jonathan Gold, whose work I especially leaned on.
Ben Westhoff, Original Gangsters is a beast—hope you dig my take on the guys as much as I loved yours. Thank you for the kindness and help.
Special thanks to Lorraine Ali and Randall Roberts, two former editors I have the pleasure of calling friends. I owe a great deal of debt to the two of you. Lorraine, thank you so very much for the outtakes with Cube and Dre. Randall, thank you for connecting me with Jerry and J. J. Fad.
Chad Kiser, you are a lifesaver and the true definition of an “O.G.” Thank you for having my back the way you did and really looking out for me as I navigated this project.
CJ Shaw, you are THE man. Thank you for all your help.
Jermaine and Adrienne, our brainstorming sessions kept me focused and inspired.
Much appreciation to S. Leigh Savidge and Jeff Scheftel, Keith Murphy, Alonzo Williams, Dave Marsh, Phyllis Pollack, MC Ren, DJ Yella, and Verna Griffin.
The biggest thanks to my interview subjects. There were LOTS of closed doors in the pursuit of this book and I’m appreciative to those who took the time to speak to me (on and off the record)—most importantly Ice Cube and the D.O.C., whose generosity was invaluable to this project.
Kudos to Sir Jinx, Jerry Heller (RIP), Cold 187um, Craig Schweisinger, Susan Yano, Greg Mack, CPO Boss Hogg, Tracy Jernagin, Michel’le Toussaint, Erica Wright, and Ebie Wright. Blessings to Lil Eazy-E and Tomica Woods-Wright.
Todd Schweisinger and Erica Varela, thanks for digging in the archives for me.
A very special thanks to Andres Tardio, one of the most talented photographers in the game. Your passion for hip-hop inspires me, and I didn’t want to do this without your art gracing these pages.
I am blessed to have an incredible family that has kept me encouraged and grounded beyond their love and support. My stepmother Melani influenced me to believe in the man I am and to never stop dreaming. My brother Jermaine is the first hero and role model I had (and that will never change). My sisters Adrienne, Charlisa, and Whitney taught me confidence and self-love and my special little homies Khari and Jalil remind me to lead by example in all that I do. Demetrius, I don’t think I need to tell you what you mean to me.
To my friends who held me up through these past three years, thank you. Endless love to Brittany Michels, Yvonne Villarreal, Kevin Nelson, Brianne Pins, Wesley Lowery, Aishah White, Erica Davis, Jessica Herndon-Newton, Shawn Higgins, Amina Khan-Ghazi, Eric Burse, Dexter Mullins, Shaeden Madi, Ari Bloomekatz, Danny Rust, Christina Williams, Kalyd Odeh, Latifah Muhammed, Devin and Cameron Lazerine, Nate Jackson, Siobhan Gabrielle, Mervyn Marcano, Chelsea Fuller, Marlene Meraz, Chris Basler, Zach Schemenaur, John Ketchum, Lauren Jacobs, Mesfin Fekadu, Cara Donatta, Nekesa Mumbi Moody, Roderick Scott, Mike Navarra, Lilah Kojoori, Cara Vanderhook, Caroline Yim, Tre’vell Anderson, and Anthony Williams. If I have forgotten anyone, please blame my mind and not my heart.
I wouldn’t be half the journalist I am without Sarah Hoye, Steve Wartenberg, Elise Woolley, Delano Massey, Sherri Williams, Nicole Kraft, Eileen Holliday, Janessa Castle, Michelle Johnson, Belinda Thurston, Tracie Powell, Randy Hagihara, and Kelley Carter.
Jamie, you are my partner in life. You shared the brunt of this project with me and there are no words to explain how much your love, support, and beautiful spirit has meant to me. You believed when I didn’t and you stayed positive when I couldn’t. WE DID IT! I love you, always.
My dear sweet Feeney, I will spend the rest of my days trying to be as generous and loving as you were. Everything I write is for you.
Charles Kennedy, you led me to a dream when I was six—one I’ve never stopped chasing. You knew the true strength of street knowledge. I hope I’ve made you proud.
—GK
ABOUT THE AUTHOR
GERRICK D. KENNEDY is an award-winning journalist currently covering pop music for the Los Angeles Times, where he’s profiled music’s biggest players, including Ice Cube, Nas, Sean Combs, Drake, Kendrick Lamar, Mariah Carey, Usher, Jennifer Lopez, Brandy, Mary J. Blige, Sam Smith, Nicki Minaj, and the Weeknd. Kennedy has appeared on the Today show, Dateline, 20/20, Entertainment Tonight, CNN, MSNBC, TVOne, Revolt TV, and Fuse. He currently lives in Los Angeles.
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NOTES
PROLOGUE
“You’re not going to be looking at 1987 Eazy-E”: Tomica Woods-Wright, author interview, September 6, 2013.
COMPTON’S N THE HOUSE
“It was good music”: Greg Mack, author interview, September 24, 2016.
“We had lyrics”: Ice Cube, unpublished interview by Lorraine Ali, fall 2014.
the single most influential genre in American pop music: Matthias Mulch et al., “The Evolution of Popular Music: USA 1960–2010,” Royal Society Open Science 2 (May 2015).
“If you sat on this porch at night and just listened real hard”: Ice Cube, quoted in Mark Cooper, “NWA: ‘Our Raps Are Documentary. We Don’t Take Sides,’ ” Guardian, October 1989.
“I grew up in the hood, I’m going to die in the hood”: Anonymous, Crips and Bloods: Made in America, directed by Stacy Peralta (2008).
“It was a dangerous time”: Vince “CPO Boss Hogg” Edwards, author interview, November 17, 2016.
Integration of the city: Kelly Simpson, “A Southern California Dream Deferred: Racial Covenants in Los Angeles,” KCET.org, February 22, 2012, https://www.kcet.org/history-society/a-southern-california-dream-deferred-racial-covenants-in-los-angeles.
property owners received threats: Josh Sides, “Straight Into Compton: American Dreams, Urban Nightmares, and the Metamorphosis of a Black Suburb,” American Quarterly 56, no. 3 (September 2004).
“We all got pissed and went out and burned up our neighborhood”: Anonymous, Wattstax, directed by Mel Stuart (1973).
PANIC ZONE
“workin’ for somebody else”: Eazy-E, interview in Rap Pages, February 1993.
as addictive as it was cheap: Eric Lichtblau and Gaylord Shaw, “Problem in 46 States: Crack: It’s Not Just a ‘City Drug,’ ” Los Angeles Times, April 5, 1988.
typical one-gram package of powdered cocaine sold for $100: Ibid.
“That boy could fight”: Mack interview.
“That was his structure. Even early on, he was very business”: Tracy Jernagin, author interview, September 26, 2016.
“If you looked at [his] knuckles, they were gone”: Mazik Saevitz, quoted in Jeff Chang, “The Last Days of Eazy-E,” Swindle Magazine, no. 2.
“I thought, ‘I can cleanse the neighborhood’ ”: Stanley Tookie Williams, quoted in Amy Goodman, “A Conversation with Death Row Prisoner Stanley Tookie Williams from his San Quentin Cell,” Democracy Now!, November 30, 1995.
“I had to learn the color scheme”: Mack interview.
�
��The whole idea of the gangbanging shit was a bit much”: The D.O.C., author interview, December 8, 2016.
“It just swept through the neighborhood”: Ice-T, N.W.A: The World’s Most Dangerous Group, directed by Mark Ford (2008).
Parental Discretion Is Advised Page 26