Tim was a one-hit wonder whose claim to fame, a track called “F–k Compton”, basically served the purpose of lambasting N.W.A. Meanwhile the second verse, as held down by Snoop Dogg, is aimed at a different rival. That would be one Tim Dog, who was actually a rapper from the Bronx. Dre being able and now willing to roll up on Eazy since, as argued, the latter isn’t a true ‘hood nigga.Īfterwards comes an interlude which relatedly serves the purpose of depicting E as “a little boy” who is unable to properly care for himself. And to illustrate the point, Jerry Heller, the other co-founder of Ruthless Records, is indirectly referenced. The intended message is supposed to be that Heller basically used E, something which Eazy reportedly believed himself. So basically, what we are met with in the first verse is Dre picking on and threatening to shoot Eazy. The vocalist acknowledges, a couple of times actually, that he and the addressee were once friends. He never specifies what exactly destroyed their relationship. Rather, the lyrical emphasis revolves around the notion of Dr. And we already know how such issues are resolved in the world of rap music. However, Dre was able to do so and went on to co-found Death Row Records, which proved to be an even bigger gangsta-rap label.Īnd you may be thinking to yourself, ‘why would Eazy-E release his top artist at the time from his contract?’ Well as the story goes, Dre used his Death Row business partner, businessman/thug Suge Knight, to, shall we say persuade E the ‘hood way. So even though Eazy and Dre were no longer officially affiliated, an acrimonious relationship remained between the two of them.
but also his Ruthless contract, at a time when both business entities were peaking largely due to his contributions. Initially Dre was signed to Ruthless, a label co-owned by Eazy. Eventually he wanted out of not only N.W.A.
Williams and Hugo built on this momentum throughout the 2000s, scoring hits that included Justin Timberlake's "Rock Your Body" (2002), Jay-Z's "Excuse Me Miss" (2003), Snoop Dogg's "Drop It Like It's Hot" (2004), and Ludacris' "Money Maker" (2006), all the while keeping their.
Williams actually got his start during the tail-end of the new jack era as the co-writer of Wreckx-N-Effect's number two 1992 pop hit "Rump Shaker," but he and Hugo truly distinguished themselves six years later as producers of Mase's "Lookin' at Me" and Noreaga's "Superthug," crossover hits that showcased the duo's uniquely chunky and choppy sound. Along with fellow Virginians Missy Elliott, Timbaland, and Neptunes partner Chad Hugo, Pharrell Williams has played a crucial role in the progression of post-new jack swing R&B and rap, and consequently pop.
0 kommentar(er)
