{"id":7680,"date":"2017-08-09T20:24:49","date_gmt":"2017-08-09T20:24:49","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=7680"},"modified":"2017-08-09T23:26:22","modified_gmt":"2017-08-09T23:26:22","slug":"thanks-moms-thanks-pops","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=7680","title":{"rendered":"Thanks moms; thanks pops"},"content":{"rendered":"
\"\"

Andre Young, aka Dr. Dre, and his brother Tyree, far right<\/p><\/div>\n

The\u00a0The Defiant Ones<\/em>\u00a0on HBO is a stirring documentary that made the hair on my arms stand up, exactly the way Dr. Dre got \u201cgoosechills\u201d on camera as he remixed a favorite track from the past. The show humanizes this billionaire rapper in a way I haven\u2019t seen since I spotted the snapshot of Nas when he was seven on the cover of\u00a0Illmatic<\/em>. That moment in the documentary, with Dre in thrall to a song from his past and the hair prickling on his arms, reveals the endearing nerd, the Dennis Wilson-obsessive, inside Dre\u2014and, even moreso, within his business partner, Jimmy Iovine. An inner nerd drove each of them to the success they enjoy. Iovine\u2019s incessant, fanatical, round-the-clock pursuit of production excellence resulted in a string of incredible career breaks as the skinny brilliant studio rat adjusting the mixer for John Lennon, Foghat, Bruce Springsteen, and Patti Smith, all of that just a launching pad for the success that followed. He and Dre both had the drive of Miles Teller\u2019s character in\u00a0Whiplash<\/em>: a kind of zombie apprenticeship to an insatiable talent.<\/p>\n

My first taste of Dre was his work with Snoop Dogg on Doggystyle<\/em>. That mashup of funk and hiphop into a nasty celebration of gangster pleasures reminded me immediately of my forgotten delights in Johnny Guitar Watson back in the 70s. In both cases, funk and G funk, it was fun transgression, the way rock had once been a slightly forbidden pleasure. You knew it was just\u00a0wrong<\/em>, as it made you grin. Tipper Gore aside\u2014remember her campaign against all of the foul language?–if you\u2019re rapping, you can pretty much get away with anything. All is permitted, and so we\u2019re free to enjoy all that badness vicariously, a musical day off from your own well-behaved boogie life. Along with Nirvana, it felt like a cure for everything that had happened to music in the 80s other than the rest of the bands that emerged out of punk.<\/p>\n

Hiphop had been keeping alive the worship of a certain kind of beat that had been the soul of rock and roll when it began and had gotten harder and harder to find in pop. With Dre\u2019s work, the limbic brain woke up and started listening again to that sliding, continuous throb, like a boa constrictor. \u00a0I\u2019m creepin and I\u2019m creepin and I\u2019m creepin<\/em>. Dre may be the man who turned the sub-woofer into\u00a0the\u00a0<\/em>\u00a0essential component of a stereo. He altered everyone\u2019s expectations of how music ought to sound, with that subsonic rumble in your chest. Nothing else in the genre sounded that lush and three-dimensional and perfectly mixed. He combined the bass foundation with an unexpected combination of sounds to generate his trademark slow, steady flow: the high synth treble organ note like a muezzin calling Snoop\u00a0<\/em>to the mic\u00a0on Nuthin\u2019 But a G Thang,\u00a0<\/em>and the minimalist quality of all the instrumentation, just barely enough to establish the sound, pulling you along into their words. Yet behind and beneath it all is the constant minor key of all the melodic elements, the sobering backdrop of sadness.\u00a0Still Dre<\/em>, nearly a decade later, starts with that little cluster of notes, again a minor key chord that could have been plucked from a ukulele or a harp\u2019s tiniest strings, not exactly the sort of sounds one would expect from rap. With the alternation of those two chords, the sorrow of life steps into the foreground, as prominent as the rapper\u2019s voices, saturating their boasts with a haunting apprehension of loss. That\u2019s Dre\u2019s shy intelligence: he and Snoop act like the baddest asses alive but it\u2019s against an orchestration that mourns for the world around them as they brag about surviving it. He gives you the whole picture of what they were representing, even though they weren\u2019t living the street life. What else is there to that track but those two voices, the quiet drums, a bass line, and that little sequence of notes like a hornet buzzing in and out of earshot? Only Spoon can leverage so much out of such a restrained matrix of sounds.<\/p>\n

Snoop brought his slinky, louche aura of ganja and gin into the enterprise and somehow the partnership generated Doggystyle<\/em>, with a sound that felt totally unprecedented when I first heard it. Much of it was just an act, a representation of what they saw around them.\u00a0Decency<\/a>\u00a0is always Dre\u2019s default setting: the only drive-by shooting on his rap sheet led to an arrest for firing paint balls at bus stops. And even behind Snoop’s criminal persona, his good-heartedness peeks through in his cameo turn on Gang Starr\u2019s\u00a0In This Life<\/em>, where you can hear him speak sotto voce<\/em> about his struggles without any of the posturing.\u00a0As Dre\u2019s business annexed more and more of the street, along with the guns these new players carried, Dre stuck with it, seeing the conflicts through to their bloody conclusion, and then he pulled back toward his roots.<\/p>\n

