Dre, as he calls himself, is even then fairly well-known to anybody who has followed Los Angeles hip-hop. Eazy-E reaches up to adjust his black Raiders cap but otherwise does not move.ДЄ tall, thick-set young man walks into the room carrying a cassette tape, which he fumbles as he tries to pop it into a machine. Ren, who will later turn out to be a major artist in his own right but here acts very much like a well-trained bodyguard, deflects the menвЂ™s anxious glances with a cold, practiced glare. The record men wait for something to happen, wait for Eazy to acknowledge their presence or at least the several pagers that have been vibrating in the pockets of his jeans. It is possible to read a profile of a performer without coming across the phrase вЂњsurrendered to police.вЂќ The dichotomy of вЂњbitchesвЂќ and вЂњhoвЂ™sвЂќ is still an abstract concept to much of America. The terminal letter of plural nouns is still generally вЂњs,вЂќ even in rap songs. Hip-hop is very much an East Coast phenomenon. The relationship between artist and entrepreneur is understood.

There are small companies that sell small amounts of records and large companies that sell large amounts of records. The world, or at least that large part of the world circumscribed by African-American pop music, is a certain way at this moment. Fifteen bored men slumped in those chairs: pluggers, jocks, marketers, flacks - record men.Д®azy-E, a slightly built rapper whose single вЂњBoyz-N-the HoodвЂќ is enjoying a modest local success, props his Air Jordans on a desk and stares at a water stain spread across the ceiling. California Raisins action figures twisted into an unlikely raisin Kamasutra. There is a moment, an August morning in 1988, a specific moment on a sunny, smoggy day in central Hollywood among the reek of stale office coffee and a scattering of battered chairs.

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