What I love most about this documentary are the early little glimpses of the family life you get in the upbringing of both Dre and Iovine. Behind the G (as in genius) you\u2019ll discover the decency of a middle-class parent devoted to raising a good kid, not a star. Jimmy Iovine\u2019s father was his best friend. The kid couldn\u2019t finish college, couldn\u2019t hold down a job, but he finally connected with The Record Plant and the owner took him on as his prot\u00e9g\u00e9, though \u201cpuppet\u201d would be a better description. Iovine says that Roy Cicala turned him into an extension of Cicala\u2019s brain. \u201cHe would teach you by working through you,\u201d Iovine says. He sat at the console and simply did whatever Cicalo dictated, turning all of the other man\u2019s production intelligence into Iovine\u2019s muscle memory. One day the studio calls Iovine\u2019s family\u2014an Italian Catholic clan in Brooklyn, sitting down for the holiday dinner on an Easter Sunday, no less\u2014and the studio said they needed him to come down and work. His parents let him go, despite the fact that the whole extended family would be there for the meal. They cared that much about his hopes and dreams. And he was\u00a0eager<\/em>\u00a0to go, which was the test he passed: his reward was that John Lennon awaited him in the studio. From there he went on to one success after another. Yet after being fired by Foghat, he came into the studio and went into all-or-nothing mode, working on his own, experimenting, tinkering, inventing projects for himself after hours, studying, studying, studying, slaving through every waking moment, all on his own with no reward for any of it\u2014and Patti Smith was watching it all from the hallways. She\u2019d never seen anything like it. Secretly, she picked him to produce her next record, without anyone at the studio knowing what the two of them were doing, after hours, on their own, sub rosa. Because the Night<\/em>\u00a0emerged because Iovine had the nerve to ask Springsteen to give it to Smith. After that hit, people recognized her on the streets of New York. Everything else he accomplished came from the same obsessive, round-the-clock work ethic, and it gave him a confidence in his own judgment about what to promote.<\/p>\n

When Dre\u2019s mother is on screen, you realize that he grew up in the same kind of sheltering, nurturing home. She cared about him more than anything in her life. He talks about how he went into a club in his teens and, for the first time, heard a DJ scratching, and that single moment turned him into a different person: \u201cIt fucked me\u00a0up<\/em>.\u201d He became totally obsessed with DJ-ing. So his observant mother bought him a mixer. He retreated to his bedroom and spent hours, days, mixing, and she couldn\u2019t have been happier. \u201cIf you can hear them, you know where they\u2019re at,\u201d she says. Practice, practice, practice, and more practice. \u201cWhenever I was home, I was practicing,\u201d Dre says. \u201cMy mother was really happy about it.\u201c As she puts it: \u201cAll day I could hear the music blasting, and he asleep with the headphones on. I just took them off. I didn\u2019t know how to turn anything off.\u201d Then Dre\u2019s own turning point came at Eve After Dark, a teen club in L.A. Alonso Williams remembers when Dre somehow took over the turntables and combined \u201cMr Postman\u201d, a throwback to the Sixties, with a newly released \u201cJive Rhythm Tracks 122\u201d. He wasn\u2019t even working for the club, had just talked his way through the door, and then somehow talked his way to the DJ station behind the turntables. The video in the episode shows him wearing a purple silk outfit that made him look like a disco surgeon\u2014and when he synchronizes those two songs, the whole club quits moving. All the dancers and the owner just stop and listen. It was his first time behind the turntables anywhere outside his bedroom. As Williams says, \u201cPeople were still groovin\u2019 but they were groovin\u2019 confused.\u201d The innocence and pure fun of the whole scene at that point comes through as a revelation: back then, hiphop was joyful and playful, nothing more than a new way to deliver the beat. (Lately, Chance the Rapper has brought some of that innocence back into the game.)<\/p>\n

The most significant moment, for me, in all of this happens after the club shut down. Dre\u2019s mother arrived to pick up her boy and take him home.<\/p>\n

A few nights ago, Ice Cube was a guest on Fallon and, unrelated to the HBO documentary, he talked about his own childhood. His father and mother had always been supportive of his work, but when N.W.A. became huge, his mother would quietly come to him and ask him if he couldn\u2019t try to tone down the lyrics just a little. \u201cShe was sweatin\u2019 me. I guess she was getting\u2019 sweated by her church friends. Mom, we\u2019re NWA! They were always supportive of what I was doing, as long as I wasn\u2019t gang bangin\u2019.\u201d He wasn\u2019t going to change anything, of course, but in a way she was bringing him back to his inner home. None of these guys have forgotten the universal, conventional values that made it possible for them to become the people they became. Like Mos Def\u2019s\u00a0Umi Says<\/em>, this HBO show, along with everything else it represents, offers a shout out to the moms and pops. They deserve it.<\/p>\n","protected":false},"excerpt":{"rendered":"

The\u00a0The Defiant Ones\u00a0on HBO is a stirring documentary that made the hair on my arms stand up, exactly the way Dr. Dre got \u201cgoosechills\u201d on camera as he remixed a favorite track from the past. The show humanizes this billionaire rapper in a way I haven\u2019t seen since I spotted the snapshot of Nas when […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-7680","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nThanks moms; thanks pops - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=7680\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Thanks moms; thanks pops - represent\" \/>\n<meta property=\"og:description\" content=\"The\u00a0The Defiant Ones\u00a0on HBO is a stirring documentary that made the hair on my arms stand up, exactly the way Dr. Dre got \u201cgoosechills\u201d on camera as he remixed a favorite track from the past. 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